{"id":12169,"date":"2025-04-16T10:39:36","date_gmt":"2025-04-16T15:39:36","guid":{"rendered":"https:\/\/mkultramagazine.com\/?p=12169"},"modified":"2025-04-16T10:40:41","modified_gmt":"2025-04-16T15:40:41","slug":"the-mkultra-interview-with-sinthetik-messiah","status":"publish","type":"post","link":"https:\/\/mkultramagazine.com\/?p=12169","title":{"rendered":"The MKULTRA Interview with SINthetik Messiah"},"content":{"rendered":"
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By John Wisniewski for MK ULTRA Magazine<\/p>\n\n\n\n

SINthetik Messiah, the Louisiana-based tribal industrial outfit just released a new two-track EP entitled “The Lost Tribe.” This EP is an immersive journey into the shadowy depths of human emotion, exploring the profound sense of alienation and the struggle of never feeling like one truly belongs. Blending various elements of industrial, electro, dance, rock and ambient, SINthetik Messiah is the work of the Cajun songwriter and sound designer Bug Gigabyte, who has amassed a dozen diverse releases in his career. Bug sat down to field a few questions about the inner workings of SINthetik Messiah and beyond.<\/em><\/p>\n\n\n\n

-Bandcamp: <\/p>\n\n\n\n

https:\/\/sinthetikmessiah.bandcamp.com\/music<\/a><\/p>\n\n\n\n

John Wisniewski How did you begin in music, Bug?<\/p>\n\n\n\n

Bug Gigabyte,: My musical journey began with traditional training on the trumpet in my middle school band class. Around that time, I was getting into rock music and thought the guitar was incredibly cool, but its complexity intimidated me. So, I started with the bass instead. Later, in high school, I picked up the keyboard to join a local metal band, and I\u2019ve been playing music ever since.<\/p>\n\n\n\n

JW: Any favorite new, up and coming music artists you’d like to mention?<\/p>\n\n\n\n

BG: Not really in the sense that what most people consider “new” is probably 5 to 10 years old for me, haha. I must say, though, that techno-influenced industrial music\u2014whether instrumental or laden with distorted vocals\u2014has certainly evolved in a pleasing way, and even the EDM community is starting to take notice.<\/p>\n\n\n\n

For your readers: If you want to hear new music, look for DJs who have regular shows in the scene. They\u2019re usually on top of the latest releases.<\/p>\n\n\n\n

I\u2019d like to give a shout-out to all the DJs in the scene who have played my work. Thank you\u2014it means the world to me.<\/p>\n\n\n\n

JW: Why do you choose to delve into some many different sounds to create your music?<\/p>\n\n\n\n

BG: It’s like I\u2019m a master chef experimenting in a boundless kitchen. Picture a chef who\u2019s not about to be tied down to just one style, like Italian or French. Nah, I\u2019m out here blending spicy Cajun vibes with delicate Japanese moves, throwing in some hearty German roots and bold Indian spices. I don\u2019t stick to one recipe book because, to me, the kitchen\u2019s this wild playground where every ingredient, no matter how out-there it seems, can mix into something fresh and dope.<\/p>\n\n\n\n

For Sinthetik Messiah, music\u2019s that kitchen. I\u2019m Bug Gigabyte, the one steering this ship, and I\u2019m tossing industrial bass with electro, dance, rock, ambient, pop, even some post-trip hop into the mix\u2014not because I can\u2019t pick a lane, but because I\u2019m obsessed with exploring and flipping the script. It\u2019s like fusing sweet and savory to hit you with a flavor you didn\u2019t see coming. I\u2019ll blend distorted vocals with techno beats or ambient noise with punk fire just to keep you guessing. We don\u2019t stay in one genre because it\u2019s all about evolving and staying free\u2014kinda like a chef who\u2019s got the skills locked down and can\u2019t help but push it further to see what\u2019s next. It\u2019s not about fitting in a box; it\u2019s about smashing that box to bits and building something totally new from the wreckage.<\/p>\n\n\n\n

All this talk is making me hungry. Haha<\/p>\n\n\n\n

JW: Tell us about recording the EP “The Lost Tribe” and what were the sessions like?<\/p>\n\n\n\n

BG: “Nature’s Magik” began as a skeletal framework, initially intended as a collaborative piece with Gen from Genitorturers.That collaboration never materialized, and the track languished in my music library for eight years\u2014possibly more. During that time, I released a demo version through CRL Studios in Alaska, featured on a Standing Rock Benefit Album. Pig contributed to it as well, and the release climbed the Bandcamp charts, successfully raising funds to support Standing Rock aid efforts.<\/p>\n\n\n\n

Given its deep ties to magic, nature, and Indigenous culture, I felt compelled to return to the track and bring it to completion, infusing it with renewed purpose and depth. I wove in a fresh composition to reflect the heartache embedded in my family\u2019s bloodline\u2014a pain born from racism within our own tribe.<\/p>\n\n\n\n

To elaborate: *Nature’s Magik* now embodies the fierce, primal energy sparked by the torment inflicted by French soldiers in 1706. The Chitimacha people, pushed to their limits, called upon the Turkey Buzzard Man\u2014the Bone Collector\u2014and harnessed nature\u2019s dark magic to drive the invaders from their land.<\/p>\n\n\n\n

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