1. For those that have never heard of you before, can you tell us a little bit about the musical project?
N.N. Libra: We are Waldruine from Germany and we released our debut album “Nachtmeerfahrten” in August. The band was founded during Winter Solstice of 2021. Currently we are a duo, because we and our drummer went our separate ways after recording the album due to musical differences. Chr. plays bass, he is the singer and mainly responsible for all the keyboards and other effects. I am the guitarist.
Chr.: In addition to this, it should be noted that Waldruine was deliberately founded as a black metal band. This decision established a clear framework in terms of musical style, sound, aesthetics, and lyrical themes.
It is also worth mentioning that Waldruine features a female guitarist, which is notable given that women are still a minority in the black metal scene.
2. In August you had released your first full length, can you tell us a little bit more about the musical style that you went for on the recording?
N.N. Libra: We would describe our style as quite traditional black metal, which is strongly influenced by the black metal of the 90s. In contrast to the sometimes very raw sound of some releases from this period, we still have some atmospheric elements that we think are quite important for the mood of the album.
Chr.: Especially in the black metal genre, it’s — at least in our opinion — all about atmosphere. The mood we aim to invoke is far more important than technical prowess. Our focus is on conjuring the forces of darkness, rather than trying to impress music students with technical skills.
3. A lot of your lyrics cover Satanism and Occultism themes, can you tell us a little bit more about your interest in the black arts?
Chr.: Since my early youth, I have always had a deep interest in spiritual themes, and the quest for knowledge about the mysteries of the cosmos has been a natural consequence of that. In the 1990s, I began to pursue these matters more seriously.
I have extensively explored various spiritual traditions, particularly those central to Western esotericism, tracing their historical roots to the present day. In the process, I have shaped my own views and preferences. Among the influences are the doctrines of the Church of Satan, the Temple of Set, the Temple of the Vampire, Dragon Rouge, the Rune Gild, and, of course, the Order of Nine Angles, which had a significant impact on the occult and Satanic underground in the early 90s. This includes groups like the Order of the Left Hand Path / Ordo Sinistra Vivendi and the Order of the Jarls of Baelder, with its 'inner circle,' the Fraternitas Loki.
Waldruine often incorporates such occult themes into its work, and many of the topics covered in the lyrics can be traced back to these sources.
As a tip for beginners: today, serious students of Western esotericism are in the fortunate position of being able to access a wealth of academic papers on these topics with minimal effort.
To finally sum it up in regard to Waldruine: I aim to generate daimonic energy that manifests within the listener.
4. What is the meaning and inspiration behind the name 'Waldruine'?
N.N. Libra: The name ‘Waldruine’ is a combination of the words "forest" and "ruin". It wasn't easy for us to decide on a band name. We had a long list of ideas for a while, but we weren't really happy with them, which is probably why we couldn't decide. ‘Waldruine’ wasn't on the list. The name just occurred to me at some point. I suggested it to the other two and they both immediately thought the name was fitting and good for our band. We are very close to nature and of course also have a strong connection to the occult. That's probably why the name somehow felt right for us.
Chr.: The term 'Waldruine' is deliberately ambiguous. Is it the forest itself that has become a ruin, evoking melancholic or even dystopian sentiments? Or is it a ruin of a building standing within the forest, suggesting a dark past with romantic undertones? Or is it finally – as a more abstract interpretation – a symbolic representation of the unearthly realm of the Qliphoth? All interpretations are valid. We offer no specific instruction to the listener. This indefiniteness, this lack of clarity, aligns with the occult worldview expressed through Waldruine.
5. Can you tell us a little bit more about the artwork that is presented on the new album cover?
Chr.: Especially in the black metal genre, I believe it is crucial for a release to be a kind of Gesamtkunstwerk, where sound, lyrics, and visuals fuse to create a unified atmosphere. The album is titled Nachtmeerfahrten—an inner journey linked to the unconscious. The term describes the confrontation with the dark, unknown, and threatening aspects of one's self, akin to a dangerous voyage across the sea at night, where the traveler loses orientation and must find their way through the darkness.
This term was also used by the renowned psychologist C.G. Jung. From a Jungian perspective, the Nachtmeerfahrt is often associated with the process of individuation—the psychological development towards a complete, integrated self. It involves confronting inner conflicts, fears, and repressed contents of the unconscious. This dark phase is necessary to ultimately achieve enlightenment and self-realization.
The front cover of the album symbolizes this Nachtmeer. The smaller images in the booklet provide further visual representations of the 'otherworldly' or dark side.
The skull serves as a common symbol of the godhead from a Satanic perspective, while also acting as a memento mori in more conventional, right-hand path spiritual viewpoints.
The diagram, which resembles the Tree of Life, Tree of Da’ath, or Tree of Knowledge from the Qabbalistic tradition—or more fittingly, the dark side of the Tree of Knowledge, the Qliphoth—represents the Tree of Wyrd from the Nordic tradition, a symbolic roadmap of the Nachtmeerfahrt.
The symbol on the back cover which has become emblematic of Waldruine features the unicursal hexagram, symbolizing both the septenary system (and therefore, the sinister hebdomadry) and the harmony of cosmic forces.
Additionally, there is symbolism from chaos magick (the belief in no belief) alongside the Satanic trident and the harvester’s scythe, the latter representing the stern, Saturnine influence.
Lastly, N.N. Libra deserves mention for the beautiful landscape photographs from which I composed the basis of the booklet’s layout.
6. Currently there are only two members in the band, are you open to expanding the line up or do you prefer to remain a duo?
N.N. Libra: We would definitely like to have a drummer again soon. Because we would also like to play live at some point. We already had another drummer in the spring, but unfortunately he couldn't be part of the band due to a job change. But we are still looking.
We could certainly imagine a second guitar for the band, but the most important thing would be to have a drummer again. Also with regard to the new album.
Chr.: It was not intended for Waldruine to become a duo. This setup may work perfectly for bands like Darkthrone, who handle all instruments required for recording an album (and who, incidentally, do not perform live). I believe, or at least hope, that Waldruine as a duo is just a temporary phase. However, I do expect that the songwriting will always remain predominantly led by N.N. Libra and myself.
7. One of the band members also has a background that goes back to the 90's, how would you describe the difference between modern and old school German black metal bands?
Chr.: In general, and this applies not only to the German black metal scene, the genre has given rise to more differentiated styles of black metal. Moreover, as part of a natural evolution, many bands from the 90s have matured significantly, which is, of course, a positive development.
However, there are two negative aspects to this. First, we are inundated with countless bands, and this overwhelming abundance makes it difficult for the audience to give each one the appreciation they may deserve. Second, the subversive and underground nature of the genre has diminished considerably.
During the era of the 1990s, black metal stood as a subversive force, epitomizing the zenith of dark musical artistry with its exploration of forbidden sciences and arts spanning past and present realms. It stood as a defiant counter-reality to the prevailing zeitgeist marked by societal degeneration, a sentiment resonating with Oswald Spengler's seminal work, "The Decline of the West" (1918). This prevailing trend encompasses the flattening of spiritual life and the increasing trivialization of human nature, evident in the emergence of a "fun society," alongside a denial of its darker facets.
Instead of conforming to these norms, in contrast to the current trend towards shallowness and in opposition to the denial of the darker aspects of humanity, Black Metal advocated for the restoration of the Faustian spirit, emphasizing solemnity, seriousness, and the reintegration of the devilish elements that propel humanity forward. These principles were foundational to the ethos of Black metal bands and served as the driving forces behind the black metal movement, elevating it beyond mere music to a profound cultural phenomenon.
Black metal was destined to remain underground. Despite the commercialization of certain branches, an underground scene persists, faithful to its roots, providing a formidable counterbalance against prevailing norms and ideologies. Acts within this scene continued to evolve stylistically and ideologically, serving as a counter-strike against prevailing gods, norms and beliefs, whether spiritual or mundane, thereby challenging established paradigms and maintaining a steadfast isolation from mainstream assimilation.
As said above, commercialization has softened up this profound black metal ethos. But nevertheless, it is still alive.
8. The new album was released on 'Hammerbund', can you tell us a little bit more about this label?
N.N. Libra: Hammerbund is a German label that actually only represents underground bands, mainly from the black metal genre. We were hoping that we could find a label to release our first album. Especially because of the contact Chr. had since the 90s. And we actually got the confirmation very quickly that it would work out with the release. That was really good news for us.
Chr.: The background is: Hammerbund recently re-released some rather old material from the black metal band I played in between 1994 and around 2006. I was very satisfied with the label's work on these releases, including the vinyl editions.
So, it felt like a natural choice to ask Hammerbund to release Waldruine’s debut album as well.
9. On a worldwide level how has the reaction been to your music by fans of black metal?
N.N. Libra: We were very surprised how positive the reaction was. As this is our debut album and our lyrics are only in German and Latin, we didn't necessarily expect to get out of the German-speaking world so quickly. But very soon after the release of ‘Nachtmeerfahrten’, we received great feedback from Israel, South America, Ukraine and the USA, for example. That really blew us away, to be honest. Let's see how things continue over the next few months. We can already reveal something: We will be represented with a song on a compilation in South America.
Chr.: Living in a time when the black metal scene is flooded with releases, I did not expect Waldruine to be noticed at all. Based on that, I am quite surprised by the positive reactions to our music, even beyond our small circle of friends. I appreciate receiving feedback also from outside Germany. I have always thought that using the German language might limit an album's international recognition, so I am very satisfied with the responses we have had so far.
10. Where do you see the band heading into musically during the future?
N.N. Libra: I think that we basically want to stay true to the style of ‘Nachtmeerfahrten’. So rather traditional black metal, which has its roots in the 90s. But again with a certain symphonic-atmospheric mood, which already characterizes ‘Nachtmeerfahrten’. We already have a rough lyrical framework for the new album, now we have to create the right atmosphere for it.
Chr.: Regarding the creation of new music, I don’t expect we will present great surprises; rather, we will remain true to the style established in Nachtmeerfahrten. However, it is natural that some development and maturation will occur over time.
While Nachtmeerfahrten reflects very much my personal touch—having composed the basic musical ideas and written all the lyrics—future releases will likely be more collaborative, with N.N. Libra taking a more active role in the composition of the music and the shaping of the songs.
As for our current lineup, we hope to establish a configuration that includes a drummer so we can perform live.
11. What are some of the bands or musical styles that have had an influence on your music and also what are you listening to nowadays?
Chr.: The main influences and sources of inspiration for Nachtmeerfahrten include Mayhem’s De Mysteriis Dom Sathanas, Darkthrone’s A Blaze in the Northern Sky, and Transilvanian Hunger. These iconic albums are widely regarded as foundational masterpieces in the black metal genre and serve as significant role models.
De Mysteriis Dom Sathanas is inspiration due to the gloomy atmosphere, the riffing, and the theatrical vocal performance of Attila. A Blaze in the Northern Sky is notable for being one of the first “typical” black metal albums, serving as a blueprint for style, sound, and imagery. And Transilvanian Hunger provides inspiration by its flowing riffs and melodic lines, which create a somber yet fierce foundational mood.
An exception is our song Das kriechende Chaos, which draws considerable inspiration from Celtic Frost and early Black Sabbath.
In general, Acheron’s Rites of the Black Mass has also influenced me.
Another outstanding and iconic release that has inspired my musical endeavors is God & Beast by NON. While this influence may not be immediately apparent in Waldruine, it is undeniable in my other musical project which I established in 2007.
I would also like to acknowledge Abigor as an influence. I have always admired them for creating truly daemonic music, especially as they matured over the last few decades. However, their complex musical style is quite different from the relatively simple and catchy music we play, making it less plausible to name them as a direct influence.
I primarily listen to music from the 90s or to bands that were already active during that decade. In addition to (black) metal, I enjoy (real) industrial music (not the electro/dance music that today’s youth labels as “industrial”) and, at times, some neofolk.
My appreciation for classical music has also significantly increased over the past decades, including works by composers such as P.M. Mussorgsky, Richard Strauss, E. Grieg, Wagner, and J.S. Bach.
N.N. Libra: I also listen to a lot of melodic death metal and blackened melodic death. Bands like Wolfheart, Insomnium, Wintersun, Shylmagoghnar and Duskmourn (thanks to my friend Mario in the USA for the recommendation), for example. Bands like Borknagar, Dimmu Borgir and Amorphis also have a big influence on me and therefore of course on the music of Waldruine.
12. Before we wrap up this interview, do you have any final words or thoughts?
N.N. Libra: We are very grateful for your support. Not only for us, but also for the entire black metal underground. It's great that there are people all over the world who are keeping the underground alive. We look forward to discover good bands and great music ourselves.
Chr.: Thank you very much for this interview. Last but not least, I’d like to send my warmest greetings to all our friends, supporters, and fans.
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