Tag Archives: folk metal

Concert Review – Alestorm (The Concert Hall, Toronto, ON, 03/22/2024)

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In a winter-like night of spring in Toronto, countless fans braved a ruthless snowstorm to enjoy the incendiary concert by the most famous pirates of the metal scene worldwide.

OPENING ACTS: Glyph and Elvenking

Unfortunately due to a heavy snowstorm that hammered the city of Toronto on Friday night (it looks like we moved from a spring-like winter to a winter-like spring, which is a real bummer), I wasn’t able to make it to The Concert Hall to enjoy the start of the Tour of the Dead Marauder 2024, with the bands GLYPH, ELVENKING and ALESTORM, another amazing event brought to the city by the one and only Noel Peters of Inertia Entertainment. Not only that, this was the first ever event Noel held at The Concert Hall, which according to my buddy Keith Ibbitson of Metal Paparazzi is a fantastic venue for metal concerts. Huge stage, amazing lighting and sound, and the wrap around the upper balcony has a wicked view with one bar. Hopefully I’ll be able to see other bands playing at The Concert Hall, because I’m really curious to see how it is now. Anyway, as mentioned Keith was able to make it to the show, so not only he was responsible for the photos, but he also had to send me some words about each of the bands that played Friday night. I’ll add some information about the bands to the review as well, just to make it more detailed, and I hope you crazy metalheads enjoy the reading.

“Toronto is in its 4th day of spring and old man winter thought it would be nice for a snowstorm. However, the fans of the band Alestorm didn’t care. They stood outside for more than an hour in the blustery wind and snow to get inside a warm and newly renovated The Concert  Hall, where Noel Peters and his company Inertia Entertainment put on their first show. The bands Glyph, Elvenking and headliners Alestorm kicked some ass and let all their fans enjoy some much needed moshing,” said Keith about the entire night. The doors opened at 7pm and the first band of the night, GLYPH (a Power Metal featuring members of Gatekeeper, Greyhawk, Hjelvik, and Ravenous) went on shortly after, leaving Keith scrambling to get his camera ready and fight his way through the already packed venue. I believe they played the songs Honor, Power, Glory, A Storm of Crimson Fire and When The World Was Young during their set, and maybe a few others, but these three definitely deserve a listen. Moreover, Glyph will release their new album Honor. Power. Glory. this Friday March 29, so don’t be a fool and get ready to rock with such an amazing band by purchasing it or streaming it on BandCamp and on Spotify.

Band members
R. A. Voltaire – vocals
Rob Steinway – guitars
Darin Wall – bass
Jeff Black – keyboards
Ryan Yancey – drums

Right after Glyph finished warming up the crowd, it was time for Italian Melodic Power/Folk Metal entity ELVENKING to take the city of Toronto by storm (and fortunately not a snowstorm) with their hypnotizing concert, blending songs from their vast catalogue (as the band has been kicking ass all over the world for 27 years already) with their most recent effort, the 2023 album Reader of the Runes – Rapture. In addition, Elvenking are not your regular band, as their lineup includes mystical creatures represented by frontman Damna, guitarist and keyboardist Aydan, guitarist HeadMatt, bassist Jakob, drummer Symohn, and the iconic violinist Lethien, who definitely adds an extra touch of magic to their live performances. Keith said their concert was insane, driving their fans crazy and eager for more Elvenking in the city in the near future, and I honestly can’t wait for that as long as there isn’t a boring snowstorm blocking all roads, of course.

Setlist
Rapture
The Hanging Tree
Draugen’s Maelstrom
Pagan Revolution
Silverseal
Moonbeam Stone Circle
To Oak Woods Bestowed
Pagan Purity
Bride of Night
The One We Shall Follow
The Wanderer
The Divided Heart
Elvenlegions
She Lives at Dawn

Band members
Damna – lead vocals
Aydan – guitars, harsh and backing vocals, keyboards
HeadMatt – guitars
Jakob – bass
Lethien – violin
Symohn – drums

ALESTORM

Finally, after a quick break, the main attraction of the night took the stage for a memorable performance. The one day Scottish but now multinational Folk/Power Metal privateers ALESTORM kicked some serious ass according to Keith, with a jam packed venue making the night even more special. Having released that same Friday their new EP Voyage of the Dead Marauder (which is really cool, by the way), the band formed of Christopher Bowes, Máté Bodor, Gareth Murdock (and if you don’t know his Black Metal band Imperial Demonic, I highly recommend listening to their 2023 debut EP Beneath the Crimson Eclipse), Elliot Vernon, and Peter Alcorn was on fire during their entire set, playing classics like Keelhauled, Drink and Zombies Ate My Pirate Ship as well as the new songs The Last Saskatchewan Pirate and Voyage of the Dead Marauder, leaving a sold out The Concert Hall eager for another killer show by those metallic pirates in a not-so-distant future. “The crowd barrier broke and me and the security held it up during the third song for Alestorm. They had to fix it on the fly,” said Keith who, despite having a corrupt memory card and losing most of his over 200 Alestorm photos, made sure I got a very special (or maybe I should say divine) photo taken by our amazing brother and photographer Ryan Miles Leblanc. “There was a special appearance by the lord Jesus Christ who graciously moshed and crowd surfed,” said Keith in a message to me. Well, who would say that Jesus would be a fan of pirate metal, right? YAAAAAARRRR!

Setlist
Keelhauled
No Grave but the Sea
The Sunk’n Norwegian
Alestorm
Under Blackened Banners
Hangover (Taio Cruz cover)
The Last Saskatchewan Pirate
Wenches & Mead
Magellan’s Expedition
Mexico
Voyage of the Dead Marauder
Big Ship Little Ship
Nancy the Tavern Wench
P.A.R.T.Y.
1741 (The Battle of Cartagena)
Shit Boat (No Fans)

Encore:
Drink
Zombies Ate My Pirate Ship
Fucked With an Anchor

Band members
Christopher Bowes – vocals, keyboards
Máté Bodor – guitars
Gareth Murdock – bass
Elliot Vernon – keyboards, backing vocals
Peter Alcorn – drums

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Album Review – Primordial / How It Ends (2023)

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The excellent new album by these Irish veterans sees the band delivering more of their seminal blend of Celtic and Black Metal.

Dublin, Ireland-based Black/Folk Metal veterans Primordial really do have nothing to prove. Having lasted 32 years and now returning with their tenth full-length opus, titled How It Ends, the Irish band have made it clear they are a primal force who consistently lay it all on the line. Recorded at Hellfire Studios, produced by Chris Fielding at Skyhammer Studio, mastered by James Plotkin, and displaying a classy artwork by Paul McCarroll, the follow-up to their 2018 album Exile Amongst the Ruins sees the band delivering more of their seminal blend of Celtic and Black Metal, all carefully brought into being by vocalist A.A. Nemtheanga, guitarist Ciarán MacUilliam, bassist Pól MacAmlaigh and drummer Simon O’Laoghaire, being therefore highly recommended for admirers of the genre.

The guitar by Ciarán kicks off the band’s grim feast by exhaling a melancholic sound in the title-track How It Ends, being then joined by his bandmates and exploding into a Folk Metal extravaganza led by the passionate vocals by A.A.; whereas the tribal beats by Simon set the tone in Ploughs to Rust, Swords to Dust, a powerful tune with tons of Epic Metal elements with A.A. having an amazing vocal performance while his bandmates keep the music vibrant and imposing until the very end. Then the rumbling guitar lines by Ciarán ignite the also dense and multi-layered We Shall Not Serve, another fantastic creation by the band with Simon and Pól dictate the song’s galloping pace, blending the most energetic elements from Black and Folk Metal. Traidisiúnta, which is Irish for “traditional”, is an instrumental interlude that showcases a more Folk Metal-inspired side of Primordial and flows into Pilgrimage to the World’s End, with the progressive, experimental guitars by Ciarán walking hand in hand with the poetic vocals by A.A. until the very end.

In Nothing New Under the Sun, more of their poetry in the form of lyrics are offered to us all (“So let me show you that there is nothing new under the sun / So gather your days and to the ends of the world together we run / Are we not the penitent, the willing and the righteous, beasts without nation / We are born of plague and marked by your heresy at the myth of creation”) amidst a cryptic, grim sonority, followed by an epic intro that gradually evolves into the battle hymn Call to Cernunnos, with its tribal beats and imposing riffs making it truly compelling. After that, A.A. and his henchmen will darken the skies even more in All Against All, one of the most cryptic and atmospheric of all songs thanks to the strident riffs by Ciarán; however, it goes on for too long and loses its punch after a while. A.A. continues to darkly declaim their wicked lyrics in the somber, Sludge Metal-infused aria Death Holy Death (“I heard Hallelujah, just one last time / Your tired faces, they are worn by sorrow / Out sadness is worn like a gift from God / O Death Holy Death! You cast us in grace”); and lastly, their Irish riffage sets fire to the music in Victory Has 1000 Fathers, Defeat Is an Orphan, where A.A. kicks some ass with his deep, anguished vocals supported by the thunderous kitchen by Pól and Simon in a lecture in Folk Metal.

“How It Ends is a very angry, defiant, visceral, and rebellious album, and as we worked it all began to take more shape and form itself. It may be the note we go out on but it will be a note of resistance, in musical terms. I think it’s also more metal! And more epic!” And the band complemented by saying that “it certainly sounds like Primordial, there is no doubt about that, we have our own style and this is a new chapter of the same book. If we have done anything new it’s really to work with more conviction than ever, and trust more than ever our instincts.” Hence, you can enjoy such multi-layered album in its entirety on YouTube and on Spotify, grab a copy of it from the band’s own BandCamp page or from Metal Blade Records (by clicking HERE, HERE, or HERE), and don’t forget to also check what the band is up to on Facebook and on Instagram. Primordial have been blasting our ears with their Celtic sounds for decades, and based on what they have to offer in How It Ends we can rest assured the band will keep on embellishing the airwaves with their undisputed music for a few more.

Best moments of the album: Ploughs to Rust, Swords to Dust, We Shall Not Serve and Victory Has 1000 Fathers, Defeat Is an Orphan.

Worst moments of the album: All Against All.

Released in 2023 Metal Blade Records

Track listing
1. How It Ends 7:50
2. Ploughs to Rust, Swords to Dust 7:35
3. We Shall Not Serve 7:18
4. Traidisiúnta 2:12
5. Pilgrimage to the World’s End 7:07
6. Nothing New Under the Sun 7:11
7. Call to Cernunnos 5:59
8. All Against All 8:48
9. Death Holy Death 5:40
10. Victory Has 1000 Fathers, Defeat Is an Orphan 6:14

Band members
A.A. Nemtheanga – vocals
Ciarán MacUilliam – guitar
Pól MacAmlaigh – bass
Simon O’Laoghaire – drums

Album Review – Blodtår / Det Förtegna Förflutna (2023)

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This Swedish Folk and Black Metal entity will take you on a thrilling voyage in its first full-length album, telling stories inspired by Scandinavian folklore, forests, mountains and mythological beings.

A Folk and Black Metal fusion of the lo-fi malice of Embassy-era Gorgoroth, the folkish grandeur of Windir, and Dissection’s icy, melancholic melodies, the stunning Det Förtegna Förflutna, or “the secretive and quiet past” translated from Swedish, is the debut full-length opus by Stockholm, Sweden-based Black Metal entity Blodtår (“blood tears” or “tears of blood”), the follow-up to the band’s 2021 self-titled debut EP. Recorded and mixed at Wing Studios, Det Förtegna Förflutna showcases masterful riffing heavily inspired by Swedish folk melodies, played lightning-fast but without sounding upbeat, by the project’s mastermind, vocalist, guitarist and bassist Carl, supported by Hebert Alarcón Cerna on drums. “The album title expresses my wish to shine some light on a cultural heritage we in Scandinavia still have but appear to be neglecting more and more. Det Förtegna Förflutna consists of songs that are somewhat linked together by themes such as northern folklore, forests, mountains, and mythological beings. Each composition tells a different story, akin to old Scandinavian fairy tales (which were often illustrated by artists like John Bauer),” commented Carl about his awesome new album.

The project’s Folk Metal vein arises in full force in En krona av is (“a crown of ice”), blending the magic of the genre with the obscurity of Scandinavian Black Metal while Carl roars from the bottom of his blackened heart supported by the classy beats by Hebert; and the duo’s fusion of harsh and folky sounds goes on in Ur mörker (“of darkness”), showcasing an amazing job done by Carl with his strident, caustic riffage and low-tuned bass lines, sounding very melodic and grim and, consequently, living up to the legacy of the genre. In Skymning (“dusk”) we face three intense minutes of modern-day Melodic Black Metal made in Sweden with the blast beats by Hebert adding an extra touch of violence and heaviness to the overall result, followed by Den fördärvande sorgbundenheten (“the devastating grief”), a pulverizing and majestic aria of Black Metal where Carl is on fire armed with his stringed axes and deep, infernal roars.

The guitar-driven interlude De dansar på berget… (“they dance on the mountain…”) will set the stage for the duo to kill again in I avgrundens djup (“in the depths of the abyss”), offering more of their furious yet extremely harmonious sounds, with Hebert sounding possessed behind his drums while the music feels imposing until the very last second. It’s then time for another intermission, Gånglåt (“walking tune”), this time slightly longer in duration and more melancholic, and once again led by Carl’s melodic guitar lines, followed by Uttala dess namn (“speak its name”), a headbanging feast of Folk and Black Metal tailored for lovers of the genre where Hebert hammers his drums in great fashion nonstop, with the song’s breaks and variations bringing a fresher vibe and taste to it. Lastly, an epic, galloping pace spearheaded by Hebert will put you to bang your head to the sound of En brynja av barr (“a hauberk of pine needles”) while Carl extracts pure metal from his rumbling bass, flowing flawlessly until the end and putting a climatic finale to the album.

Carl and his incendiary Blodtår are waiting for you on Facebook and on Instagram with news, plans for the future and so on, and don’t forget to also go to Spotify to stream all of the project’s amazing creations. Furthermore, if you want to show Blodtår your utmost support, you can purchase a copy of Det Förtegna Förflutna from the band’s own BandCamp page, or simply by clicking HERE. Det Förtegna Förflutna beautifully combines the intricate and unique stories from the Scandinavian culture with the visceral sounds from Black Metal and the magic of Folk Metal, and may Carl and his Blodtår continue to tell such stylish tales through their music for years and years.

Best moments of the album: Ur mörker, Den fördärvande sorgbundenheten and En brynja av barr.

Worst moments of the album: None.

Released in 2023 Nordvis Produktion

Track listing
1. En krona av is 6:01
2. Ur mörker 5:16
3. Skymning 3:13
4. Den fördärvande sorgbundenheten 7:10
5. De dansar på berget… 0:39
6. I avgrundens djup 4:26
7. Gånglåt 1:30
8. Uttala dess namn 5:47
9. En brynja av barr 7:25

Band members
Carl – vocals, guitars, bass
Hebert Alarcón Cerna – drums

Album Review – Gallia / Obscura (2022)

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Enjoy this breathtaking album of Symphonic Metal infused with sheer epicness and storytelling, masterfully crafted by an up-and-coming four-headed outfit from Belgium.

Creating Symphonic Metal with an amount of epicness and storytelling that would fit a dark fantasy trilogy on the big screen, leading to what the band itself likes to call “Cinematic Metal”, Stevoort, Belgium-based four-headed outfit Gallia is unleashing upon humanity their first full-length opus, entitled Obscura, building on the story that was set in place by their 2019 EP Everflame, which was about the band’s fight against the dark. Produced, recorded, mixed and mastered by Yarne Heylen at Project Zero Studio and displaying a beautiful artwork by Gogo Melone, Obscura tells the story of the band finishing their duty with the Everflame and returning to a life of freedom, and finding a different world than the one they left behind, presenting noticeable influences from Symphonic Metal bands such as Nightwish, Epica and Xandria while at the same time the theatricality of big composers such as Hans Zimmer and Danny Elfman, all meticulously crafted by frontwoman Elyn Vandenwyngaert, guitarist Yannick Maris, bassist Laurens Vandebroek and drummer Ties Jehoul.

The clock is ticking in the intro Aperture, inviting us all to join Gallia in their cinematic, metallic journey to the sound of the heavy and melodic Return of Time, already starting in full force to the massive drums by Ties in a beyond thrilling exhibit of modern-day Symphonic Metal, with Elyn stealing the spotlight with her powerful voice. The fantastic Blackout Queen feels like the soundtrack to an epic movie, with Laurens kicking some serious ass armed with his thunderous bass while Yannick brings sheer Heavy Metal awesomeness to the sound through his sharp riffs, flowing into the whimsical Mirage, starting in an enfolding way to the sound of the piano before evolving into a very theatrical composition where Ties pounds his drums in a classy manner. Then an eerie, wicked intro suddenly morphs into another Metal Opera titled Reflection, showcasing the incendiary riffs by Yannick intertwined with a dark and beautiful vocal performance by Elyn; whereas Path of the Nomad is even more imposing, epic and dense than its predecessors, bringing forward an amazing job done by all band members and consequently taking the song to a whole new level of magic, with of course Elyn being flawless on vocals.

Then adding elements from Folk Metal to their core sonority, the band delivers the symphonic interlude Free Me, setting the stage for Spirit of the Sea, showcasing a catchy chorus (“Spirit of the Sea, hear my plea, hear my plea / The balance of my life lies in the hands of thee / You decide my destiny / Hear my plea, oh Spirit of the Sea / Let me return to land and tree / I call to you: let me be free”) and a mesmerizing pace and atmosphere; whereas guided by the classic, hammering drums by Ties the band offers our ears the also melodic and vibrant Chaos, with its background elements sounding absolutely majestic. In Euphoria we’re treated to poetic lyrics declaimed by Elyn (“The road is long / but our destiny is straight ahead / We march in faith and think of lands / that we have left”) amidst a multi-layered, melodic Symphonic Metal feast, and their second to last lecture in symphony and heavy music comes in the form of Tears of Gold, presenting over seven minutes of dark passages, rumbling bass lines and crushing riffs. Lastly, it’s time for Eryn to shine on vocals one final time in the stunning ballad New World, growing in intensity to the stylish riffs by Yannick until reaching a climatic, ethereal finale.

In summary, Obscura is one of those musical voyages that make Symphonic Metal so interesting and thrilling, thanks of course to the extreme focus and hard work invested in the making of the album by the talented members of Gallia, positioning them as one of the must-listen names of the current scene. Having said that, in order to support Elyn and the boys and fuel their inner fire to keep delivering first-class music to all of us, let’s all follow them on Facebook and on Instagram for news, tour dates and so on, subscribe to their official YouTube channel and stream more of their music on Spotify, and of course grab a copy of Obscura from the band’s own BandCamp page sooner than you can say “Cinematic Metal”. Heavy music cannot get any more theatrical than what Gallia have to offer us in their new album, leaving us eager for the next chapter in their promising path of heavy music infused with a huge dosage of fantasy.

Best moments of the album: Blackout Queen, Path of the Nomad and Chaos.

Worst moments of the album: Mirage.

Released in 2022 Independent

Track listing
1. Aperture 1:19
2. Return of Time 4:44
3. Blackout Queen 3:34
4. Mirage 4:42
5. Reflection 5:05
6. Path of the Nomad 4:13
7. Free Me 2:35
8. Spirit of the Sea 4:04
9. Chaos 4:21
10. Euphoria 4:13
11. Tears of Gold 7:32
12. New World 5:13

Band members
Elyn Vandenwyngaert – vocals
Yannick Maris – guitars
Laurens Vandebroek – bass
Ties Jehoul – drums

Metal Chick of the Month – Jayn Maiven

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So long in fear, I have gazed ghost tears….

It’s time to darken the skies here at The Headbanging Moose in this month of May thanks to the somber and absolutely beautiful music crafted by our metal lady of the month, and I bet you’ll get addicted to her voice after listening to her Stygian creations. Inspired by natured in all her forms, this West Yorkshire, England-based vocalist and multi-instrumentalist is known by many under her nom de plume of Darkher, one of the most interesting names of the current folk and doom scene worldwide. I’m talking about Jayn Maiven, a multi-talented woman who devotes her life to dark music for our total delight, and who has a beyond bright future ahead of her and her Darkher as all of her releases are simply awesome.

As I like to say about this type of project, there’s no Jayn Maiven without Darkher and vice-versa, with Darkher representing not only Jayn’s alter-ego but also her view of our world, using her musical creature as a catharsis that can be noticed from her painful and truthful lyrics. Conceived as the sole brainchild and solo project of our unrelenting flame-haired metal diva in 2012, whose fragile elegance lies the creator of a powerfully emotive work, Darkher brings forth an amalgamation of sounds and styles carefully embraced by the project’s trademark fusion of folk and doom music, with her compositions inviting the listener into the mystical ancient world characterized by slowly building storm clouds of guitars and Jayn’s haunting, spine-tinglingly evocative voice.

Having already released her self-titled debut EP in 2013, followed by the 2014 EP The Kingdom Field and the full-length albums Realms, from 2016, and The Buried Storm, released earlier this year, the sound of Darkher has been described as “ghostly transmissions that sound like they were delivered by lost souls in the dead of night”, leading her to support several renowned acts the likes of Robin Guthrie, Dead Meadow, Esben And The Witch, Enslaved and Chelsea Wolfe, and playing in festivals such as Roadburn Festival and Damnation, among others. Creating extraordinarily dark music full of contrasts, including both chilling loneliness and the warmth of hope, Darkher is a derivate of the words “dark” and “her”, showcasing some sort of symbolism from Jayn’s past as she wanted to find a name which she felt better described the direction she had been heading in with her solo career after a decade working with and around other musicians.

Several different guest musicians have already been involved with Jayn in Darkher, such as for example guitarist and bassist Martin Wissenberg, former My Dying Bride drummer Shaun ‘Winter’ Taylor-Steels, drummer Christopher Smith, cellists Ludvig Swärd (Forndom), Arianna Mahsayeh and Melanie Chaplin, violinist Lambert Segura and guitarist Daniel Land. If you want to see the result of the collaboration between our skillful vocalist, guitarist, composer, lyricist and producer with all those distinguished musicians, you can enjoy the official videos on YouTube for Where the Devil Waits (filmed at the stunning location of Muncaster Castle in Cumbria, within its Victorian gardens and grounds), a song of empowerment and light relating to the shadows within that lead to attachment, to what can become destructive; Love’s Sudden Death, a dark, romantic ballad which was heavily inspired by the mood of the ancient landscape as it mirrors the emotions within, being “dramatic, beautiful and sometimes bleak” as mentioned by Jayn herself; Hollow Veil, recorded in Salem Woods in October 2015; as well as Ghost Tears, Immortals, Lament, and The Dawn Brings a Saviour, or you can also enjoy The Buried Storm in its entirety on YouTube, and all of her albums on Spotify. Also, don’t forget to show your support to Jayn and her Darkher by purchasing her releases from her BandCamp page and through her Patreon.

Before forming Darkher, our unstoppable rock and metal diva was a member of Epic Dark Folk band The Steals for several years, having released with them the EP Floodlights, in 2006, and the full-length effort Stactic Kingdom, in 2009, both available on Spotify and on BandCamp. However, that wasn’t the path she actually wanted to follow in her career after a certain time. “Throughout the years I was previously working on tracks for The Steals album and EP, I was in a very sombre state and I needed to make music to lift me out of that state. By the time I was ready to start writing songs again for what would be Darkher, I felt that I needed to symbolically burn what I had in order to begin a new chapter,” commented Jayn in one of her interviews, describing the musical metamorphosis that was happening inside her.

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In addition, her inspirations in music and life in general come from very distinct sources. For instance, she always says that her father has been a huge inspiration to her growing up, with both her parents having encouraged her passion for creating music for many years. “I am mostly inspired by my inner world, emotions and imagination, which I run in parallel to the outer world. Nature and the elements are always with me when I write, and are equally as inspiring for me due to their mood and drama,” said Jayn in one of her interviews, also mentioning that her lyrics are always from her deepest depths, past, future or present, and showcasing a strong fascination for water. “When I walk each day to The Kingdom Field I pass a river, everyday is a different picture, it has its own life force and seemingly personality. Where I live is surrounded by water, I live in the basin of a valley, a hamlet which is surrounded by streams, rivers and a canal all of which have caused flooding. So I think because of this I am deeply respectful of water in its many forms.”

Heavily influenced by mood-based dark music from an early age, and having a father who performed on stage in the 60’s, not only she grew up in a musical house but she has always nurtured a deep passion for the darker exponents of the post punk indie scene. “I was really into bands like the Sex Gang Children, Virgin Prunes and Alien Sex Fiend. I’ve always suffered with a bit of a depression and as a teenager was drawn to dark music and the whole theatrical Goth thing. I loved the textures and atmosphere of guitars,” also saying that at one point she was completely absorbed by the Cocteau Twins and she used to re-play their performance of Pink Orange Red on the TV every night after school. On the other hand, if you think Amalie Bruun’s Danish Black Metal band Myrkur has had any influence on Darkher’s style, being even called “Myrkur for the Folkies”, you’re absolutely wrong. “I’ve only come across her name very recently, I haven’t listened to her music yet, so I’m not sure if there is any thread of similarity,” said our diva.

When asked about her evolution from Realms until The Buried Storm, Jayn said that she sees it as a continuation of her creativity, feeling like it has many similar elements in the instrumentation, though she puts even more emphasis on the vocal harmonies as a feature on her newest album and she believes it leans towards a more cinematic feel. Moreover, the pandemic doesn’t seem to have had a negative impact on her creative process for The Buried Storm. “The effects of the pandemic were actually quite beneficial for me, to be able to take time out from any tour dates and really focus on the writing and recording. I also spent even more time alone, which I found to be very necessary for the writing process,” commented Jayn, and we must all agree with her the whole pandemic has been positive at least for the writing process of not only Darkher but countless other bands out there, who obviously had a lot more time to focus on their creative process with the whole touring thing being on hold for almost two years.

Interested in art and photography, beautiful and inspiring imagery, animals and nature, Jayn tries to spend half of her life outdoors, also nurturing a deep passion for doing videos and photographic imagery, which for her is all part of the creative process. “When I make music I see a lot of visions and imagery, so it’s great to be able to achieve some of that in video form,” said Jayn, which can be easily noticed in the video for Ghost Tears, for example. “The environment that I am surrounded by and the vast landscape is always in my mind when I write as I see music in a very visual way. For this reason I would love to one day try to write for film or TV and I equally feel the presence of many images when I write or produce. The studio walls otherwise would not inspire me to develop the sound and present it in such a way,” complemented our multi-talented artist. And lastly, when asked what the secret is to keep her long flaming hair look so grandiose and beautiful, she simply said there’s no actual secret, just that she never cuts it and therefore it serves her well for hiding behind it. Well, of course we would love to see her face on all of her videos, but the combination of nature and her long, incendiary hair is more than enough to keep us hooked not only on her music, but on her stunning art in general.

Darkher’s Official Facebook page
Darkher’s Official Instagram
Darkher’s Official YouTube channel
Darkher’s Official BandCamp page

“I find it very healing to make music, like a form of meditation.” – Jayn Maiven

Album Review – Nechochwen / Kanawha Black (2022)

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This Apalači Folk Metal entity returns from the underworld after seven years of silence with a new album that will further cement their rich and powerful legacy.

Born out of the desire to explore the heritage of the Eastern Woodland Indians of North America through stunning classical guitar instrumentation and lush atmosphere, West Virginia, United States-based Black/Folk Metal entity Nechochwen (a Lenape word that basically means “walks alone”) returns from the underworld seven years after the release of the full-length album Heart of Akamon with a new opus, entitled Kanawha Black, the fourth studio effort in their already solid career. Playing what they like to call “Apalači Folk Metal”, the duo comprised of vocalist and multi-instrumentalist Nechochwen and bassist and drummer Pohonasin offers in their new album fierce melodies, heartfelt compositions and riff stylings that will further cement the rich and powerful legacy that they’ve nurtured since their inception in 2005, being highly recommended for admirers of the music by Panopticon, Agalloch and Falls of Rauros, among others.

The incendiary riffs by Nechochwen are powerfully complemented by the blast beats by Pohonasin in the opening tune Kanawha Black, a fulminating Black and Folk Metal onrush where Nechochwen roars like a demonic entity while also providing top-notch clean vocals. Then we’re treated to The Murky Deep, where a tribalistic, folk start evolves into a Melodic Black Metal feast spearheaded by the massive drums by Pohonasin and the gentle acoustic guitars by Nechochwen. Furthermore, it’s truly impressive how they blend the most primeval folk elements with their more extreme core sound, which is also the case in I Can Die But Once, bringing forward over six minutes of ethereal, atmospheric passages intertwined with bursts of anger and obscurity, resulting in a multi-layered adventure through the realms of Neofolk for admirers of the genre.

And those mesmerizing sounds flow into the rumbling Folk Metal extravaganza titled A Cure for the Winter Plagues, where Nechochwen sounds like a beast with his deep roars and piercing guitars while Pohonasin will make your head tremble armed with his bass. Then investing in a more direct Atmospheric Black Metal sonority it’s time for the duo to crush our souls in Visions, Dreams, and Signs, bringing to our ears seven minutes of blackened riffs, infernal drums and the always hellish gnarls by Nechochwen, whereas their second to last breath of Black and Folk Metal comes in the form of Generations of War, presenting pulverizing growls and hammering drums that will smash you mercilessly while folk elements add a touch of finesse in the background. Lastly, the duo once again captivates our senses with their acoustic sounds in Across the Divide, another solid display of the band’s dexterity and passion for heavy music, with their Heavy Metal-infused guitars sounding utterly awesome.

After all is said and done, it’s a true pleasure to witness the triumphant return to action by Nechochwen with the excellent Kanawha Black after such a long period of silence, and if you want to put your hands on the album you can already preporder it directly from the band’s own BandCamp page or from the Bindrune Recordings’ BandCamp page. Moreover, don’t forget to also follow the duo on Facebook for news, tour dates and other nice-to-know details, and to stream all of their atmospheric creations on Spotify, getting more familiarized with their music and, consequently, being able to explore the North American Indian heritage together with Nechochwen and Pohonasin in the name of the band’s trademark Apalači Folk Metal.

Best moments of the album: Kanawha Black and Visions, Dreams, and Signs.

Worst moments of the album: None.

Released in 2022 Bindrune Recordings

Track listing
1. Kanawha Black 6:23
2. The Murky Deep 4:03
3. I Can Die But Once 6:16
4. A Cure for the Winter Plagues 3:32
5. Visions, Dreams, and Signs 7:27
6. Generations of War 6:16
7. Across the Divide 7:50

Band members
Nechochwen – vocals, guitars, e-bow, keyboards, hand drum, floor tom, rattle, cedar flute, lalawas
Pohonasin – bass, drums, backing vocals

Album Review – Bhleg / Fäghring (2022)

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This unstoppable Swedish duo returns with their most ambitious recording to date, the fourth and closing part of the album tetralogy “Ár”.

After the blackest night comes the most radiant dawn; the spark of life illuminates all that which was swallowed by shadows. Fäghring, or “florescence” in English, bears the gift of rebirth both in nature and for Västra Götaland, Sweden-based Black/Folk Metal entity Bhleg. The fourth and closing part of the album tetralogy “Ár”, with the other three parts being Solarmegin (2018), Äril (2019) and Ödhin (2021), is the most ambitious Bhleg recording to date, with its metal parts being saturated with both primal ferocity and majestic atmosphere, while the ambient interludes from their early works are still present, but now conveyed mostly through analogue recordings. Tracked and mixed using the band’s own recording setup at Studio Asu, mastered by Tore Stjerna at Necromorbus Studios, displaying custom photography as well as illustrations and calligraphy by T. Väänänen, and featuring guest vocalists specialized in different aspects of the Scandinavian folk tradition the likes of Andreas Pettersson of Saiva, Êlea of Noêta, and Swedish author Lars Magnar Enoksen, Fäghring is undoubtedly the strongest album to date by vocalist L. and multi-instrumentalist S., this time supported by drummer H.

Vårdträdet (or “the warden tree” from Swedish) works as an extended intro that will transport your soul to the ethereal realm ruled by Bhleg, with S. being on fire with both his riffs and his tribalistic sounds, flowing into the 10-minute aria Grönskande gryning (“verdant dawn”), where L. begins screaming like a demonic entity in a brilliant fusion of Black and Folk Metal. Furthermore, S. once again is bestial with his riffage while H. hammers his drums with tons of passion and feeling, alternating between sheer heaviness and mesmerizing passages, not to mention how awesome all additional instruments by S. sound and feel. The piercing Black Metal riffs by S. set the tone in Alyr i blom (“Alyr in bloom”), with H.’s beats dictating the song’s frantic pace amidst over 12 minutes of insanity, darkness and a deep connection with nature, with S. darkening the skies with his sick guitar lines and low-tuned bass jabs, therefore resulting in one of the band’s most complex and detailed compositions to date.

Birds chirping ignite the and melancholic Befruktad jord (“nourished soil”), evolving into a massive wall of ethereal and harsh sounds and tones for our total delight while also bringing forward wicked vocalizations, flammable riffs and H.’s pounding drums. Then the sounds of nature will put you in a trance in Solvigd “(solar wedlock”), a beautiful, enfolding tune showcasing primeval elements intertwined with whimsical female vocals, before Bhleg comes crushing with Frö (“seed”), a 12-minute onrush of Black and Folk Metal that will decimate your senses with L. delivering his most infernal and anguished vocals of the entire album supported by the always venomous beats by H., blackening the ambience more and more as the music progresses to the razor-edged riffs by S. and ending with eerie, grim vociferations that build an instant connection with the atmospheric outro Fagna sumrí, (“celebration of summer”), which goes on for too long despite being very delicate and smooth. It’s still a very decent conclusion to the album, of course.

“From death springs life – stronger, wiser, and alive. Fäghring, our homage to the glorious spring, signifies the part of the natural process where life is reborn. The album is dedicated to life and its triumphs over death; it is the fourth and last album in this cycle,” commented the duo. And if you want to join Bhleg in their quest for Black and Folk Metal you can start following the band on Facebook and on Instagram, stream all of their creations on Spotify, and soon purchase your copy of the stunning Fäghring from their BandCamp page, from Nordvis Produktion, or click HERE for all places where you can buy or stream the album. This cycle might be closed, as mentioned by L. and S., but the duo is far from calling it quits; quite the contrary, Bhleg will be reborn again and again, for the delight of all fans of first-class extreme music.

Best moments of the album: Grönskande gryning, Alyr i blom and Frö.

Worst moments of the album: Fagna sumrí.

Released in 2022 Nordvis Produktion

Track listing
1. Vårdträdet 2:40
2. Grönskande gryning 10:41
3. Alyr i blom 12:06
4. Befruktad jord 8:52
5. Solvigd 3:30
6. Frö 12:22
7. Fagna sumrí 4:11

Band members
L. – lead vocals
S. – guitar, bass, lyre, hurdy-gurdy, mouth harp, keyboards, bullroarer, birch trumpet, frame drums, birch sticks, stones, vocals

Guest musicians
H. – drums (session)
Andreas Pettersson – vocals
Êlea – vocals
Lars Magnar Enoksen – vocals

Album Review – Hand of Kalliach / Samhainn (2021)

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Behold the debut full-length album by this rising metal duo, offering us all dual concepts of benevolence and malevolence, all against the backdrop of the history, mythology and land and seascapes of the Scottish islands.

Melding a passion for metal music with traditional Scottish folk elements, Edinburgh, Scotland-based Atmospheric Celtic Metal duo Hand of Kalliach (a name that comes from the legend of the “Cailleach”, a Scottish witch god of winter) has just unleashed their globally awaited debut effort entitled Samhainn, focusing on dual concepts of benevolence and malevolence, all against the backdrop of the history, mythology and land and seascapes of the Scottish islands. Mixed and mastered by Wynter Prior at Sphynx Studios, and displaying a stylish artwork by Brazilian artist VHummel (aka Vinicius Hummel), the album is a lecture in Scottish metal by the couple formed of Sophie Fraser on vocals and bass, and John Fraser on vocals, guitars and drums, drawing  inspiration from the rhythms, time signatures and patterns used in folk music and adapting them for distorted guitars. “We’re both extremely excited to be releasing our debut full-length, Samhainn. Named after the ancient Celtic festival of winter (pronounced “Sah-win”), this album represents a huge gear change in our writing and production from our initial work, bringing a darker and more aggressive energy to our hybrid sound of Melodeath and Folk Metal,” commented John about the duo’s newborn spawn.

The opening tune Beneath Starlit Waters is atmospheric and enfolding form the very first second, with Sophie mesmerizing us all with her gentle vocals before John comes crushing with his deep roars and blast beats in a more epic version of Melodic Death Metal. Then in Solas Neònach we face sheer poetry flowing from the song’s lyrics (“Wake / From dreaming / The warmth departs these shores / From eightfold crones the chants are heard / The sand inverted once again”) while John slashes his stringed axe in great fashion, supported of course by Sophie’s ethereal vocalizations, followed by Each Uisge (roughly pronounced “eyach oosh-keh”), which translates to “water horse”, a demon from Scottish mythology that disguises itself as a horse before binding its flesh to a rider and galloping into the sea to drown and devour them. Musically speaking, it’s another stunning musical voyage showcasing a breathtaking vocal duet, a galloping bass and blast beats for our total delight. John continues to growl like a demonic entity in Roil, a lot more inclined to contemporary Melodic Death Metal, with Sophie embellishing the airwaves with her clean vocals; whereas adding elements from Viking Metal to their core essence it’s time for another epic onrush of sounds by the duo titled Cinders, where Sophie and John are thunderous with their respective bass and drums.

Arising from the depths of the underworld amidst a serene and melancholic ambience, The Lull Of Loch Uigeadail presents a more tribal side of the duo filling our ears with Celtic sounds and tones, bringing peace to our hearts before all hell breaks loose in Ascendant, leaning towards classic Melodic Death Metal while Sophie and John make the perfect metal couple throughout the entire song, resulting in a hybrid of pure rage and madness with smooth and hypnotizing sounds. Òran Na Tein’-éigin brings forward a stunning vocal attack by both Sophie and John, with its visceral drums creating a beautiful paradox with all background elements, and the duo keeps hammering our souls with their Atmospheric Celtic Metal in Trial Of The Beithir-Nimh, a solid, headbanging composition presenting metallic bass lines by Sophie intertwined with the flammable riffage by John. Finally,  get ready for one last round of poetic words (“Lost / On waves / Of an endless sea / Under starlit skies / It returns to me”) in Return to Stone while the music sounds a lot heavier and more doomed than all previous songs, feeling like the band’s farewell and, as a consequence, putting a pensive conclusion to the album.

This beautiful and absolutely atmospheric album made in Scotland can be better appreciated in its entirety on YouTube and on Spotify, but of course if you want to show your utmost support and admiration for such talented duo you can purchase a copy of Samhainn from the band’s own BandCamp page (or simply click HERE for all locations where you can buy or stream the album), and don’t forget to follow Hand of Kalliach on Facebook and on Instagram to know more about this up-and-coming Scottish entity. As the festival of Samhainn marks the end of the harvest season and beginning of winter or “darker-half” of the year, there’s nothing better than listening to an album that perfectly depicts that change from light to darkness and all of its nuances, and we must thank Sophie and john for being able to generate that album with such high level of passion and musicianship.

Best moments of the album: Solas Neònach, Each Uisge and Ascendant.

Worst moments of the album: Cinders.

Released in 2021 Trepanation Recordings

Track listing
1. Beneath Starlit Waters 5:56
2. Solas Neònach 4:53
3. Each Uisge 5:01
4. Roil 3:28
5. Cinders 3:02
6. The Lull Of Loch Uigeadail 3:49
7. Ascendant 3:13
8. Òran Na Tein’-éigin 4:10
9. Trial Of The Beithir-Nimh 3:49
10. Return to Stone 5:21

Band members
Sophie Fraser – vocals, bass
John Fraser – vocals, guitars, drums

Album Review – Primeval Well / Talkin’ in Tongues with Mountain Spirits (2021)

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This uncanny metal entity is back with their sophomore album, overflowing with the fullness of the rivers, valleys and folk legends and mythology of the mountains of east Tennessee.

Hailing from Nashville, Tennessee, in the United States, commonly known as “Music City” for its vibrant country music scene, the uncanny Experimental Folk/Black Metal entity known as Primeval Well is ready to unleash upon humanity their sophomore effort, entitled Talkin’ in Tongues with Mountain Spirits, the follow-up to their 2019 self-titled album. Absolutely overflowing with the fullness of the rivers, valleys and folk legends and mythology of the mountains of east Tennessee, Talkin’ in Tongues with Mountain Spirits beautifully represents what the band itself likes to call “Experimental Southern Gothic Black Metal”, offering our ears haunting and unsettling sounds and atmospheres carefully brought forth by Ryan Clackner on vocals and guitars, Luke Lindell on bass, Edward Longo on keyboards and Zac Ormerod on drums, showing a healthy evolution from their debut album and, more important than that, showcasing a stunning fusion of experimental sounds with the aggressiveness of traditional extreme music.

Eerie and cryptic from the very first second, the extended intro Psilocybin Psychosis by the Mountain Top Cross brings forward background vocalizations and wicked noises that set the stage for the band to kill in Raising Up Antlers to Our Mountain Gods, where an experimental start explodes into visceral Black Metal to the sick growls by Ryan and the infernal blast beats by Zac, showcasing some interesting breaks and variations and, of course, endless darkness and acidity. After such powerful start, Ryan’s classy guitars are quickly accompanied by the groovy bass by Luke and the galloping drums by Zac in She Flies Undead, less violent at first while presenting a wicked fusion of Southern Rock and Black Metal, or in other words, the epitome of musical experimentation, whereas again exploring new sounds armed with their sonic weapons the quartet adds hints of Doom Metal to their core sonority in Ghost Fires Burn Light in Our Eyes, with Ryan kicking ass with both his demented roars and crisp riffage while Edward adds a touch of finesse to the music with his keys.

The title-track Talkin’ in Tongues with Mountain Spirits will penetrate deep inside your psyche and drag you to the wicked world ruled by Primeval Well, displaying hellish gnarls, razor-edged Black Metal riffs and classic beats by the quartet, while once again presenting elements from their local culture, it’s time for a stylish hybrid of Gothic, Folk and Black Metal titled Tales Carved in Stone on a Forbidden Road, with the guitars by Ryan and the rumbling bass by Luke stealing the spotlight. Then in Where All Things are Forgotten we face a somber, melancholic start to the deep vocals by Ryan, and that atmospheric vibe goes on for over four minutes when everything suddenly bursts into chaos, spearheaded by the massive beast by Zac and finally flowing into the phantasmagorical outro Sickening Laughter with the Grinning Trees, where the acoustic guitars by Ryan walk hand in hand with the song’s haunting background sounds.

The chaotic but at the same time harmonious sounds of the rivers and valleys of Tennessee are waiting for you in Talkin’ in Tongues with Mountain Spirits, an album that might not be an easy listen at first for newcomers to the world of Experimental Black Metal, but that will surely captivate your senses for all eternity once you complete its full musical voyage. Hence, don’t forget to give the guys from Primeval Well a shout on Facebook and on Instagram, and to purchase a copy of such dense and distinguished album from their own BandCamp page. In a nutshell, as aforementioned, Ryan, Luke, Edward and Zac did an amazing job in Talkin’ in Tongues with Mountain Spirits, delivering a majestic hybrid of several metal and non-metal styles that will undoubtedly place the album among the must-have releases of 2021 when the music in question is at the same time experimental and extreme.

Best moments of the album: Raising Up Antlers to Our Mountain Gods, Ghost Fires Burn Light in Our Eyes and Tales Carved in Stone on a Forbidden Road.

Worst moments of the album: Where All Things are Forgotten.

Released in 2021 Moonlight Cypress Archetypes

Track listing
1. Psilocybin Psychosis by the Mountain Top Cross 3:20
2. Raising Up Antlers to Our Mountain Gods 10:45
3. She Flies Undead 9:44
4. Ghost Fires Burn Light in Our Eyes 9:13
5. Talkin’ in Tongues with Mountain Spirits 8:38
6. Tales Carved in Stone on a Forbidden Road 9:21
7. Where All Things are Forgotten 8:01
8. Sickening Laughter with the Grinning Trees 2:22

Band members
Ryan Clackner – vocals, guitars
Luke Lindell – bass, vocals
Edward Longo – keyboards, vocals
Zac Ormerod – drums

Metal Chick of the Month – Lilita Arndt

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Eternal darkness is covering my eyes and penetrating me…

Dark skies are over us all once again here on The Headbanging Moose thanks to the raw and visceral Black Metal crafted by a multi-talented woman who will undoubtedly blacken our hearts even more. Hailing from Rivne, a historic city in western Ukraine located over 300 kilometers to the west of the country’s capital Kiev, she’s not only an amazing Extreme Metal vocalist, but she also plays all instruments including lead, rhythm and acoustic guitars, bass and drums for her stunning one-woman Occult and Depressive Black Metal project entitled Ieschure. Her poetic name, Lilita Arndt, adds an extra touch of beauty to her unique creations, and you’ll be more than pleased with her music, her view of Black Metal and how she incorporates all her influences into each one of her songs.

Lilita’s interest in writing and playing music began at a very early stage of her childhood, when she started to write lyrics and later tried to create simple melodies for them on her acoustic guitar, which by the way was her very first instrument, then learning how to play keyboards (followed by all other instruments she currently knows), all self-taught and never having any sort of formal or structured music lessons with anyone. After taking part in different projects as a singer, including an old acoustic project called Embrace of Hedera from 2007 until 2015 which played melancholic, dark and romantic music with acoustic guitars and clean female vocals (and with whom she recorded the album The Castle On The Rolling Hills in 2015), Lilita wanted to explore new territories by creating her own music with her own melodies, lyrics, singing and atmosphere, being the mastermind of her own project and experimenting with melodies and vocals, the main reason why she decided to found her own solo project Ieschure back in 2015.

A word chosen by Lilita after the whole album The Shadow was finished in 2017, Ieschure has the project’s name related to occult things and the meaning of this word is really important for her, although our multi-talented musician prefers it to be known only by herself. Dealing with classic Black Metal lyrical themes such as occultism, witchcraft and death, and using a serpent as her symbol (more specifically as a primitive symbol of power and wisdom but at the same time representing death and damnation), this one-woman Black Metal force has already released an array of bold, captivating albums since the project’s inception in 2015, those being the aforementioned full-length opus The Shadow, in 2017, the EP’s Cold Stars of Eternity and Phantoms of God, in 2020, and more recently the split album Witch’s Consecration, now in 2021, with Brazilian Black Metal horde Promethean Gate. If you want to have a very good taste of how breathtaking the music by Ieschure is, you can enjoy some awesome songs online such as Eternal Agony, Mystic Schizophrenia and Phantoms Of God, or simply go to BandCamp, to Big Cartel and to Spotify (or click HERE) to stream and purchase all of her wicked creations.

Not only the woman responsible for all vocals and instruments in all of Ieschure releases, Lilita also handles all recording, mixing, mastering, lyrics and layout of the albums, which is absolutely in line with her initial dream of having a project of her own. In addition, Lilita has also collaborated in several albums from other bands, with the most memorable for her to date being singing with the bands Detention and Restless. For instance, she recorded vocals for the songs Nidhogg (from the album Lost Souls in a Godless World) and Wolf’s Head (from the album The Battle of Tara) by American Doom/Stoner/Southern Metal band Black Mountain Thunder, both in 2015; vocals for the song The Face of God, from the 2015 self-titled album by American Stoner/Doom Metal band Clawhammer; vocals on the 2014 album Marginal, by Kazakh Depressive Metal band Detention; vocals on the song Rurel, from the 2018 self-titled EP by Italian Black/Folk Metal band Dovrefjell; backing vocals on the songs Spiritueller Selbstmord, from the 2014 album Verwüstung, and Wenn Die Sterne Nicht Mehr Scheinen, from the 2014 EP Horizont, by Ukrainian Black Metal/Ambient band Moloch; vocals on the 2017 album Funeral Impressions, by Italian Funeral Doom Metal band Restless; and vocals on the song Bride of Winter, from the 2016 album Forgotten Tales, by Italian Black Metal band Waldweg; not to mention the cover art for the 2019 EP The Wanderer, by Tuskish Atmospheric Black Metal band Akrunant.

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Regarding her first experiences with Heavy and Black Metal, Lilita mentioned in one of her interviews that she began listening to popular metal bands when she was a teenager, becoming more and more interested in the underground and, consequently, getting attracted to the world of Black Metal. In her opinion, Black Metal is not just a music style, but a dark side of art, an irrational fusion of music, theatre and philosophy, full of paradoxes and concentrating the strongest emotions, hatred and some perverted love to life, which is the main reason why she considers it perfect. She complemented by saying that she has felt the presence of hidden forces in the world since she was a little child, gradually getting more interested in those and in occultism, also saying that realizing that she will die some day was what truly attracted her to that. Apart from drawing inspiration from the works of renowned occultists the likes of Aleister Crowley, Eliphas Levi, Stanislas de Guaita and George Gurdjieff, she also enjoys reading and studying about her work as a designer, all forms of art, mythology, psychology, history, travelling and everything that can give her new knowledge about the world. And in terms of what inspires the music by Ieschure the most, she mentioned Black Metal behemoths such as early Urfaust, Behexen, Rotting Christ, My Dying Bride, Opeth and, above all, Burzum, as his music embodies the ideas of misanthropy and loneliness in the best way imaginable according to our sinister diva.

When asked about her vocal style and technique, Lilita said that her screaming vocals were influenced by classic Black Metal bands, whereas for clean vocals she gets her inspiration from non-Black Metal music, as for example Julie Christmas, her favorite female singer of bands like Battle Of Mice and Made Out of Babies, and Free Dominguez, of Kidneythieves. In addition, regarding her songwriting process, Lilita said the first thing she does is many improvisations on the guitar at her home studio, recording various ideas, listening to them again at a later stage, and if she finds any of those ideas interesting enough she rerecords them to include all other instruments. Also, she complemented by saying most of her time in that process is taken by the lyrics writing process, as she can rewrite those many times and do various vocal improvisations to find the best version, finally rerecording everything.

As a true admirer of the underground, in special the first wave of Black Metal bands, their sound and atmosphere, as well as old Doom Metal, Lilita also said that although she doesn’t listen to a lot of bands from the Black Metal scene in her homeland Ukraine she knows there are several bands and projects in the country who create true underground music, always prioritizing the music instead of fame or money. However, she said she cannot compare herself to any of those bands, as she tries to go her own way with her own opinion about music. In addition, she also mentioned in one of her interviews that she doesn’t usually attend concerts, as for her personally the best way to listen to music is to listen to it in her headphones.

Lastly, when questioned if one day Ieschure will become a full-bodied group with other members joining her, Lilita said that, although she’s always open to change, she doesn’t think that’s a possibility for now. Furthermore, she mentioned that if one day she finds that a good alternative for embodying her ideas she will definitely try working with other musicians, as long as of course they’re sincerely interested in music and follow similar or the same ideas as hers. In the end, it doesn’t matter if she continues to create music as a lone she-wolf or if she finds the perfect lineup for Ieschure, our beloved metal witch will keep experimenting with melodies and vocal styles while always keeping an evil Black Metal atmosphere in the background, playing raw and devilish sounds for our total delectation in the name of darkness, death and the occult.

Ieschure’s Official Facebook page
Ieschure’s Official Instagram
Ieschure’s Official Twitter
Ieschure’s Official YouTube channel

“For me black metal is really a dark side of Art. It’s not just a music style. Mixture of music, theatre and philosophy, more irrational than other music styles, full of paradoxes, concentrating the strongest emotions, hatred and some perverted love to life. That is why it is perfect.” – Lilita Arndt