HEXENBRETT: Beyond Darkness and Beauty: A Journey into Metal’s Duality and Freedom

In this in-depth interview, Hexenbrett gives us a rare look into their unique creative world as they prepare for their upcoming album release. They dive into the intense process of writing and recording, the influence of vintage horror films and Giallo aesthetics, and the haunting allure of blending horror with beauty. They reveal their perspectives on themes of desire, fear, and freedom, emphasizing their commitment to pushing boundaries and avoiding strict genre labels. This interview unpacks their philosophy of metal as a vessel of freedom, creativity, and expression beyond conventions, offering fans a look at the vision behind their dark, cinematic sound.

-Hi, first off thanks for answering to our questions. How’s everything doing in the lair of Hexenbrett being close to release your new album?

Thank you for having interest in what we’re doing. It’s basically the calm after as well as before the storm. The process of writing, rehearsing and recording this album was very intense and quite overwhelming, both in a positive and not so positive way. In December things will get going again with two live shows accompanying the release of the record. After that we will see what 2025 will bring.

– In Dritte Beschwörung: Dem Teufel eine Tochter, the music feels like it could be the score for an arcane, never-before-seen horror film. When crafting these songs, do you envision a specific storyline or visual atmosphere for each track? Could you share any scenes or mental landscapes that were in your minds while creating this album?

Thank you. We actually don’t envision anything, as all these things start happening while the songs are being composed, arranged/rearranged and finally recorded. The only thing we had in mind was the fact that this record is an offering to the concept of free will as well as the duality of life itself. Power was and is also an important aspect.

– Your music bridges the gap between the macabre and the beautiful, a duality that seems central to your work. How do you personally perceive this contrast between horror and beauty? Do you feel it speaks to some kind of duality in your own lives?

That’s the duality I was referring to. It’s important to achieve balance, at least in what we’re doing. Horror and especially Giallo cinema hugely relates to this aspect and we chose to incorporate this dynamic into our own creation as well. Without light there’s no dark and vice versa. They both enhance each other, but not everybody thinks like that.

– Your sound draws heavily from vintage horror films and the experimental music scores of artists like Goblin. Are there any obscure films, directors, or specific scenes that have had a lasting impact on your approach to composition and storytelling?

Jean Rollin is very important, especially “Le Frisson des Vampires”. It’s a very good example of this duality of beauty and the macabre. Among some other scenes in the movie it’s the opening title sequence itself that is very powerful and had a huge impact on the output we create.

Besides Rollin there’s also the Giallo movies of Sergio Martino or Umberto Lenzi that managed to heavily influence what TTERBNEXEH is. Especially Lenzi’s driving/landscape sequences are a peak in beauty, both visually as well as musically.   

– In Dem Teufel eine Tochter, themes of desire, fear, life, and death are interwoven with strong symbolism. Could you walk us through your lyric-writing process? Do these symbolic ideas come to you naturally, or is it more of an intentional layering of meanings?

There’s usually a universal theme that functions as a common thread when the lyrical process starts. Each song asks for a specific topic which then leads to lines, verses and titles. The lyrics’ main purpose is to become an extra layer to enhance the music. They need to amplify, otherwise they’re useless.

– Your work on this album has a polished yet haunting production quality. What did you set out to accomplish with the production this time around, and what was it like working together as both musicians and producers on this project?

It was a very demanding process, but we are very happy and satisfied with the outcome. The general aim was to take the next step – better musical material material in general and also better performances and a better sonic outcome. Besides our own discography, the only two records that we used as references in the studio were Melissa and In Color, justto keep things simple. We already know how we want to sound so it’s actually pretty easy to work towards that goal when the right people are involved. In the end Tomasso Venti definitely was the right choice for that.  

– The themes in your music often hint at occult and esoteric philosophies. Have either of you had any personal experiences or explorations in these areas that influenced the making of Dritte Beschwörung? How do these interests impact your art?

They are of no importance at all, and it seems that some people misinterpret that. The only philosophy that is important in TTERBNEXEH is that of freedom.

– Your music feels very visual, almost as if it’s painting scenes or landscapes. If you could compare this album to a landscape or a place—real or imaginary—where would you say it takes listeners? Is there a particular mood or aesthetic you’re aiming to convey in this «place»?

Probably because we are being inspired by movies more than music. Bands are usually inspired by other bands. In our case it’s different. Now this is a very blunt description, but we don’t listen to Defenders of the Faith and then write a new song. We usually watch, see or read something and then get inspired – musically, lyrically and visually.

I think the listener will be taken through urban, neon drenched scenarios as well as more rural and calm areas. Dirty streets on one hand and romantic cemeteries on the other. And there’s a quick detour down to Egypt, of course.

– Horror literature often explores the psychological depths of fear and fascination. Are there any writers, novels, or short stories that have left a significant mark on your approach to songwriting or your views on horror?

There’s the classics like Lovecraft, Poe or Bradbury. But there’s also other things like The Graveyard School poets or Matthew Gregory Lewis who influenced us in one way or another. Sie Fliegen or Farben der Nacht, for example, were directly influenced by some of the names mentioned above.

However, it’s not only classic literature. Scarlettina has heavily been into comics for the last couple of years and draws a lot of influence from Dark Horse, Image and Warrant publications.

– Your work on Dritte Beschwörung has a sense of dark mythmaking, as if creating a personal or band mythology. Do you see Hexenbrett as a way of expressing parts of yourselves that might otherwise stay hidden? How much of «Josto Feratu» and «Scarlettina Bolétte» are characters versus extensions of yourselves?

Nothing stays hidden, everything is shown – it just depends on how closely one looks.

– Your music transcends simple genre categorization, which is rare in a metal scene often bound by tradition. How do you feel about the concept of “cult” status, and what does it mean for you as artists to push boundaries? Is it important for you to maintain a certain mystery or enigma around Hexenbrett’s identity and sound?

The most important thing is to simply not care about any of that. Metal music stems from Rock ‘n’ Roll, and the latter represents nothing but pure freedom. To us it is important to maintain that sense of freedom. Many Heavy Metal bands seem to be very obedient to what their rulebook says. There’s a lot of “must-s” and “have to-s”. Not in our world. We do what we want, that’s our identity.

-That’s all from our side. Thanks again for answering to these questions. If you’d like to add some final words; it’s your turn.

Thank you for providing us with this platform. Listen to our music on hexenbrett.bandcamp.com and come to the band’s live shows.

So long,
J.