In this exclusive first interview in Poland, David Williams introduces CHRONICLER OF ARDUL —
a singular cinematic dark fantasy project where orchestral storytelling collides with the raw intensity of extreme music. Founded in 2023, the project dives into the mythic realm of Ardul through a fusion of metal, symphonic composition, and narrative worldbuilding. Drawing inspiration from Shadow of Intent, Mental Cruelty, and composers like Nobuo Uematsu and Yasunori Nishiki, Williams crafts a universe where recurring themes, characters, and emotions unfold across music and story — as immersive as a novel, and as powerful as a film score.
Photos by: Marcus Mccoy
„Sounds of Ardul” marks a notable departure from the heavier elements often associated with your project. What artistic or narrative needs drove you toward a fully orchestral, cinematic approach?
David Williams: I’ve always been inspired by fantasy and video games and wanted to explore that side without the metal elements. So when I started figuring out what this project would need I thought of what type of music would you hear in this setting. Forests and wilderness, tension, battle music, going underground, and maybe some tavern music. There’s so much more I could do but this was a good first step in this.
Your work is deeply rooted in worldbuilding. How do you ensure the music stands on its own for casual listeners while still rewarding those who engage with the larger Ardul lore?
David Williams: That is really hard to do! But as I am outlining the story I am trying to tell, I will group together whatever plot points all fit together. From there I get the general vibe I want to aim for and write the music based on that. As I am doing that I will incorporate my melodies and motifs I might need which is a big factor in the building to a larger tale. So each song does contain its complete chunk of story, but it all comes together as well.
You cite influences like Nobuo Uematsu and Yasunori Nishiki—how have their compositional philosophies shaped your approach to melody and theme development?
David Williams: They really taught me how much variety is needed to bring a world alive. There’s environmental music, character themes, emotional themes, and so much subtlety that pushes the rest of the work, the video games, to a new level. You can hear the words and see the characters, but having those emotional musical connections can pull at your heartstrings or lead you to victory.
There’s a strong emphasis on recurring motifs across the album. Can you talk about how these musical ideas evolve to reflect character arcs or narrative shifts?
David Williams: It’s all about exploration, seeing what the music can do and how far I can push it. The “Woodlands” tracks almost feel like you’re there during different times of day or activity. The Alternate Version is more intimate and closed in, maybe it’s at night time, or the traveler is alone. And the Battle Version is more hyped up, percussive, and new textures come in. You need to be ready to fight for your life or your cause. Doing that makes the “Woodlands” cohesive and gives it depth that just having one version couldn’t do.
Tracks such as “Oh Me Oh My” and “Zarek the Bloody” feel almost theatrical in their presentation. How important is performance and character embodiment in your songwriting process?
David Williams: I don’t really take it much into consideration, it sort of just happens and becomes this great moment. There are a few moments like that on „Myrewood” that I didn’t expect but loved because it did add more drama and life. I just try to do the music justice and if I need to get theatrical, then I will do just that.
You handle every aspect of the project yourself—composition, recording, mixing, and artwork. What are the advantages and challenges of maintaining that level of creative control?
David Williams: I know what my vision is and I can execute it mostly to the degree I want it. I know what’s important to stand out or fit in and can have those details right where I want them. The challenges are –
I need to know or learn a lot. There are skills I lack, such as being a good enough vocalist, or doing art or graphic work. And doing this many tracks, it was hard to get them all balanced and work well as a whole without too many issues. I guess I have unresolved trust issues from former bandmates I couldn’t rely on (laughs).
The album moves between intimate folk arrangements and large-scale orchestral moments. How do you approach dynamics and pacing across such a wide sonic spectrum?
David Williams: It’s a lot of thinking what the tracks need and applying that musically. There isn’t a lot of percussion on this album except to cause tension or bring a bit of groove to the music. Or if I need something to feel heroic, throw some brass in there. Or asking myself, “Does this need more instruments or less?” or “What happens if I try to add more in this section” ? It’s a lot of experimenting to get it where I want it to be without being too much, because in the end it needs to serve the feeling without getting in the way.
Collaboration plays a role on key tracks. What do artists like Exiled Hope bring to the world of Ardul that you couldn’t achieve alone?
David Williams: Sofia from Exiled Hope and Aaron from Syyn gave their own flavor and takes to my songs I couldn’t do. I’m not a great vocalist, so it was natural for me to approach them. In my head, they sort of represent different traveling bards in Ardul. It’s not just me, one lone bard telling all the tales. This world is coming alive and they helped do that.
As „Sounds of Ardul” represents one pillar of a larger multi-medium project, how do you see the relationship between your music, written narrative, and potential future expansions of the Ardul universe?
David Williams: This is like that meme of the crazy conspiracy guy. They all do their own parts really in a way the others can’t. Things like „Myrewood” and „Sword of Virné” are epic and dark and dramatic, but there’s a lot of finer details being missed. The written stories can go much more in-depth but lack the musical impact, and this album can explore the world in ways the others can’t like big wide brush strokes. I wanted to make this project big and epic, and I just keep coming up with ideas for stories and lore and history and what I want to do here and see where it takes me and my audience. So they all do their own part in the big picture. The melodic motifs of the „Myrewood” will return, as well as the „Sword of Virné”. I’m sure someone will be singing “Oh Me Oh My” at some point in my story, and „Zarek the Bloody” will take part in the next chapter of this story. It’s all coming together, and I’m still only just getting started.
Thank you.
David Williams: Thank you.
You can follow the project here:
Official Website: chroniclerofardul.com
Bandcamp: https://chroniclerofardul.bandcamp.com/
Facebook: https://www.facebook.com/p/Chronicler-of-Ardul-100063489851273
Instagram: https://www.instagram.com/chronicler_of_ardul
YouTube: https://youtube.com/@ChroniclerOfArdul
Spotify: https://open.spotify.com/artist/5h3LfVFyzZA7Tl0eBhQxKg
Apple Music: https://music.apple.com/us/artist/chronicler-of-ardul/1678862672
TikTok: https://www.tiktok.com/@chronicler_of_ardul
