Interview: Insectarium

For more than two decades, Springfield-based artist Joel Hinkle has shaped insectarium into a deeply atmospheric world of dark ambient, tribal rhythms, unconventional instruments, and immersive storytelling. Inspired by Hearts of Space, spiritual experiences, mythology, and the strange sounds of handmade creations like his 'nightmare box', Hinkle approaches music as both exploration and ritual. In this interview, he discusses his evolving live workflow, the importance of community and persistence, and the lifelong goal that ultimately connected his music with his father.

General info

Artist Name: insectarium

Real name: Joel Hinkle

Location: Springfield, Illinois, USA

How long have you been making music? I have been recording ambient related music since the late 90s. Prior to ambient, I played bass in metal and punk bands.

 

Social Media / Music Links

insectarium.bandcamp.com
Facebook: insectarium.music
YouTube: insectariumusic
Instagram: insectarium.music

 

Do you release music under a label or independently?

Independent

 

Creative process and inspiration

What drew you to ambient music in the first place?

First of all, thank you for inviting me to speak to you about my project insectarium!

I recall at an early age playing on my grandparent's electric organ and creating drones by holding down several keys. But it wasn't until early adulthood where I learned about ambient music through my father. Dad was a big fan of the National Public Radio (NPR) program Hearts of Space. That program exposed me to ambient, dark ambient, and world music. Hearts of Space has an annual dark ambient program which introduced me to the Cold Meat Industry and other dark ambient acts in the late ’90s. I became interested in learning to produce ambient music, play the didgeridoo, and learn world percussion.

In 2000, I released my first dark ambient album under my name titled on dark days. As the years passed, I released several other dark ambient, tribal ambient, and solo didgeridoo recordings.

Can you describe your creative process when starting a new track?

The process is actually very random. Over the years I transitioned from desktop composing to using the Native Instruments Maschine to create in a “live” environment. Starting a session involves generating some random MIDI notes and selecting random instruments from my list of favorites, and then just seeing where it takes me. I have many instruments on hand to add into the mix, such as noise-boxes, bowed metals, didgeridoo, flutes, and my most recent purchase, a Moog Theremini. After I record a session, I will go back to the tracks to mix and edit them over numerous listens. I might add some additional instrumentation, or just leave it how it was recorded.

What kinds of experiences or environments tend to inspire your work most?

Sometimes I will dream up a theme before working, but lately I have been letting the music guide me. As I am listening to the mixes, I let my imagination show me what the music means. My most recent release brood of vipers is probably my first politically inspired album. It was inspired by Jesus' teachings about religious hypocrisy and what I am seeing religious leaders doing these days in government. Usually, I pull inspiration from myths, spiritual or magical experiences, or even Dungeons and Dragons, but for some reason hypocrisy was hitting a nerve with me.

What atmosphere or emotional space are you trying to create with your music?

Dark, sad, melancholy. Many releases will have a glimmer of hope added in. At times the theme will deal with struggling through a path. Sometimes a good result at the end, sometimes not.

What moment made you feel like you had truly found your sound?

I don't think there was an actual moment, but over the past few years I found myself settling into a process which is giving me what I have been looking for. I am still experimenting with things. I am notorious for picking up noise making “toys” while thrifting and always trying to add them into the mix. For example, I recently used a cigar box and attached 8 music boxes to it. I call it my “nightmare box” and it's mic'd by several contact mics.

How important is storytelling in your work?

Oh, it's very important. I try to have a theme behind each album, but also try not to “spoon-feed” the listener too much. There are a few albums where the story is outlined very specifically, such as Pit Fiend or All Hail the Dragon. But others give a glimpse and let the listener find their own interpretation.

What makes a track feel “finished” to you?

When listening to ambient years ago, before streaming, when I bought a CD, it was all I was going to listen to until I bought another one. If I can listen to my own songs 1000x and still enjoy it, then I hope listeners will do the same. I ask myself, “What is it missing?” If I do not have an answer after several more listens, then the track is done.

Which artists (or even non-musical influences) have shaped your artistic vision?

David Lynch for his sense of atmosphere.

Brian Eno: On Land is a very inspiring dark ambient album. I love all the layers.

Steve Roach: his tribal, ritualistic, and dark ambient releases.

Robert Rich: Same, plus I love his work with flutes, and the Middle Eastern and Eastern Indian sounds he brings in.

Raison d'être: He is able to take what sounds like a building falling apart and make it sound beautiful.

 

Gear and setup

Are you using hardware instruments, software, or a hybrid setup?

I use a combination of the Native Instruments Maschine and related software and then record live into Apple Logic. A Mackie Onyx 16 mixer is used to pull audio from other instruments I keep on hand. For example, I have a noise-box line which runs contact mics through a pedal board, into the Onyx, and into either Logic or Maschine depending on what I am doing. Other instruments such as a Moreno flute, didgeridoo, and a gong are all mic'd up and ready to go.

What's your favorite piece of gear or plugin, and why?

The Maschine is very powerful. I am still trying to learn all that I can do with it. Its main purpose is for beat driven music, but I have found the setup works perfectly for ambient and having sounds ready to be triggered into the mix. It can sample the live instruments, play pre-programmed MIDI notes, and be played like a keyboard or drum kit. It's pretty amazing.

What piece of gear completely changed your workflow?

Once I learned how to integrate Maschine with Logic, it changed everything. There is a plugin called BlackHole which does virtual routing of the audio. That was a game changer. Before I could only pull stereo into Logic, now I can pull 16 channels from Maschine which gives me much more control on the final mix.

 

Challenges

What's been the biggest challenge so far in creating ambient music?

Finding an audience. Back around 2010 I kinda gave up on recording and releasing music. For whatever reason, I just was having difficulty finding a community to share my music. Around 2018, I started playing around with instruments again and contributed to the Ambient Online compilations. Those compilations opened many doors. A friend in the area saw that I was composing and asked me to contribute music to his documentary films. That experience, along with the contacts I was making through Ambient Online and Bandcamp, reignited my passion for making music. I have been going full speed ever since!

How do you stay motivated or inspired when you're in a creative rut?

I try to do something related to my music every day, for at least 30 minutes a day.

How do streaming platforms affect the way you release music, or what is your relationship with those platforms?

Bandcamp has been great, and I hope they don't change their format too much. It seems to work very well for artists. I try to release an album every month and list it for one dollar. And then I send albums to several labels throughout the year. I also send music to all the streaming services, but I do not pay much attention to promoting. I do see that my small pool of listeners has increased over time. I still appreciate every listener. It's satisfying to see play stats especially after going many years without anyone listening.

What are your thoughts on AI's impact on music and art? Have you, in any form, used it in your approach to creating and shaping ideas?

I don't use AI in my music and I haven't explored AI musical tools. I have used AI in generating cover art, but have started moving away from its use.

How do you see AI evolving in music and art? Are you cautious about it, or do you think it will increasingly function as a tool within creative workflows?

One of the reasons I moved from desktop production to a live setup is to ensure there is no question that I am the one creating the music. I try to record YouTube videos on occasion to show my work in the studio.

What are you currently working on?

I always have several insectarium albums in the mixing stage. I have a unique noise project called 72PILLARS which just started the second release. I also release music under my name which is probably classified as tribal ambient, and I have some music in the works which feature some artists from our local drum circle.

What advice would you give to new ambient artists?

Keep at it! Make a list of goals, small and big, and work towards them! Do your own thing, and try to connect with others who are into the same music!

Is there anything else you'd like to add?

There is so much more that I can add! So let me go back to the previous question and talk about goals for a second, then I would like to give some acknowledgments to some of my talented friends.

As I mentioned, my father was a huge fan of the Hearts of Space radio program. He was a faithful listener and would record each episode on tape every Sunday evening. When I was in the Air Force, he would send me CDs of these recordings. Hearts of Space was a gateway which introduced me to so many genres of music.

Every year they have a program focused on dark ambient music. I totally dug it. My dad and I would talk about it and compare notes. We would buy CDs and swap tracks.

I set a goal and told myself that one day I was going to get played on that dark ambient episode. Fast forward to a few years back. My father's birthday is in October (which is what I call “Dark Ambient Month”). I was informed on dad's birthday that I would be played on the upcoming episode and was able to tell him at his birthday dinner!

Last year I was surprised again when I had two tracks played in the same episode with Steve Roach and another artist I admire, argyre planitia!

Over the years, I have been fortunate to be played on various radio programs including Nacht Radio, The Kult of O, Radio Spiral, Dark Ambient Archive, as well as several “over the air” programs. I feel goal setting is very important!

Here are a few talented friends and labels I want to mention, because without connecting with them, I am not sure where I would be right now.

mikebenoit.bandcamp.com
aneclecticcollectionofdust.bandcamp.com
scottlawlor.bandcamp.com
noctivagantcollective.bandcamp.com
noctilucant.bandcamp.com
winter-light.bandcamp.com
sombresoniks.bandcamp.com
oliknesnah.bandcamp.com
kathodos.bandcamp.com
mindspawn.bandcamp.com
ubekvem.bandcamp.com
marisanguis.bandcamp.com
the-black-monolith.bandcamp.com
kaarloherdenmusic.bandcamp.com
argyreplanitia.bandcamp.com
hermenacingpet.bandcamp.com

There are many more artists and fans, and I hate to leave people out!

 

The sound of insectarium