Portland trio Darkswoon draws from darkwave, post-punk, shoegaze and electronic music while shaping those influences into something distinctly their own. Their music balances icy synth textures, driving rhythms and layered atmosphere with an emotional core that feels deeply human, something that comes through even more strongly on their latest album, Antivenom.
Originally formed as a solo project by Jana Cushman before evolving into a full trio with Rachel Ellis and Norah Lynn, Darkswoon has developed a collaborative approach centered around layered electronics, dynamic basslines and emotionally resonant songwriting. On Antivenom, that approach feels especially focused, with songs that move between restraint and intensity while maintaining a strong sense of cohesion throughout the record.
In this email interview, Jana Cushman discusses the writing process behind Antivenom, balancing atmosphere with emotional immediacy, working collaboratively within the band, and how Darkswoon’s sound continues to evolve.
Looking back at Antivenom, what was driving you creatively while you were making it?
Jana Cushman: About two years ago, I started taking solo music writing retreats to fully focus on the songwriting process with limited distractions. Most of these songs came out of that effort. For me, creating music is about exploration and expression. It’s something I need to do for myself on a therapeutic level, but the action of then releasing the music into the world can be an equal part of the catharsis. It’s always a bit daunting to write a new album. There is all the self-doubt, like “what do I have to say” or “will it be as good as what came before?” But I had a lot to say both politically and on a more personal, emotional level. The drive to create is often inspired by the need to sort out and make sense of the world around me, both at large and on an internal level. Through writing this album, I was processing a lot of my own grief and bearing witness to the end of democracy in the US.
The album feels very cohesive, almost like a continuous arc. Was that something you set out to do from the beginning?
Jana Cushman: Yes, I’m always attempting to create something cohesive, but my process isn’t so linear or always following a timeline, which can result in something of a disjointed compilation. I was able to take the time with this album to work on several songs side by side over a shorter period of time. I would drive to the coast with my guitar, drum machines and synths to write by myself for several days at a time. The goal was to drown out everything in my life but music, trying to find focus and a dedicated practice.
There’s a tension between restraint and intensity throughout the record. How aware were you of that while shaping the songs?
Jana Cushman: I like to play with dynamics in music, both in expression, volume and conceptual contrast — soft and hard, light and dark, tension and release. I’m not sure it’s as intentional as it is intuitive.
There’s an “icy” quality to the sound, but it still feels very emotional. How do you approach creating that balance between colder textures and something more human?
Jana Cushman: Staying authentic and vulnerable in the creative process is important to me. I try to keep the emotion at the surface. I can’t get into a song if I don’t feel it. Contrasting organic instrumentation and ethereal vocals with raw emotion against heavy syncopation and dark synths has become characteristic to our sound. Hopefully, the machinery never steps too far away from the human elements and vice versa. With Antivenom, I really wanted to push my vocals a little harder, but I also wanted everything to go a little harder. I wanted the colder textures to stay grounded while the emotional quality remains tethered to human connection.
Your music pulls from a mix of different styles. Do you think in terms of specific influences, or has it all kind of merged into your own thing at this point?
Jana Cushman: Yes, I feel we have our own definitive sound. We’re in the middle of a Venn Diagram, drawing from many influences. Although we joked a lot about how we were writing our dark synth punk album with Antivenom. All of us are bringing our own individual influence to this project and although they are different, the blend is complementary and I feel somewhat unique.
Some tracks lean more into expansive, layered textures, while others feel more stripped down. How do you decide how far to push a song in either direction?
Jana Cushman: This is usually a group decision. I can get a little carried away when composing, having fun with drum machines, then needing to strip things back to make room for the bass and keys. Like a sculpture, carving out what doesn’t need to be there. I tend to lean more into the wall of sound, but having restraint and allowing everything room to breathe is an important part of the balance.
The vocals sit really well in the mix. They don’t overpower the music, but they also don’t get lost in it. How much is the vocal approach shaped by the instrumentation and production versus guiding it?
Jana Cushman: My vocals usually find their place within the instrumentation rather than the other way around because of my composing process. But in the same effort to carve out space, we’ve at times dropped out parts to make way for voice, stripped back guitar lines to fit with the vocal lines more appropriately. I used to be really self-conscious of my vocals and try to bury them. I have since found my voice in this project and we do focus on giving it a prominent place in the mix. But I’d also say we try to showcase every instrument and element. Nothing is filler.
When writing Antivenom, what usually came first? Rhythm, basslines, synth textures, or something else? The basslines really stand out.
Jana Cushman: I typically write beats and guitar simultaneously. Ambience and textures from the Digitone and samples from the Digitakt woven in shortly after. The keys and vocals next. And the bass parts are almost always written last. It’s a crucial part of our sound. Norah kills it on the bass — such a talented human. Once she settles on her part, this is when the song usually starts to feel more complete. Also, a shout out to our mixing engineer, Jeremy Wilkins, who never argues with our inevitable mixing notes: “more bass”!
The rhythms have a classic electronic feel without sounding nostalgic. What were you using on the drum side, and how did you land on those sounds?
Jana Cushman: The rhythmic backbone comes from an Electribe Music Production Station (drum and synth sequencing), an Elektron Digitakt (mix of beats and samples), an Elektron Digitone (FM synth sounds and sequences) and a Korg Minilogue. There is a mix of classic, retro sounds and our own customization happening. I love classic/retro electronic music, iconic synths and drum machines. Our set up was built on that foundation while also on a budget. So the result is both a callback to early electronic music mixed with modern production and our own samples.
Darkswoon started as a solo project. How has bringing in additional members changed the way you write and record?
Jana Cushman: When this project was solo, I was lacking critical feedback. I was experimenting with combining organic instrumentation — vocals and guitar — with electronic loops in Ableton. Since forming as a trio, we’ve gone all live hardware and have developed a collaborative musical language. I still write most parts before introducing a song to Rachel and Norah, but it’s never finished until we are all happy to sign off on it. I really value the feedback from both Rachel and Norah about what the song needs as we start to work on the music together. Rachel and I work closely together to tweak the electronics and key parts to make them functional and full. Norah writes her own bass lines, coming up with some of the best bass work I’ve heard.
Is there anything coming up that you’d like to mention?
Jana Cushman: We’ll be hitting the road for a west coast tour in June and hope to head out east later this year. Come say hi!
June 5 Portland, OR – The Six for Dreamgaze PDX
June 10 Santa Rosa, CA – el Infierno
June 11 San Diego, CA – Til Two Club
June 12 Los Angeles, CA – Slipper Clutch
June 13 Berkeley, CA – Spats
June 26 Portland, OR – Mission Theater for Menopunkpalooza
Antivenom can be purchased at darkswoon.bandcamp.com
