INTERVIEW: A Path Untold releases new double album

A Path Untold is the monker of composer and producer Daniel Merrill who uses the project to explore electronic music’s emotional and experimental potential. Fusing elements of atmospheric house, future garage, breakbeat and downtempo, he crafts a musical landscape that’s at once profoundly reflective and utterly engrossing. His work is as much an invitation to ponder as it is a call to movement, blending melodic storytelling with an innovative edge that appeals to both intimate listening and dancefloors.

His music is known for its ability to straddle profound dualities; ancient yet futuristic, euphoric yet melancholic, organic yet technological. It presents a sonic journey that draws on personal experiences and threads intricate, textured rhythms with a defiant quality that speaks to transformation and connection. The project began in 2015 with Secret Subtle Light, a debut album that introduced A Path Untold’s unique sound to the world. Combining meditative ambiance with beats, the album was followed up by releases like 2018’s Wander to Serve LP, 2020’s Lone Dweller EP and 2022’s Sourcery LP, a collaboration with The Chambers Project.

Now, A Path Untold expands his visionary musical world with a double album that frames the interplay between light and shadow in a cinematic experience. Released via Epidemic Sound, In The Light of Shadow and Realms of Solace are ambitious EPs that form a whole to explore the contrasts and connections that define life from the artist’s perspective.

In The Light of Shadow is a five-track voyage into liminal spaces, where dualities collide and emotions take shape. Tracks like “ReSonörum,” with its eerie beat-driven atmosphere and “Dream Seasons,” a melancholic future garage journey, showcase Daniel’s slick sound design and ability to forge truly enveloping soundscapes.

Layering manipulated field recordings, lo-fi instrumentation and textured rhythms, the release captures moments of reflection and growth. Created in the Sierra Nevada studio during a period of quiet solitude, the EP is a sonic map of contrast and complementarity. “This project represents an exploration of what lies between the seen and unseen. It’s about finding wholeness in fragmentation and evoking discovery and solace,” he shares.

On the other hand, Realms of Solace moves inward, offering a sanctuary from the pressures of modern life. Across another five tracks, it creates a meditative, cinematic ambiance with highlights like the downtempo “Vanishing Together” flowing from cinematic wonder to lush rhythms, while “The Air We Breathe” delivers slow house grooves that morph into uplifting resolutions.

Both albums are tied together by A Path Untold’s exquisite production panache, using analogue and digital synths, hybrid instrumentation and spliced field recordings. Mastered by Henrik Jonsson, the projects shine with immersive depth and hypnotic vibes, offering listeners an otherworldly experience that enjoyable, enticing and wholly original. With In The Light of Shadow and Realms of Solace, A Path Untold continues to explore the fringes of the electronic music map, once again staking his claim as a pioneering artist with an exceptional sonic vision.

We caught up with A Path Untold to find out more about his musical journey so far, his new double album and what he’s got lined up for the future. Check out our interview with A Path Untold below.

Hey A Path Untold, how’s things?

Things have been interesting! It’s been an exciting and busy time with the recent release of all this new music. I’m excited to finally share it all and see how it ripples out into the world.

What’s your earliest memory of making music?

I’d say it was when I got deeply into grunge and metal when I was 13 or so (in the early 90’s). I started playing guitar 8-10 hours a day, at first just emulating my favourite artists, but then trying to write my own riffs and eventually, songs. Shortly after that, I discovered my father’s 4-track and started overdubbing ideas, which led to trying to write and record my first bodies of work. Those moments sparked a deep fascination with creating something from nothing, and that passion has only grown since. I made non-electronic music up until around 2001, then I went deep into that realm, which led me to what I do now.

Which artists do you draw most inspiration from?

It’s really been a massive spectrum of artists and genres over the years, so it’s a lot to encompass. But, to answer the question, I’d say my biggest all time influences that still play a major part in what I do would be Leftfield, old Burial, Djrum, Lulu Rouge, Gidge, and Clubroot. I’ve always taken influence from all sorts of artists and styles, including non-electronic artists, and then applied those influences to how I approach electronic music. Overall I’ve always been inspired by artists who fully embraced their uniqueness, explored freely, and taken risks. I also draw inspiration from film scores, world music, classical, and forward-thinking electronic music genres like IDM, drum ‘n’ bass, and future garage.

How else do you find inspiration for your music?

Honestly, it all just stems from a deep desire to translate and express my emotions around my life experiences. My inspiration often comes from observing the contrasts and dualities in life – just the full spectrum. Love and loss, human behaviours, history, nature, futurism, dreams, psychonaut experiences… all of it. Everything I observe factors in at one point or another. I try to just be as honest as possible at every stage of the writing process. Growing up in a very isolated region in the Appalachian mountains, immersed in nature – and then later, travelling and living in diverse urban environments, also gave me unique perspectives. I also draw inspiration from film, books, philosophical ideas…all of that.

What’s been your highlight of the year?

Completing and releasing In The Light of Shadow and Realms of Solace has pretty much been an all consuming process, throughout this past year. Both projects were deeply personal, so it’ll be interesting to see how listeners connect with them. That sense of delving deep into what I’m striving to say as an artist, and seeing that through to the highest degree I can, has been a highlight.

What would you say is the perfect setting for listeners to enjoy your sound?

I try to make music that is highly interpretive and can apply to a wide spectrum of settings. It sounds very open-ended, but I try to just make “life” music. Music that can apply as a soundtrack to life, and hopefully comes across as being relevant to a spectrum of perspectives. It’s definitely designed for very personal, immersive solo listening – like during a walk in nature or going for a moon-lit nocturnal drive… but it can also translate to adventurous, communal dancefloors that enjoy deep, emotive journeys and going to new places.

How has your own style and sound evolved since you started out?

It’s gone through so many twists and turns over the years, and I’ve explored a lot of different modalities, genres, beat structures and tempos, etc. I’d say my sound has gradually and naturally become more sure of itself, more intricate and hybridized. I’ve further refined my approach to blending organic and synthetic sound palettes, expressive harmonies, and unique sound design approaches. I’ve just followed it where it wants to lead me, and I question that less and less. As it’s come more into focus, I really strive to capture the dualistic elements such melancholic/triumphant, ancient and futuristic, etc. I try to encapsulate all those elements in a way that feels cohesive and emotionally resonant, to just keep it moving and evolving.

Has your production process changed over the years too?

Definitely. I’m definitely always ravenously learning and trying new things. Implementing more music theory, trying out new types of synthesis, different forms of arrangement, sample manipulation, all of it. While I’ve always used Ableton Live as my main tool, my process has evolved to incorporate more foley experiments, personal field recordings, exotic instrumentation, vocals, and experimental sound design techniques. I’m constantly exploring new ways to push the boundaries of what a sound can represent and the stories I can tell.

Who would be your dream artist to collaborate with?

Hah, so many that it would be hard to narrow it down… In the electronic realm: Djrum, Leftfield, Clubroot, Volor Flex. Lulu Rouge would be a big one even though they’ve been retired for quite a while… I’m drawn to artists who blend beauty, mystery, and fearless experimentation and create what I consider to be timeless work.

How did you find making your new albums In The Light of Shadow and Realms of Solace?

It was a deeply rewarding experience. I worked on both albums in parallel, trading off between them to keep things fresh. In The Light of Shadow was about processing personal challenges and finding meaning through contrast, while Realms of Solace was more of an escape into otherworldly realms of beauty and finding refuge in wild imagination. Each project had its own emotional context, and I loved exploring their distinct worlds. Together they are a double-album of sorts and form their own dualistic relationship.

What message did you want to get across with these releases?

Both albums explore the idea of transformation and finding solace. In The Light of Shadow reflects more on finding harmony through dualistic experiences – while Realms of Solace is about creating spaces of escape and beauty to dream, reflect, and get lost in. Really they are both, in their own right, about the endless, transformational power of music and its magical power to explore the unknown, and see what “else” is possible. Perpetually. It’s all really just my personal exercise in continually following my imagination, uninhibited, and translating that into something people can experience – in hopes that other people will find that relevant and inspiring in their own lives.

What artist have you been listening to most recently?

Honestly it’s been all over the place… I’ve been listening to a lot of Calibre, Klute, old Polar… Gidge, Djrum.. I’ve recently been discovering more Skee Mask, Marren Sukie, Deadbeat. I’m an avid digger and collector, so I’m always finding things I find to be unique, thoughtful, evocative music.

What’s the main thing you want people to get out of listening to your music?

I want listeners to feel truly transported – whether that’s into a reflective inner space or moving to it however feels inspiring to them. To have their minds switch off and just be swept up into a flow state. I hope my music inspires introspection, connection, and a sense of wonder. I’d like people to come away with the experience of feeling surprised, like they had a uniquely impactful experience they didn’t know was missing.

What’s been your favourite live performance so far?

It’s honestly been some time since I’ve had the opportunity, I’ve really just been in writing mode for a long while. I’d really love nothing more than to get back into the swing of it. That being said, over the years there’ve been so many. If I had to choose one, it might be the experience of playing a 6 hour all original live set in an underground cavern – stalactites and stalagmites abound – to a crowd of 2500 ravers who were primal screaming. There’s not much I love more than dropping new music that I find exciting on huge sound systems to an open-minded crowd and just feeling the reaction.

Who would be 3 artists to headline your dream festival? And where would it be?

Oldschool Burial, Clubroot, and Djrum. It would take place in a misty, otherworldly forest setting – somewhere atmospheric and heavy on vibe – maybe near some ancient ruins.

Do you have any advice for a new artist wanting to follow your footsteps?

Stay away from trends, be endlessly curious and do your best to tune everything out, go inward, and listen to YOU. Don’t be afraid to be vulnerable – vulnerability is strength. Remember that music is about emotion, so stay in touch with that every step of the way. Be as honest as possible. Explore new approaches, but also find what works consistently. Focus on finding your unique voice and lean into what excites and inspires you the most. Never settle for anything but your absolute highest preference, even if that takes time. Also, don’t underestimate the power of mindset – try not to compare yourself to others, trust yourself, stay hungry to learn every single day.

Finally, what do you have lined up for 2025?

I hope to finish and release a lot more music, a lot more regularly. My goal is to find a more frequent pacing, so people don’t have to wait 2 years between releases… I hope to get out there and start playing more shows, preferably internationally. I’m hosting a release event here in Northern California for Realms of Solace in January. I also have plans to collaborate with other artists and expand into audiovisual storytelling with Epidemic Sound, and hope to increasingly pair my music with visual mediums. I look forward to continuing to stick to my guns, and to just make the best music I can and get it out there in an expansive way.

Listen to In The Light of Shadow below