1. The band started around 2005. What led you to create the band? Why did you choose the name Waldgeflüster, and what does it refer to?
At this time, I had a band called Scarcross. I felt that I didn’t have enough room there for the Black Metal ideas I had in my mind. So, I wrote and recorded a song on my own under the moniker Waldgeflüster. The song got some positive feedback, and I was also very happy with it. So, I decided to continue with this project. Waldgeflüster is a symbol for my inner thoughts and demons. The whispering in the woods that is calling to me.
2. After twenty years, how do you feel time has passed for the band? What remains today from those beginnings two decades ago? Which moments in the band's history do you feel most comfortable with and which are representative for you?
The spirit is still the same: We continue to create heartfelt and emotional music. I am comfortable with all moments in the history of this band. I/We always did exactly what we wanted to do. We always stayed true to ourselves, even though the sound has changed drastically since then. That also means that every record is a representation of the specific time it was written in.
3. After the Covid and post-Covid era, during which Waldgeflüster experienced a period of relative inactivity, you surprised us with a double album. I imagine the work must have been exhausting for you. How did the idea of creating a double album come about? Is it related to the twenty years you've been active as a band?
Since I heard Saliva of Tool and its version of Pushit I am fascinated with alternate versions of songs. During the writing process of Part I, I suddenly had the idea to try something new and challenging and create an alternate version of the album. Also to explore some ideas and genres, I haven’t touched yet before.
4. Martin Schirmann has joined the band as their new bassist, but he's not the only new addition to "Knochengesänge I and II." There are a number of collaborations, and I imagine fitting everyone together must have been a truly exhausting process. How was the collaboration process managed for the new album? What was the songwriting and recording process like for "Knochengesänge I and II"?
On the contrary, it was rather easy to work with the people. Austin and Alboin immediately said yes and recorded their parts. The violin player Charlie did the same. The songwriting process was similar as to all our other records. I usually start with a basic song idea and structure. And then we send versions back and forth, adding or deleting stuff each time, until we are happy and have a demo version that is very, very detailed. When it was ready for recording this time, everyone just got their tracks and recorded them separately. Reason was just that my home recording studio was not usable for a long time and in general we all are very busy and have limited time. With this approach we were able to make sure that everyone can record whenever it was fitting for him.
5. The approach taken in "Knochengesänge II" is certainly risky. We wouldn't call it radical, but what's offered is surprising. It seems to stem from a different vision than "Knochengesänge I" and reflects the band members' diverse influences and perspectives on black metal. How did you approach this idea and bring it to fruition as an album, and why did you consider releasing two albums with the same name but different numbering, simultaneously?
I originally intended to only release part II as a special version for die hard fans. But the label was very supportive and wanted to release it as normal album. Which I am very happy with now. Most of the time that I write a riff I will hear an alternative version of it in my head. And that’s how we approached Knochengesänge II. We just played around with this alternate version we sometimes heard and created a new song out of that idea.
6. One must acknowledge the band's ability to convey all the intensity, melancholy, connection with nature, the cold, and the solitude almost perfectly. After all this time, how do they manage to maintain their restlessness and interest in taking on new challenges? What inspired them this time to compose "Knochengesänge"?
Art and life mean constant striving. So far I have always found new topics and emotions that I needed to work on. Seems like I am a restless soul, that needs a new challenge always. The inspiration for Knochengesänge was my newly found fear of death, something I developed in the recent years. This came with panic attacks, sleepless nights and so on. So, it was the perfect ground to create this album.
7. That connection with nature that their music exudes is also very much rooted in their Bavarian identity. Their previous album already had a strong connection to the definition of home and also to the inclusion of German in the lyrics. What are the lyrics of the new album about, and why did they choose to address these themes?
As said before, this album is about our mortality and what we leave behind when we go. I needed to face the fear of death and work through some issues. Music and art help with that.
8. Markus Stock handled the mixing and mastering of the album. Why did they decide to work with him? Some of the drums were also recorded by Lukas Danninger in Minnesota. Where did this idea originate?
The drums were actually also recorded in Germany. Only the drums on The Little King and his architect, which were played by Austin Lunn, were recorded in Minnesota. For the rest we used a studio near our place, which was convenient and ensured that we got a great sounding recording. This is actually the 3rd release by us that was mixed and mastered by Markus Stock. We are very fond of his work and have a fantastic working relationship. Markus understands exactly what kind of sound our music needs.
9. The connection and, at the same time, the opposition between the album covers is reflected in the work of Bekah and Austin Lunn. How did the idea of working on the album covers in this way come about? What do they represent, and where do they belong?
The covers show the same mobile of bones, one in Winter, the other one in Spring. The mobile represents the “singing of bones”, when the wind runs through it and you can hear its sound. We decided to have the same motive but in a different setting, to showcase that the songs of both records come from the same DNA but are following a different approach and a different form of melancholy.
10. You've released another album with AOP Records, as you did with "Dahoam (2021)." How did the opportunity to work with AOP Records again arise? Do you feel more comfortable with a German label, or has the growing recognition of AOP Records in atmospheric black metal been more important?
We have an “unlimited” contract with AOP. So as long as both sides are happy, we’ll continue to work together. And we are extremely happy with AOP and all the work they do for us. And yes, it’s better for us to work with a German label. Given that Germany has the most Waldgeflüster listeners, it makes sense to have a label here.
11. I don't know if the connection of recording the drums in Minnesota has anything to do with it, but what "Knochengesänge" manages to convey emotionally reminds me a lot of Panopticon's work. Is there any link between the two bands? What similar bands would you not recommend?
As pointed out numerous times, Austin and I are best friends. Obviously, we have a strong connection, and we influence each other’s work. At the moment I am enjoying the new Sunken and Heretoir a lot. Both records share a similar sort of melancholy with us, I think.
12. How did the recording of the music video for "Knochengesang" come about and come to fruition? Why was that song chosen to promote your new album? What was the experience of being in front of a camera like?
The song basically is the essence of the record. A conversation with death. That’s why we chose it. We decided to work with Oliver König again for this video, and we think he did a fantastic job. The mood and content of the song is transported perfectly. We are very happy with it.
13. You are currently immersed in the live presentation of the new album, however, next year you will also be touring with Asagraum, Enisum & Convictive. How are your fans reacting to the live performance of "Knochengesänge"? Is it very difficult to capture all the emotion that your music evokes live? How did the idea of touring with Asagraum, Enisum & Convictive come about?
At least from the feedback I get, I think that we are able to transport the emotions of our music quite well. We are not a band where lot of people will headbang though. Most people will just stand there and listen to these raw emotions in silence. But they always stay until the end, and we always get very positive feedback afterwards. The tour in April is organized by In Fiction, a booking company that we have worked with for quite some time. So, they asked us if we wanted to join and we said yes.
14. How did you get started in music: the first concerts you attended, the first albums you bought? What event in your lives pushed you to want to be musicians?
I wanted to be a musician since I heard a friend of my parents play some Beatles songs on an acoustic guitar whenever they met. I was fascinated by that, picked up the guitar and started playing none stop. The first album I remember buying that enforced this hunger for music was Matchbox 20 – Yourself or someone like you, a record I pull out every now and then still today. It formed so much of my understanding of music and songs. First transforming live experience was Deftones, another band I still listen to quite often.
15. Which album represents the essence of black metal for you? What are the latest albums you've bought?
Ulver – Bergtatt will forever be the ideal BM record to me. Latest records that I bought are:
Vines – I’ll be here
Deftones – private music
Lankum – False Lankum
Ellereve – Umbra
Sunken – Lykke
So all over the place….
16. Thank you so much for taking the time to answer these questions for Black Metal Spirit. If you'd like to add anything for Waldgeflüster fans, this is the place. I hope you enjoy the questions.
Thank you for the interesting interview and the support!
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Oerheks – Winterzonnewende 36,99 €
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