The Unquiet Void got started in 1989 when Jason Wallach was 15. “I was tired of the hierarchy that each generation is exposed to in high school and I just didn't have the time for it. I mostly hung out by myself because I just didn't like any of the bozo's who wasted their time trifling over stupid shit like making sure each individual hair was exactly where it needed to be.” says Wallach.

“That's where the music and the name came from. A lot of people, now as then, are talking a lot but aren't saying anything worth listening to. I don't deal with semantics, I deal with raw, real, unavoidable emotions - you can't hide from it. I like it that way!”

Despite his feelings of alienation he mananged to avoid self-destructive behavior; instead he made music.

The Unquiet Void has four full-length albums available, two of which are based on the works of H.P. Lovecraft. Currently The Unquiet Void is signed to Middle Pillar Presents in NYC. Currently Wallach is working on the soundtrack to an indie horror flick inspired by Lovecraft called Closet Space. He has collaborated with close friend Bryin Dall on the soundtrack to a forthcoming film entitled Montauk Unveiled which is a documentary about the Montauk Project.

Wallach has also appeared on numerous compilations and he talked a little about his use of the Korg M-1 and the Kawai K-4.

Patrick Ogle: Why do you use the Korg M-1? Tell me what appeals to you about the instrument? It is a little long in the tooth for a workstation?

Wallach: Well I have had this instrument as a companion instrument shortly after I started The Unquiet Void back in 1990-1991. The instrument has comforted me through many years and many hard times, changes, life experiences, etc. I love the sounds it has and I love the ability it gives me to totally tweak the hell out of it. I'm used to it and comfortable with it.

What are the drawbacks with using the M-1?

I personally don't have any although it would get stale for me if I didn't mix using it with other synths or instruments like bass guitar.

Why not one of its contemporaries (Yamaha DX7 or the Roland D-50)? What sets it apart?

Ok, it's a digital instrument, yes. Most of the newer instruments are so complicated to use even though "they" say they're easier to use. Listen to my music--my emotional realm is complicated enough - when I write and record I want to simplify the expression as much as possible. However, I do want a Korg Karma and a Korg Triton Extreme. I'm older school up to a point! Growth is certainly important as is exploration.

If I remember right there were some neat piano sounds on this. Do you use these? What are your favorite sounds on the M-1?

I love the piano sounds, I love the choral sounds and the experimental sounds as well. It's a very fucking cool instrument!

On to the Kawai k4; what is it you like about the K-4?

What I really love about the Kawai K4 are the effects it has. There's this flat out fucked up flanged distortion that just roars out of the thing like some demon from hell! There are also variations of that effect so that you can play up or down play the intensity of it. It makes great accompaniment to the work that I do. It's a pretty simple and basic unit but it has its perks.

Talk a little about the "vintage" sounds available when using the K4 and how you use them in your music?

Well, as I said above I love the effects it has. I like the textures available on the machine as well. My early and mostly unreleased (as of yet) work combined the K4 and the M1 and that was pretty damn cool. In the track "Chrysalis" there's a background sound I use heavily effected from the K4 and it melded soooo well with the M1 patches. I use loads of FX too! I'm all about textures and mixing them and using effects to create completely new sounds to express my emotions.

Tell me what you are looking to do--sonically--with your music? How do you approach choosing gear to attain your goals?

The synths I use have to contain some really surreal, beautiful, and ambient textures (dark textures too) - there's a balance I need to achieve in my work and that's the coexistence of darkness and light together. That simply HAS to be in place. I like movement a lot so I don't want sounds that stand still or fall flat. The synths have to reach inside me and connect with me or I'm just not interested!