Hulder is a woman-one black metal force, channeling the raw black metal energy of bands like Dark Throne and Emperor into a psychic trip into the realm of folklore.
Also known as “The Inquisitor” or her birth name, Marz Riesterer, her aim is to interpret black metal through a unique, person lens, as well as the raw spirit that fuels it. We caught up with Hulder about her next release out next year, Godslastering: Hymns of a Forlorn Peasantry.
How did you first discover black metal, and why did it specifically speak to you?
My affinity for extreme music has been a lifelong experience. As a young teenager, I was exposed to some of the black metal classics, and my will to dig into the depths of the genre intensified from there.
Having been born and raised in the outskirts of Mechelen, Belgium, medieval architecture and lore were an inevitable fixation. Of course these themes have been often displayed and played upon by the greats of the genre and thus piqued my interest.
What can we expect from the new EP, and how did your collaboration with Iron Bonehead come about?
The debut full-length is to be released on January 22, and it will be entitled Godslastering: Hymns of a Forlorn Peasantry. As the debut, full-length album, my intention was for the material to be a strong introduction to those who may not have been following the demo tapes and EP that I’ve released over the last few years.
Given that Iron Bonehead re-issued and widely distributed the collection of my previous materials (released under the title De Oproeping van Middeleeuwse Duisternis), it was only natural that IBP would handle the album as well. I have been very happy with the following that the label has provided and the physical distribution of my material has been better than I could have imagined.
Why is raw black metal still relevant in 2020, and what drives you to keep making it?
I cannot speak to how relevant black metal is in 2020. This is not something that I have ever pondered nor do I care to. If my music is looked highly upon, I will be grateful and if it is not, it will not concern me.
My intention is not solely to create black metal but more to craft music and audial experiences that I feel compelled to create. Inspiration is drawn from texts, musical compositions, paintings, photographs, myths, and fairytales, and these are all seemingly endless sources of material.
Do you have any other plans in the works, like livestreams or other future projects?
The first single from the new album, “Upon Frigid Winds,” was released a few weeks ago along with an accompanying music video. As far as a live stream goes, I am not opposed to doing so; however, aside from the drums, I record every aspect of the music myself.
At some point, I would like to form a live lineup, but with the future of touring being undetermined due to current circumstances, it isn’t much of a priority. It has been unfortunate to see live music dry up completely, but it has served as motivation to isolate and create.
What was the writing and recording process like with this album?
The writing process for the album really began when I was forced to stay inside my home during the initial Oregon shutdown. It was a fairly natural process, and I believe that the material that was written has conveyed the audioscape that I wished to create.
The tracking process was unique in that the drums were tracked by Necreon at The Underworld Studios with CK (Ascended Dead, Void Ceremony). The vocals, keys and strings were all tracked by myself at De Pestkerk. Working with CK was a natural process as he mixed the Embraced By Darkness Mysts…” EP last year and had an innate understanding of the direction that I wanted to take this record.
What were some of the lyrical themes on the album?
I wanted to craft a series of short glimpses into the visions, experiences, and allegiances of the inhabitants of a mythical realm. Darkness, realization of self-power, loss, sorrow, and ultimate triumph are some of the themes that influenced the lyric-writing process.
Photo courtesy of Hulder
