Oliver Winther

Oliver Magnus Winther brings a completely different dimension to Grief and The Maiden. Born August 17, 1993, in Aalborg, he came of age during the digital music revolution. While his future bandmates were learning traditional instruments, Oliver was fascinated by the limitless possibilities of electronic sound creation.

At 12, he discovered electronic music production through video game soundtracks, spending hours experimenting with basic software on the family computer. His teenage years were immersed in Denmark’s thriving electronic scene, particularly the experimental and ambient music emerging from Copenhagen and Aarhus. By 16, he was producing his own tracks and DJing at underground electronic events.

Oliver pursued formal training at Aalborg University’s music technology program, focusing on sound design, synthesis, and advanced audio processing. His academic work included film scoring, video game audio, and experimental composition. Professors noted his exceptional ability to create atmospheric soundscapes and innovative approaches to blending organic and electronic elements.

His friendship with Erik Lindhardt began in the mid-2010s when they met in Aalborg’s underground scene. Despite their different backgrounds – Erik in extreme metal, Oliver in electronic music – they bonded over shared interests in atmospheric and experimental sounds.

Throughout the late 2010s and early 2020s, Oliver established himself in Denmark’s electronic scene as both solo artist and collaborator. He produced ambient albums, created soundscapes for Danish independent films, and became known for emotionally engaging, cinematic electronic music. His signature sound combined dark atmospheric elements with intricate melodies, earning him recognition as a sought-after producer and remixer.

When Erik contacted him in mid-2024 about Grief and The Maiden’s need for electronic elements and professional production, Oliver was intrigued by the challenge. After hearing early demos from “From Ashes to Starlight,” he saw an opportunity to push boundaries – what could electronic elements bring to symphonic metal?

Joining during the album’s final production stages, Oliver’s contributions proved transformative. His electronic arrangements, synthesizer programming, and sound design elevated the production value while adding atmospheric depth that perfectly complemented Nicolai’s classical orchestrations. His work includes subtle ambient textures enhancing quiet passages and complex synthesizer arrangements reinforcing symphonic elements during heavy sections.

As the band’s sound designer and electronic specialist, Oliver handles all aspects of electronic production – synthesizer programming, sampling, electronic percussion, ambient sound design, and the technical aspects of recording and mixing. But he’s more than just a technician; he’s the sonic architect ensuring all elements blend seamlessly.

His Copenhagen home studio serves as Grief and The Maiden’s primary production facility, equipped with an extensive collection of vintage analog synthesizers, modern digital workstations, and custom modular setups. He’s particularly known for atmospheric pads, orchestral sampling, and creative processing that enhances symphonic elements while maintaining metal’s required power and clarity.

Oliver maintains a quiet life in Copenhagen, splitting time between Grief and The Maiden and his continued involvement in the electronic music scene. He still produces solo work and occasionally DJs, viewing these activities as essential to maintaining his creative edge. His integration into metal has been smooth, largely thanks to his friendship with Erik and his appreciation for the technical complexity Grief and The Maiden brings to the genre. He often describes his role as “painting with sound,” using electronics to deepen the emotional impact of their compositions.