Grabunhold interview

Hi! It’s been five years since Heldentod. Looking back now, do you see that record as the foundation of Grabunhold’s identity, or merely the opening chapter?

Greetings! A bit of both I guess. The real foundation was set with our EP "Unter dem Banner der Toten", as it was the first release where we decided to go with the German language and with songs more defined as the ones on the demo. But to record a full album with songs from the very beginning and newer ones was definitely another thing, that dragged us further into the direction we were already going to. A full album is always a statement and so we can say, that it was also an opening chapter. An opening chapter, that was like a break to create new stuff from scratch.

Your sound has been described as “medieval black metal” - a term that could mean many things. What makes something truly medieval in spirit, beyond aesthetics?

You named it: "has been described". We never used that "tag" to describe our music or create strange expectations. If you look just on the instruments we use, we are barely a "medieval" band. No folky instruments for example. I think the second part of your question ist also the answer. Maybe it is "true" in its own way, because people recognize something "medieval" or familiar within our music, without the classic frame that this term creates. Maybe it is something old within our very soul, that is described by that word. Our music transports a certain melancholy or a form of heroic melodies, maybe it is just the way we write music. Aesthetics are just a tool to transport that feeling. We use that tool, but I think that there are far more extravagant artists out there, who max out the limits of that definition. You nailed it: "a term that could mean many things". From a deeper meaning or message to just some kind of a fassade or mask.

And more importantly: is medievalism for Grabunhold a form of historical reverence, mythic imagination, or rejection of modernity?

Today's borders are a bit blurred, but there is still a difference between Fantasy and Medievalism. Second is the more realistic part, that focusses on a certain feeling and some kind of accuracy. Fantasy is a mix, sometimes of the three definitions you named. For us it is no blunt worship of old ways. Sure, I think everyone rejects modernity in a way, so we do. There are always new tools, that we never gonna use, but I think, that's not what it is about when it comes to define medievalism. We are no historical accurate band, we drag our inspiration from many sources, mainly from the work of Tolkien, but in a more subtle way, also from folklore and myths. So, people describe us as medieval, but we have a reason, why we won't do so about ourself - because it is not that clear and categorized for us.

The phrase “new old sound” surrounding Grabunhold is compelling. Do you see yourselves reviving forgotten principles, or forging something genuinely new from ancient steel?

None of both. There are so many revivals out there, that it sometimes seems to be a march of faceless undead. Just different copies with a specific sound as root and without any own identity. But I would never say, that we are "original" or doing something REALLY new. We just do what we do, but it seems, that we stand between both things and that is fine for us. Maybe "new old" describes it best, but definitions like that are something for other people than us.

Frostheim seems to keep the same core as Heldentod, but with stronger dynamics and sharper emotional contrast. What changed in your approach during those five years?

I think the biggest difference in things like songwriting compared to our first album is, that I wrote the guitars alone in the isolation of Corona. The songs are done in 2022, without major changes over the years. I think it was always a way more emotional album than "Heldentod". I also focused on our strengths. We always try something different, but some things feel strange and we won't do them again. "Frostheim" was a try to just keep our focus and I think that is why it feels a bit more dynamic and sharp.

There’s a noticeable sense of architecture in your music - songs unfolding like towers, halls, ruins, cathedrals. Do you consciously think in spatial terms when composing?

I always start songwriting with some kind of feeling I want to transport or a specific image I want to create with the song. I think all songs were written in one session each, so there is no deep thought about architecture or a theoretical method to create more tense or so. They just felt right from the very beginning and that is why I still can say, that it is a good album. But the terms you used are in some cases the goal I wanted to achieve, even if you don't understand German, there remains a primal feeling that vibrates through the songs and build up pictures as you described. But I would never stay in a strict frame to create new music. It just has to feel right.

The production on Frostheim is powerful, but cleaner than many underground black metal records. Was clarity necessary to reveal the depth of the compositions?

Yes! Because our sound is very melody-driven with delay on the leads and vocals, it is hard to find a spot where everything is noticeable, but not overproduced. Also it was the first time since our EP, that another studio did our mix and master. This duty was always taken by our ex-drummer Olog-hai, who also recorded the drums, but this time we chose another studio, Dark Prod Studio, who did a really good job in my opinion to keep the balance on the album. I think, it is clear, but obscure enough to keep the ears working. Some reviews of the album mentioned keyboards in songs where no keyboards are, so it is obviously not THAT clear. It has its own sound and that is good.

Does too much polish risk weakening black metal’s primal force?

That's a thing for sure. Black Metal is defined by character and elimination of all characteristical sound identity by overworking all tracks is just wrong in this genre. We used my same Marshall Amp as on "Heldentod" or even "Unter dem Banner der Toten" for the recordings and even my delay pedal is used on "Frostheim". Sure, there might be more clean ways to produce an album, but authenticity and integration is very important, at least for me. We also use the same instruments as in our live performances, so that we can deliver the same emotions, or nearly the same emotions, as on the recordings. But to speak overall: yes, there are many albums where I wished a more "alive" sound than the sterile studio feelings and vibes.

Track titles like Der Tod wohnt in Carn Dûm and In Mordor, wo die Schatten drohn obviously point toward Tolkien. What continues to draw Grabunhold toward that world?

Emotion is the answer. There are so many hidden stories within this world, that deliver huge emotional power. There might be a point in the future, when all our stories are told, but this is not yet. There is a fascination about that world, that always keeps my attention. Most of our lyrics are no direct references, even the ones you named. It is always more vague or indirect and I always try to write lyrics, that keep the aware listener listening. I want to infuse the lyrics with a deeper meaning, without just retelling a story, that is already written. There are many bands who did this, but this is not my style of writing song texts. They are more like poems, where words work as brushes on a canvas to paint an image, which looks different for each person who spends time listening to them.

Do you approach Tolkien as literature, mythology, or something closer to spiritual archaeology?

Tolkien was a master of language and so he was of words. So his works are definitely very well-written stories. Of course it is also a kind of mythology; it was HIS mythology. Mythology always rooted in the imagination of mankind, combined with a certain amount of belief in things, that are occult or hidden beyond our imagination. He built up a blueprint for many things to come in many artistic directions and maybe that is some kind of spiritualism or mythology too. Not in a religious way, that works with the fears of man, but to motivate to create and observe the world that surrounds us. But I am no analyst or expert, that's just my humble view.

A lot of bands use Tolkien imagery as surface ornament. In your case it feels more integrated. What parallels do you see between Middle-earth and the human world?

That's what I wanted to describe earlier. For us it is not about retelling stuff or just copying already existing images. It is about the things between the lines, the things and tales that are not told. To give the emotions a cape, a costume in form of lyrics, accompanied by songs, that give that costume its colour. But it also works the other way round, maybe I could say, that Tolkien gives our music the shades and colours, who knows. One is inspired by the other. There are many parallels, but as I said, I am no expert, nor I want to deep dive into a political analysis. For me its the little things, where I recognice myself or my surroundings, but this is just a personal thing. But there is a reason why this literature is so popular - because its timeless. Timeless literature always let the people escape from their reality and drags them into the authors one, which is often inspired by the real world, what makes it just human and understandable.

Your music balances pagan solemnity with outright aggression. Which of those instincts drives the writing more strongly?

There is no clear answer to this question as it always depends on the feelings, that should be transported. There are always contrasts within the songs between both, like a constant battle in the frame of a song. Most of the time the strong melodies are done first and around that the rest evolves, like more aggressive passages or rhythmic patterns to build bridges between the fast and atmospheric leads. As you said, these are instincts. There are no rules, no checklist of what one of our songs need. It just has to feel right and if there is a rest of a feeling left, that there should be done something more, it is like that. Sometimes one step back and view the whole thing is more constructive than focus on just the details. Sometimes there are more rough structures, that are refined with more details of the second guitar, but it is overall no witchcraft.

German black metal often carries a very distinct sense of discipline and weight compared to Scandinavian chaos. Do you feel rooted in a specifically German lineage?

Absolutely not. I am a huge music fan, but I never wanted to recreate something. For example: I can't read any notes, so writing music is just a feeling for me. If a riff feels right within the context, it is fine. But I don't really think about, that it might sound hellenic or german or or or. It just is what it is. But I agree, that there are core differences within these local styles. Keep them alive with a specific sound is honourable, but not our mission. Our music is just the result of what we are.

Name one overlooked black metal record that helped shape the DNA of Frostheim.

Tough question as I don't think, that there is a specific piece of music, that inspired "Frostheim" in its core. There are so many records, of which I am always wondered, that they are not appreciated by more enthusiasts, but music is just taste after all. But to name one record, that is very niche and also impressed me with its simple and straight forward melodies is "Intempesta Nox" by Grim Monolith. But the DNA of Frostheim might be the sum of everything, that we ever listened to and went through as persons.

The promo calls this album a “sonic cathedral”. That implies grandeur, but cathedrals are also places of fear, silence, and submission. Is Frostheim meant to inspire awe or dread?

Maybe the awe of dread. Melancholy is the main emotion, that always shapes our songs. This implies, that sorrow, grief and the acceptance of death always are present. Maybe that is what some people describe as "hymnic" or "heroic" - because some of the harmonics feel familiar maybe they wake up emotions, that are buried within oneself over time. Also it might be the mix of emotions, that people sense as "big" or atmospheric to use a more casual term. Because sometimes the vocals suggest fear and despair, while the riffing is more triumphant. I don't know, but it seems, that the album triggers a very huge palette of feelings, and I guess that is good.

Black metal has become increasingly self-aware, almost academic in places. Can it still retain mystery when everything is dissected and categorized?

I just can speak for myself, but I neither dissect nor categorize too much for myself and that is why it still keeps its magic for me. So I think no, Black Metal lives of its mysticism, its secrets, the secrets that the persons behind it are.. there are enough projects, that have no soul left, because it is an open book for everyone - some never had a soul, because the spirit was never there. But that is the modern world. Every riddle has to be unsolved, each secret should be uncovered, but what is left, is a world without any dreams.

Your songs seem to stand between nostalgia and futurism - “decades ahead and behind”, as the promo puts it. Do you feel black metal should evolve, or preserve itself against time?

Music always evolves, because some voices say, that Black Metal is already dead. I disagree. Black Metal was always against, always anti. There will always be an opposite perspective, so music like Black Metal will always have a place in this world, until people stop thinking and agreeing with everything around them. I again can just speak for myself: I don't want to invent anything new on purpose, I just want to be myself within the music and hopefully I will be successful, at least for me, with that for some more years.

We should never forget about music's roots and honour them. I personally don't like many things going on in the modern subgenres of Black Metal, is it the sound, the aesthetics, the aura.. it often feels wrong and then I love to return to my beloved classics, that helped me shaping my personality. Nostalgia is a big thing, I can not speak for a newcomer to the genre. Maybe someone new absolutely dislikes some of my all-time favourites, but that's okay. If there is a niche for the modern stuff, they will always find their audience - but I am not one of them. 

When the fires of Grabunhold’s forge burn out, what remains - steel, ash, or memory?

Memories and the ashes of our work.

Thanks.

https://grabunhold.bandcamp.com/