NAM - KHAR Interview

 

Konchog Gyaltsen emerges within the German experimental scene as a figure dedicated to the exploration of ritual sound and deep contemplative atmosphere through her project Nam-Khar, a proposal that is not limited to musical composition but builds interior spaces where drone, hypnotic ritual percussion and analogue powerful electronics are intertwined with an almost ceremonial intention. Nam-Khar functions as a field of work where vibration is understood as a tool for perceptual transformation, taking references that evoke spiritual practices and esoteric traditions without falling into superficial imitation, and developing a sound language that advances slowly, densely and aware of its own weight. Within the European circuit of dark ambient and ritual sound, Nam-Khar has established itself as a project that privileges the immersive experience over the spectacle, building pieces that operate as extended breathing processes where each electronic layer and each percussive beat seem designed to alter the listener's notion of time. Gyaltsen's work, in this context, moves between the physical and the intangible, between the materiality of sound and the suggestion of internal states that cannot be measured but can be felt with sustained intensity, establishing a coherent proposal that dialogues with the German experimental tradition while tracing its own path within the contemporary ritual landscape. Konchog Gyaltsen has answered some very good interesting  answers to our readers.!!

Do you remember what was the first moment, the first intuition or vision that led you to create Nam-Khar? What did they feel was missing in the sound or spiritual world that motivated them to start?

It was not so much the feeling that something was missing—rather, my wish to contribute something personal to the "scene"—that made me want to step out of a passive into an active position. Maybe also to give something "back"—probably also to express something that was rather unconscious at that time and then became Nam-Khar. I was very socialized in the Straight Edge/Hardcore scene—everyone took part actively: as a musician, a promoter, a publisher , an activist, and so on. I love that DIY idea a lot and I miss this DIY approach a lot in the industrial/gothic or whatever scene.

The term Nam-Khar means "heaven" or "sacred space" in Tibetan. Why did you choose this name and what role does space (interior, ritual, astral) play in your work?

It symbolizes a clear and unobstructed potential for manifestation.

Since your first releases, the project has been steeped in references to Vajrayāna, Tibetan Tantrism, and the magical arts of Central Asia. When did you discover these paths, and how did they resonate in your body and soul? What was your initial intention when you started creating ritual music? Were you looking to document an inner experience, open portals, heal, or provoke altered states in the listener?

After working at a hospital—watching many people get ill and die but also get cured—I had many questions within me arise. When entering university, I attended lectures by Buddhist teachers and took a class on the philosophy of Mahayana at the Faculty of Philosophy. My approach was rather theoretical/intellectual in the beginning. But as the Tibetans used to say, "When the student is ready, the master appears," and I was lucky to meet my precious teachers. Having a qualified teacher is crucial for the practice, especially in Vajrayana. I think that there was no clear conscious intention or plan behind creating this kind of music – it is merely an impression manifesting.

At what point did you realize that his work was not simply "musical", but an active form of magic, meditation and transformation? How do you define what you do? Is it sound art, is it mysticism, is it spiritual activism, or all of that at the same time?

It is basically a manifestation of our work as a collective – parts of all members merge together and all that becomes “Nam-Khar”- Definitely no form of “Activism” – it is not our aim to influence or even change anything or anybody with our music- nevertheless we are very happy if someone feels touched in any way by our creations.  Getting such personal Feedback means so much …

What do mantras, sound sigils, and ritual instruments represent to you? Are they tools, allies, or symbolic embodiments of energies?

The mantra is the essence of the deity so when you recite it and do the sadhana with the visualization you are synchronizing your body speech and mind with the body speech and mind of the deity. And also, the surroundings – so every sound becomes the Mantra of the deity, every appearance becomes the body of the  deity and every thought becomes the mind of the deity.

In "Gyalwa Gyamtso" collaboration with Alone in the Hollow Garden they combine chants of Tibetan and Hindu mantras, ritual instruments and analog synths. How do you translate these ancestral practices into contemporary soundscapes?

There is no active part of Translation- we just keep on experimenting with open minds: examine what arises. If it fits, we leave it as it is …

In Dok-Pa, Nam-Khar aims to repel suffering and return it to its origin as an "unasked gift." How does this emotional and ritual process materialize in the act of creation? 

All appearance is illusory in the end. Appearance is inseparable from emptiness and they are empty of any inherent constituting factors All kind of pain and suffering can be “send back“ – One may ask: „to where?“ The answer is: to emptiness -where it came from. 

How did the idea of collaborating between Nam-Khar and Vortex for The Sarajevo Spiral come about? Was it a premeditated intention or did it arise from a shared need in today's world?

We enjoyed working together on “Nag Hammadi” a lot after a while the idea of recording another album together came along.  Marcus and I are both very much interested in Psychoanalysis, and at that time I was working on a deeper understanding of Spielrein's/ Freud`s concept of the Death Drive- in classical psychoanalytic theory, the death drive is the urge towards turning the organic into the unorganic – life and growth/creation into death and destruction, which often manifests in behaviors such as aggression, repetition compulsion, and Auto- aggression/self-destruction. [1] It was originally proposed for the first time in 1912 by Sabina Spielrein in her essay “Destruction as the Cause of Becoming”, which was then taken up by Sigmund Freud in 1920 in his epochal work “Beyond the Pleasure Principle. “ I think for many Psychoanalysts this concept was far too dark and even threatening, so it got suppressed in the Freudian School ( it still plays a role in the Kleinian School for example).  We think that this concept is a useful Tool to understand many processes going on these days- internally and externally.

What does the concept of "spiral" in the title of the album represent for you? Do you understand it as historical repetition, descent into the abyss or circular transformation of the collective soul?

I don´t believe in a concept of a “collective soul “. Spengler described cultures as organic beings that, like seasons or humans, go through a fixed lifespan According to Spengler, every advanced civilization—whether Roman, Chinese, or Western—is subject to an inevitable course of development (which in fact applies to every civilization). He did not see civilization as a goal, but as the final stage of a culture: rational, technocratic, soulless. This is an interesting tought which was later taken up by thinkers such as Arnold Toynbee and Samuel Huntington. I do not fully agree – I think that Spengler's view is based too much on homogeneous and static models of civilization, and I see “history” more as a dynamic process I rather see History formed by cause and effect - parts of history repeat themselves –Vortex & Nam-Khar base our musical reflections on the idea that we are now at the closure of a historical circle ( This might remind of Spengler), now one century later. "The Sarajevo Spiral" is about the past, the present, and the return of fate towards the Abyss. 

The album has eleven complex compositions, marked by a martial and meditative atmosphere. How did you approach the composition between two projects with different but complementary aesthetics?

We enjoyed working together on “Nag Hammadi“and before on some tracks of the phantastic Vortex album “Helioz”. While working together we discovered many common interests and viewpoints and always enjoy long talks about Music, Psychoanalysis, Art, Mythology.

I think even more than on “Nag Hammadi“ the different musical styles and approaches merge together on “The Sarajevo Spiral“.  We thought that instead of recording a third collaboration , we focus on the best of both worlds and form a new project: Hor-Cheret. Our first album should come out end of 2026 and some ideas and thoughts of “The Sajavevo Spiral“ can be found here again .

What did it mean for you to participate in an event like Rituals Over Limburg, where ritual, spiritual and sound expressions from different parts of Europe converge? How did you prepare this live ritual internally? Was there any kind of specific retreat, fasting, visualization, or energetic preparation before going on stage?

I played two times at “Rituals over Limburg“  with Nam-Khar and as a member of Shibalba and will perform this year for a third Time with my new project “Hor-Cheret“. So, it is special. It is also a place to meet with people I know for nearly decades. Nam-Khar has some kind of Ritual before going on Stage -we practice it since our first Performance at the Wroclaw Industrial Festival- it is like merging all members together and focusing for the Performance.  

Before to finish, let us know more about upcoming projects, albums or collaborations. Thank you for your support through the years brother.

You were the first Person who ever wrote about Nam-Khar, after we just self-released a CDr. The music was far different from nowadays- lots of guitars, bowls and bells. I am very grateful for your ongoing support Brother. There is so much going on these days- Nam-Khar will soon a new Album which marks a completely new direction after the “Tibetan-Triology“. I am very very happy with this work. Hor-Cheret with Marcus from Vortex continues the direction of the “The Sarajevo Spiral“ – sound- and conceptwise. A CD for the “Rituals over Limburg“ Performance will be released on “Dunkelheit Produktionen“. It means so very much to me becoming a recording member of a project I follow for over 20 years: This morn` Omina – we recorded an album soon to be released together of which I am really proud – such a pleasure to work with Mika. The Brotherhood of Shibalba will release a Remix for an incredible Project soon – some Rituals all over Europe are planned for 2026. Finally, a new album by my “Kraut-Electronica“ project will be released by the mighty ZaZen-Sounds label in 2026.

 

NAM KHAR

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