Tomorrow’s song will never sound again… Silence reigns in the hall of the dead…

Let’s set fire to the always vibrant month of May here on The Headbanging Moose with a multi-talented lady that lives and breathes music and arts in general. Just like Midas, it looks like everything she touches turns into gold, or maybe I should say Heavy Metal gold, as all of her bands, projects and contributions sound, look and feel phenomenal. She’s the face of the amazing extreme bands Withered Land and Monumentum Damnati, while also involved in several other musical projects, not to mention she also produces music videos, album artworks and booklets, and she plays most of the instruments used within her genres. You’ll be absolutely stunned after knowing more about Olga Kann, also known as Ольга Канн or Volha Aleksandrovna Kandziuryna, an unstoppable Belarusian artist who surely makes the world of heavy music a much better, more fun and more interesting place.

Born on April 21, 1992 in Minsk, the capital and largest city of Belarus, located on the Svislach and the now subterranean Nyamiha rivers, the beyond talented Olga creates music that is both beautiful and chilling to the listener, never following the same formula nor sticking to any specific metal or non-metal genre or subgenre. It was in the year of 2020 when Olga founded her main project, the stunning Epic/Symphonic Black/Doom Metal entity Withered Land, an original blend of extreme music styles inspired by the achievements of the Scandinavian scene, the atmosphere of Summoning’s music, folk, and a fantasy world ambiance. As the sole member of Withered Land, Olga can not only sing, but she also plays bass, keyboards, kantele, tagelharpa, and she’s also responsible for all songwriting, lyrics, artworks, designs and booklets, with only the guitars and drums being played by guest musicians in her albums.

When asked about what inspired her to start Withered Land, she said that some developments were many years old, but basically the conceptual canvas was completed in a relatively short time. “I’m a big fan of ‘depressive seasons’. Ordinary life falls asleep and archaic creativity awakens. So, one Autumn/Winter I again had an irresistible feeling that it was time to bring this project to light. Cold, lifeless gusts of wind swaying the twisted branches of trees on the devastated ground. I looked again at the devastating motives, and melodies swarmed in my head. Walking through the snow-covered, fluffy snow-white forests, epic-ness was added, and sublime feelings took me far from here in my thoughts,” commented our Queen of Snow. “This is not my first project (and not my last). But it is special to me in many ways. Here, as in no other place, the burden of choice rests solely with me. What can I say? Art is my gift and my curse. If you objectively look at the world, I live a little, I constantly create. For yourself or for others. This is my Sisyphean stone I constantly raise uphill.”

To date, Olga and her alter-ego Withered Land have unleashed upon us mere mortals two full-length albums, plus a few singles before the official album release dates. In 2021 her debut full-length offering, entitled The Endless Journey, saw the light of day (or the dark of night, whichever you prefer), with songs like Over Distant Shores embracing us all in absolute darkness. In it, a fearless but wounded warrior fights in his main battle, for his life, being on his own kind of esoteric journey on the other side of consciousness. On his way he will meet the mighty mountains, cold rocks and distant shores, but no one knowns if his spirit will be able to return to the world of the living. “I was waiting for that moment in my life when my experience, accumulated over the years, will allow me to create those arrangements, go to that production to release this material. I don’t think it’s the perfect version of that album, but it’s definitely perfect for that moment. With all its shortcomings and virtues, this is selfless love like between mother and child.”

Regarding her sophomore album, Hall of the Dead takes the listener to a world of fantasy, presenting rich, monumental arrangements reminiscent of Summoning, being neatly crafted and forming a cohesive whole. “The album was originally conceived as a concept album. I try to make all my albums, including the albums for other projects, not as a best-of collection, but as a complete work, united by a concept or a single narrative. This is a powerful source of inspiration, allowing you to experience the music and lyrics from beginning to end, making the story as honest as possible. On the other hand, this can impose certain limitations. But I think a concept, or at least a general mood, is important for an album as a format; otherwise, it would simply be a compilation album, in my opinion,” she commented. “The album’s overall concept revolves around death, about the inevitability of fate, the suffering of a wandering warrior. About the cycle of things in nature and the cyclical nature of existence. About the fate of kings and simple beggars; the hall of the dead awaits everyone.”

According to Olga, while the debut album by Withered Land featured more of a journey, a prologue of sorts, Hall of the Dead is undoubtedly a descent. Furthermore, her sophomore album also represents a much richer, more textured offering by our she-wolf, with her core Black Metal being enriched with touches of Dungeon Synth and Viking Metal, for example. “It’s very important to me to make the material not standard black metal, but to introduce various elements that will help immerse you in the story in a more engaging way. To combine new combinations, without regard for fashion or tradition. I love the atmosphere of dungeon synth, as well as the melodic/pagan feel reflected in Viking stuff. In general, an idea or concept is born first, and then the style is formed. It would be wrong to box myself in and limit my creative imagination. I follow what comes from within.”

One of the best songs in Hall of the Dead is undoubtedly All Dead, All Rotten, inspired by the work of J.R.R. Tolkien. ‘’This is the only track on this album focused on Tolkien’s worlds, specifically the history of the Dead Marshes. It shares a common theme with the other tracks: tragic deaths, desolation, and devastation. Echoes of a bitter past hang in the air as the listener slowly wanders through a hazy halo. The bitter fate of people, warriors, no matter who won the battle, the price was high, and in the end, none of it mattered. Such things should never happen again, but they always do,” commented our talented she-demon. Other amazing songs from the album are the title-track Hall of the Dead, Through the Winterhold’s Blizzard, and Dark Pale Winter, and don’t forget to check Withered Land on BandCamp and Spotify as well to enjoy all of the project’s other songs.

After the release of Hall of the Dead, fans worldwide started to ask if Olga and her Withered Land would bring the power and darkness of the studio to the stages, and everyone was extremely excited when she confirmed she already had a live lineup and was planning some shows. However, she confirmed she wouldn’t be doing any extensive or exhausting tours. “I’m quite a flighty person, and given the right amount of energy, health, and desire, I can take on many adventures. But for now, I’d like to focus on studio work, streaming, building a community around my work, playing concerts in my country, and, if possible, going to major festivals abroad.”

Olga is also involved with another amazing project, the international Melodic Doom/Death Metal act named Monumentum Damnati, a Latin phrase that roughly translates to “Monument of the Damned,” alongside the mysterious vocalist Thanatos. Olga, who goes by the moniker Abhoth in this case, takes care of all guitars, bass, keyboards and drums in Monumentum Damnati, as well as the artworks and booklet layouts, focusing on horror, philosophical themes, mythology, H.P. Lovecraft, Edgar Allan Poe, and more, having released with the band so far the albums In the Tomb of a Forgotten King, in 2020, when she only played bass, and From Beyond, in 2025, already taking care of the guitars, bass, drums, keyboards and kantele, not to mention she’s also responsible for the songwriting and lyrics on both albums.

In addition, she has also started to put more focus on her solo career as well, and you can already find on BandCamp and on Spotify her very first album of covers dedicated to some of the biggest names of the genre in history (played on unusual, old instruments from Northern Europe, such as the kantele, tagelharpa, and flute), titled Ethnic Black Metal vol. 1, including her personal and heartfelt rendition of the songs For All Tid by Dimmu Borgir, The Legend of the Master-Ring by Summoning, Dunkelheit by Burzum, Nostalgia by Nocturnal Depression, Sterile Nails and Thunderbowels by Silence, Expandera by Lifelover, Freezing Moon by Mayhem, and Längtar Bort Från Mitt Hjärta by Shining. “To be honest, recording covers always seemed like a wild idea to me. However, it turned out to be a fun and interesting experience, at the very least. I also managed to create unique arrangements rather than rerecording identical to the original material. I wanted to give myself a break from my own material and return with a renewed mindset. And perhaps one of the best ways to do this was to use ethnic instruments.”

Another one of her bands is Bleeding Malice, a Dark Deathcore project formed at the beginning of 2020 by Olga Kann on bass and Alex Rabets on vocals, combining elements of Hardcore, Deathcore and Metalcore while the lyrics contain social issues, philosophy and religion, and psycho-emotional experiences. To date, the duo has unleashed upon humanity the 2021 album Thy Kingdom Come, available on BandCamp and on Spotify, and you can enjoy some of their videos on YouTube including Thy Kingdom Come, Stillborn Hope, and The Last Prayer. There’s also a very cool footage of The Last Prayer live at Cerberus Fest in 2024, where you can see how badass Olga is onstage armed with her bass and vocals.

As if Withered Land, Monumentum Damnati and Bleeding Malice weren’t enough, Olga also formed another project named Cryo Depth in 2020, blending Dark Ambient with Drone, vintage horror, neoclassical, cinematic and space music, inspired by games such as Stalker, Resident Evil 4, Outlast, Clive Barker’s Undying, Amnesia, Scratches, Silent Hill, Penumbra, and Sublustrum, having released so far three full-length albums, those being Monolith (2020), The Haunted Stories (2021), and Gravedigger’s Diary: The Lurking Fear (2023), plus a few more recent singles, all available on YouTube, on BandCamp and on Spotify. If you want to check her latest singles, you can check the official videos for Witnesses Of Our Decay and Dead Whispers, both featuring Shane Beck (The Last American Poet) on vocals. But wait, as there’s more, as she’s also the mastermind behind Symphonic/Technical Death Metal band Life for Ner’zhul, having founded the project in 2025. Labeling Life for Ner’zhul as “Warcraftian Extreme Metal,” she released the debut single The Scourge Of Lordaeron in the middle of 2025, but nothing else since then. And as a guest musician, she recorded the kantele in the single Живое (Alive) together with Russian Melodic/Progressive Power Metal band Winteria. All of her bands and projects can be found by clicking HERE, and I bet we’ll see a lot more from Olga in several other interesting musical endeavors in the near future.

As already mentioned, Olga is also an accomplished and extremely creative designer and artist, having already taken care of countless artworks, booklets and even music videos for an array of very distinct bands. Just to give you an idea of how awesome she is as a designer, among some of her best works you’ll find the artworks for the 2025 album The Embracing Light of Rarohenga, by German Melodic Death Metal band Aeon of Awareness; the 2023 albums I – These Bones Became the Roots of the Forest… and II – On These Shores Where Nothing Now Stands, by British Pagan/Atmospheric Black Metal act Blencathra; the 2026 album Ablution, by American Black Metal band Elseetoss; the 2021 album Eternal, by Scottish Atmospheric Folk/Black Metal band Ruadh; and the 2022 album Memoriae, by Italian Atmospheric/Post-Black Metal act Vesperhymn, among countless others. “Creating art, videos, and booklets is my main and only job, just like music. I’ve been working towards this for a long time. I didn’t want to work a regular job, in a group setting. I’m a completely unsociable person in life, with my own work/activity/rest schedule. Some things come out more sincere, others are a little more a result of self-discipline. But each time it’s a search, a look within. Inspiration comes or doesn’t, but the main thing is the idea. You can feed it with anything, the main thing is to have a strategy and stick to it. My main inspiration is to never go back to an office job, haha. But seriously, all this art in its various forms is pieces of my puzzle that bring me together and make me who I am. This whole journey is something akin to finding and maintaining integrity, self-identity.”

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Speaking of what inspired her to begin creating music and art, her idols and influences, Olga said it’s actually hard to remember when it all started. “From a very early age, I was exposed to hard rock, glam, and art-rock; my father is a big fan of all of them. When I was about 10, I first heard Megadeth and thought they were powerful. During summer vacations, my cousin and I would wake each other up with Sepultura songs; their extreme vocals were a great way to stay awake during fishing trips or early morning hikes. We’d play them on cassette tapes. I remember with great inspiration those times when we’d rewind cassette tapes with pencils. We didn’t skip songs, listening to albums in their entirety was magical,” she commented, also having some very nice words to say about her very first major influence. “My favorite band since childhood was Iron Maiden. I loved literally everything about them: the bassist/leader, the unique lyrics, the original mascot, the memorable vocals, the three guitars, and their signature drums. It was largely thanks to this band that I wanted to start my own band. Even back then, I was drawing logos for potential projects. However, I never wanted to play heavy metal. I didn’t have any strategy.”

Then closer to finishing school she discovered Black and Death Metal, including a lot of bands from the Scandinavian scene, especially Finnish bands, as well as Melodic Death and Power Metal. “I loved the combination of keyboards, symphonic orchestrations, and heavy riffs. I loved the combination of clean male vocals and extreme sounds. I wanted to play that. My first bands were inspired by doom, the gothic scene, and some melodic death. Regarding Withered Land, the idea of ​​playing black metal came to me quite late; I’d never really wanted to write black metal specifically. A lot has changed since I heard Caladan Brood. It’s still the kind of album you could easily add to your funeral playlist. You can listen to it again and again in any mood, or when you’re not sure what you want to listen to. Of course, Summoning, Bathory, Thyrfing, Amon Amarth, Finntroll and a number of other projects inspired me with their themes and epicness.”

Not only that, Olga is also highly inspired by fictional worlds such as The Lord of The Rings, nature (especially during its “depressive seasons”), esoteric and sacred worlds, literature, video games, and films. “I am a psychologist by education. Perhaps this fact also influenced the sources of my inspiration in some way. I love hidden meanings, complex characters, their contradictions, doubts, decisions, and actions. My graduate thesis was related to the concept of death in different cultures. Many years have passed, but this topic does not leave me in my art. One of the most sacred things, like the sacrament of birth, so the sacrament of passing beyond life is the most interesting object of study,” she complemented, also saying how important nature is in her life in general. “The earth remembers everything: bloody battles, the fall of great cities, the creation of the greatest buildings, and their destruction. In a sense, the earth is time. Ruthlessly all-consuming, but invariably bestowing in return. Flowers will sprout on the remains of the fallen warrior’s bones and provide food for thirsty bees. Is this not the true poetics of metaphysics?” That also explains her openness to create something new with each project and album, experimenting with an array of styles such as Dungeon Synth, Folk and Viking Metal, Doom and Gothic Metal, and so on.

In regards to her extreme vocal technique, she mentioned that she studied extreme vocals with teachers for a while, but she was not entirely happy with the results because there aren’t many professional extreme vocal teachers, at least in her homeland, and online classes aren’t exactly convenient for her. “Now I devote a lot of time to practicing clean vocals with my coach and occasionally extreme vocals. I still have a lot to learn, but I’m making steady progress, following the goals of my projects. I don’t have a goal of becoming the best vocalist or the best bassist; I don’t dedicate much time to one thing, and I don’t do musical sports. I’m a multitasker who makes music first and foremost. I enjoy creating music, visuals, and lyrics, and singing my own lyrics is even more enjoyable than listening to someone else. In reality, anyone can learn; it’s just a matter of how much they’re willing to put in and how much they want to. I don’t want that as much as I want the joy of creating music itself, so I don’t expect any particular heights. But a highly motivated person usually learns quickly. It’s definitely not something you’re born with; it’s something you train yourself to have.”

As one of the torchbearers of Belarusian heavy music and arts in general, Olga said that unfortunately she can’t support the current state of her homeland, in special with the mood of the post-Soviet communist abyss. She also mentioned that despite the fact the metal scene in Belarus is not as big as in other countries, she still had a lot of fun and learned a lot during her early days. “In comparison with the advanced countries, our metal scene was not so developed. But the years of youth were nonetheless truly interesting. I was able to make interesting acquaintances, attend interesting events, concerts, theater performances, and all that. Being young, inexperienced, but ambitious guys, we gathered at music studios. I don’t even remember how many people I had a chance to play with in my whole life – a lot. We organized concerts, gatherings, participated in the activities of webzines. Well, it’s not something unique. But I am still grateful to any environment, whatever it may be. I know friends who have a metal scene in much worse situations. Well, in any case, I believe that it is not the place that makes the person beautiful, but the person make the place beautiful. Too many negative thoughts when I think about it.”

According to Olga, one of the biggest issues in music and arts worldwide, if not the biggest issue of all, is the overuse of AI. She said that the whole essence of art has been wiped out by the AI phenomenon, and this isn’t like when computers first appeared and people screamed that music and arts in general were finished. “I think humanity will lose its meaning completely when art can be created not only with words and prompts, but simply by the power of thought, and a special device will produce a finished product straight from the brain. Does anyone want to experience that time? A madness in which the entire essence of life and the creative process is devalued.” Furthermore, when it comes to our “classic” problems, it gets even worse. “Civilized societies continue to experience military conflicts, the global pandemic crisis has hit hard, economic sanctions and total isolation, the Cold War, genocide, the incitement of religious and gender conflicts, animal abuse, environmental disasters, social inequality… If you look deeply at the world, look into this abyss, the abyss will look back at you. I’m a pessimist by nature, and if I think too much, it’s scary. Art is one way to save ourselves from the monstrous reality around us and in the world at large,” she commented.

When asked if she’s a spiritual person, she said that can be said about her, but only in the sense that she believes in a certain Absolute, or wants to believe in it. “I do not recognize religions in the form in which they are in their pure form. I am impressed by the ideas of ancient Greek philosophy and Roman philosophy. In terms of interaction with the outside world, the ideas of Buddhism are close to me more, I suppose. From each idea, I want to take a little bit of everything, and brush aside something.” She complemented her thought with her view of our present-day society and world in general. “I would like to believe in a higher good, but every day I look around and see different things. Beauty is in the eye of the beholder. I tend to notice one thing and try to block unpleasant information. However, here it is difficult. This evil corrodes everything around. Yes, there is no light without darkness. Nevertheless, it seems that now the balance is upset, the world is again going in the wrong direction, and it is sad to realize this. Probably not only the vision of the beautiful, but also the terrible has driven artists from time immemorial. As they say in the dramaturgy, every performance should have a problem/conflict, otherwise the action impossible. So, I think the imperfection of the world and its perfection in separate things at the same time attracts the artist, me in particular.”

Last but not least, as you might have noticed, our metal lady of the month never stops, letting her creativity flow majestically and, therefore, continuing to grow as a musician and an artist. “In any case, the more you practice, the better you get. For someone who loves composing music and dedicates a significant part of their life to it, everything happens naturally. Regular practice is essential. I play quite a few instruments and also practice both extreme and pure vocals. It’s a lot of work, and of course, I could choose one and become a virtuoso in it, but I wouldn’t be interested in it without everything else,” she commented. “The life of a multi-instrumentalist composer is never boring.” She also strongly believes presenting a true expression of oneself through music, letting all emotions and message flow organically and with originality, will always be more important than simply following a traditional song structure. “There’s no point in doing what someone else, or even yourself, has already done. I add different stylistic elements, different themes, and change my approach to arrangements. I’m very grateful that listeners embrace this and enjoy experimenting with me.” As you can see, Olga is an unstoppable force of heavy music, always ready to stun us all with her innovative mind and approach, and may she keep melting our faces with her undisputed talent and scorching music for many years to come.

Olga Kann’s Official Facebook page
Olga Kann’s Official Instagram
Olga Kann’s Official YouTube channel
Withered Land’s Official Facebook page
Withered Land’s Official Instagram
Withered Land’s Official YouTube channel
Monumentum Damnati’s Official Facebook page
Monumentum Damnati’s Official Instagram
Monumentum Damnati’s Official YouTube channel

“My favorite band since childhood was Iron Maiden. I loved literally everything about them: the bassist/leader, the unique lyrics, the original mascot, the memorable vocals, the three guitars, and their signature drums. It was largely thanks to this band that I wanted to start my own band.” – Olga Kann