BERGFRIED (EN)

-To begin with, I’d like to know about Erech’s other musical projects. Since you’re mostly a black metal musician, is Bergfried a way to express yourself from a different perspective?

It is not all that different in my opinion. For me, the biggest difference is that it is a collaboration between Anna & me compared to my solo efforts. To be able to work with such a great musician and also talk about new ideas is a big gift. Music-wise it’s not that far from Ancient Mastery or some Carathis releases I’d say.

-For some reason black metal has a story tolerating, accepting or turning a blind eye if not supporting bigoted ideas and behaviours. What are your thoughts on this? Is it important to you to position yourselves in this issue?

It is important to position myself personally on that issue, but I don’t expect a political stance from every other artist and musician. I do believe in freedom of expression to a certain degree, and that also includes to piss off everyone. How you react to that is an ongoing discourse, which every person with integrity in this genre has to have with themselves. I think a lot of times the people behind those problematic ideas are just juvenile edgelords and that’s it.

-In fact, you’re working with an openly antifascist label which is also ran by a woman, Fiadh Productions. How did this cooperation arise? Is it something you seek for to work with people with similar ideas? Is it maybe a way to make of your art a safe and welcoming space?

Bariann (of Fiadh) approached me in the summer of 2022 after she heard Romantik I and asked about doing a vinyl edition, so we had a quick call and talked details. I like what she’s doing and I’m grateful to work with such an inclusive label. But apart from that Bariann is also one of the hardest working people in business and the communication and organizing are flawless.

-How did you and Anna meet? Why did you decide to use pseudonyms and is there any deeper significance/symbolism to them?? It’s been impossible to find a picture with both of you, but I think this adds to the mystery behind the band.

We’ve only met two times, so there are of course not that many pictures of us together. During the creation of Bergfried, I was writing about women of the late Middle Ages, so Lothringen & Savoy were just really catchy name choices and not directly connected to actual historical figures. Anna and I met on a vacation in Crete btw.

-In fact, the songs were written before Anna had joined Bergfried. What are the pros and cons of this?

The biggest con with this is definitely that I didn’t know her vocal range. Gladly there were just minor changes in some vocal melodies because she has quite a big range. The pros are definitely that I can just do whatever I want haha

-I’m eager to know about the influences behind your lyrics and music. Could you tell us about musicians or novels that you consider key to your music proposal? One cannot help but to think about the brilliant Song of the Nibelungs while listening to your tracks.

I think the vibe I was trying to match was the Grime Stone Records stuff, so it was intended as a black metal project with synths and catchy melodies. I realized quickly that I have enough of those projects, so it turned into what you can hear now. The musical influences range from The Devil’s Blood, Manowar & Dream Evil to Pat Benatar, Meat Loaf, or even some early 2000s punk music. Lyrically it’s not comparable to the grand epics, in my opinion, I see it rather as a romantic Disney-like tale of two lovers. It’s something for people who like swords & sing Celine Dion under the shower and cry.

-It is inevitable to talk about the widespread use of the synthesizer, with which you achieve an original sound within metal, more typical in eighties AOR or synth-pop bands.

What can I say? Half of the music I listen to is from the late 70s to the early 90s. For me, that’s the golden age of rock music for me. Well-written and -produced, cheesy and catchy as fuck.

-Why is the tragic love tale behind Romantik divided in two parts? I believe it really adds to the theatrical experience, as well as the different characters and tempo changes. Is it a completely closed story or can we expect a third instalment?

Yes, it has three parts. Romantik III is in the making as we speak and will bring this story to its end, which won’t be the end of Bergfried though, because there are more stories to tell. And the why is a really good question. I just like to do coherent releases. I like movies, books, and albums that have several parts, maybe it’s because I’m not that good at letting go.

-Romantik is a title that can have many layers and meanings. What’s the meaning behind the title? Literally and not.

Romantik for me symbolizes one of my favorite periods in art, literature and music and based on that the possibility to experience that kind of romanticism in everyday life, with being able to romanticize common, everyday situations and find deeper meaning in them.

-Where does this interest in history and the Middle Ages come from?

I think it started with LOTR when I was 11. A friend gave me the German radio play of it and I was hooked and listened to the ten CDs a few times in a row. Then it was fantasy books like Dragonlance and the Osten Ard saga and with that came an interest in castles and medieval weapons. Years later I majored in Medieval history.

-This period of history has been – and still is – often used for political purposes, especially in certain genres of Metal, where a romanticised view is used to support supremacist ideas. From what perspective do you write about it?

First of all I have to be clear that Bergfried is a perfect example of a romanticised view on the medieval times and there are no real historical factors at play here. The Middle Ages were not simply Dark Ages, nor were they the Paradise some people want it to be, but if I had to take a perspective with Bergfried, it would be a rather simple and heavy metal idealization without supremacist ideas.

-I found quite interesting the many collaborations that we can enjoy in your second EP. How did you get in touch with Sarah, Katja, and Cesar?

Sarah was a huge fan of Romantik I and I’ve known & liked her band Smoulder for quite while, so it was a no-brainer to ask her to sing the role of the devil. Katja I’ve discovered on fiverr actually and with Cesar I’ve already worked on the Golden Blood debut album.

-Something that gets attention from the beginning of your albums is the wonderful and mystical covers. We would like to know who crafted them.

Haharobin from Indonesia is responsible for that. He has a very specific style that fit the sound of Romantik I & II just perfectly.

-Erech is the owner of two music labels: Doctrina Carnis and Ad Victoriam. Why have you work with an outside label for Bergfried’s releases?

Doctrina Carnis and Ad Victoriam are basically defunct, after I realized I was not made to be a label owner. So I am really happy that Fiadh Productions and Stormspell Records have taken care of the physical releases.

-We can draw parallels between your music and that of the German band Grendel’s Sÿster (beyond the fact that you have both released two EPs). We would like you to tell us which current bands, whether Austrian or not, you think are musically like you.

I really don’t know any band that is like us. I think the mixture is quite unique, especially with Annas musical-trained voice and the shameless pop influences. Bands like Grendel’s Sÿster, Lordian Guard or Warlord which we are often compared to are playing in a different league and I wish we can do the comparisons justice with our next release.

-Finally, we would like to know if we can wait to see Bergfried live? Or is it more of a studio project?

We are aiming for 2026 for the first live appearances of Bergfried, because right now it’s rather complicated with being in two different parts of the planet with Australia and Austria. So let’s hope for the best!