Withered Land -"‘’Sound is one way to express aggression''
- Sparky
- 33 minutes ago
- 7 min read
Olga Kann is the visionary and multi-instrumentalist of Withered Land, a project that is not bound by simple descriptors, part black metal, symphonic, world and traditional music the new album “Hall of the Dead” continues the growth and evolution of Withered Land, that continues to be epic in not only its soundscapes but scope whilst venturing into heavy conceptual territory.
Olga Kann – ‘’Yes, this album was composed and recorded with a completely new approach. It was much more challenging than the previous one, and a colossal amount of work went into it. Initially, I wanted to infuse a dark, far more oppressive atmosphere, as if an evil entity were constantly stalking a traveler through a winter forest. Every scraping sound is alarming, the gazes of hungry wolves and crazed necromancers seem to loom everywhere. And the heart pounds so loudly that it drowns out the rasp of the hoarse voice. At the same time, I wanted to infuse the album with a cinematic epic feel and leave room for lyricism, as in the title track. Ethnic instruments were added, largely because of the new concept, but also to add authenticity to the sound; they're much more lively than samples and impart a medieval flair. The album's overall concept revolves around death, about the inevitability of fate, the suffering of a wandering warrior. About the cycle of things in nature and the cyclical nature of existence. About the fate of kings and simple beggars; the hall of the dead awaits everyone.
The world of Skyrim and its rich source of inspiration for material? Is the lost traveler and original character within the realm?
‘’This album evokes the atmosphere of Skyrim, its cold winter forests and the desolate northern desert. It contains references to the characters, but I largely wanted to give the listener the opportunity to be the main characters themselves and experience this story from a first-person perspective. To be that guest in the Hall of the Dead and listen to the stories of the departed travellers with complete involvement, without being tied to specific individuals, but immersed in each person's colourful story. To discover what hopes each deceased cherished for the afterlife, whether they longed for Sovngarde or believed in nothing. What were their final moments like? Were there those who will now mourn them? I wanted to convey the atmosphere of this stone hall, with subdued candlelight and a ray of sun/moon shining through the gaps in the roof. Stone is the same for everyone, but for some it cherishes warm hope, while for others it is as cold as ice. And silent, unable to provide answers to many questions.
Is it a journey? An ascent or descent?
‘’The debut album featured more of a journey, a prologue of sorts. Here, it's definitely a descent. But at the same time, I still think of this concept as neutral. This whole cycle is a given, not a punishment, a deliverance, or a redemption. It's a path that can be walked with dignity. Or you can choose not to walk it with dignity. In either case, this cycle of universe will put everything in its place, and every grain in the millstones of time will turn over in the hourglass, from top to bottom an infinite number of times there and back. So all these are two sides of the same coin and they always hang around our necks, both hope and despair.
It is a much richer more textured offering, With dungeon synth and some traditional Viking.
‘’Yes, it's very important to me to make the material not standard black metal, but to introduce various elements that will help immerse you in the story in a more engaging way. To combine new combinations, without regard for fashion or tradition. I love the atmosphere of dungeon synth, as well as the melodic/pagan feel reflected in Viking stuff. In general, an idea or concept is born first, and then the style is formed. It would be wrong to box myself in and limit my creative imagination. I follow what comes from within.
the importance of continuing to grow and develop musically?
‘’In any case, the more you practice, the better you get. For someone who loves composing music and dedicates a significant part of their life to it, everything happens naturally. Regular practice is essential. I play quite a few instruments and also practice both extreme and pure vocals. It's a lot of work, and of course, I could choose one and become a virtuoso in it, but I wouldn't be interested in it without everything else. Therefore, my approach is different: study as many different musical subjects as possible, then put them together. Practice regularly, not the same thing every day, but something specific each day. For example, one day I might play bass and practice vocal exercises, the next day I might devote myself to kantele and flutes, and another day I might work on arrangements for future tracks. The life of a multi-instrumentalist composer is never boring.
It also has its visceral moments. The importance of expressing such aggression sonically?
‘’Sound is one way to express aggression, but it's not the primary one. It's more of a holistic approach. It's important not to overdo it, so the song doesn't become a solid wall of aggressive pressure, and it shouldn't become monotonous (although sometimes such effects are needed to convey a lingering atmosphere). Everything depends on the specific track and its specific purpose. What's its atmosphere, story, and development? Or is it a meditative immersion, where it's important not to disrupt the monolithic process and the melody loops itself. Incidentally, I wanted to achieve a similar looping effect in "All Dead, All Rotten." It's minimalist, with only one a crucial climax that serves to convey tension (when Frodo falls into the water), and then it returns to its usual narrative flow. After all, it's not so much a story as a mourning of past losses and the present demise of the lands.
The inspiration for All Dead All Rotten?
‘’This is the only track on this album focused on Tolkien's worlds, specifically the history of the Dead Marshes. It shares a common theme with the other tracks: tragic deaths, desolation, and devastation. Echoes of a bitter past hang in the air as the listener slowly wanders through a hazy halo. The bitter fate of people, warriors, no matter who won the battle, the price was high, and in the end, none of it mattered. Such things should never happen again, but they always do.
There are also live shows to support the album?
‘’I have a live line-up, but we're in no rush to perform right now. I'm thinking of playing a few shows in my hometown first, and maybe in other cities around the country.
Is the emotion of the song and its message more important than following a traditional song structure?
‘’Absolutely more important. The idea always comes first, and only then does its execution. Then the result is a sincere work of art from the author's soul, not a marketing ploy where you try to fit a song into something traditional. There are certain logical approaches, but sometimes you want to violate them or simply ignore them, following your own compositional instincts and emotions.
The importance of presenting a true expression of oneself through your music?
‘’That's exactly what I'm trying to do. There's no point in doing what someone else, or even yourself, has already done. I add different stylistic elements, different themes, and change my approach to arrangements. I'm very grateful that listeners embrace this and enjoy experimenting with me.
Do you define extreme as how much one puts themselves into their art honestly and fearlessly? You are also incredibly busy with other projects such as Monumentum Damnati and a project dedicated to World of Warcraft? What inspires you to be so busy and the realms of games as a source of inspiration?
‘’Games are a significant source of inspiration for me, though I'm not exactly an avid gamer. I love both books and movies, drawn to history and the authors behind them. My interests in genres range from fantasy worlds with dragons to horror suspense with bloody endings. I enjoy solving detective mysteries, exploring gothic haunted houses, and following the heroic journey of an epic warrior. Warcraft is a very important game series and lore for me. It saved my life at one point and continues to inspire me to this day. I regularly watch tournaments and have my favourite gamers. Of course, I'm a fan of Undead, and I send warm greetings to Happy, 120 and Labyrinth. This game inspired me for creating Life For Ner'Zhul band, also some references can be found in Withered Land songs. For Withered Land the main games for inspiration are The Elder Scrolls V: Skyrim, Dark Souls, Elden Ring.
‘’Monumentum Damnati also features references to games. For example, "Anabiosis" from the first album is inspired by the game Cryostasis: Sleep of Reason, featuring its tragic romantic hero Danko, who saved others by ripping out his own heart and lighting the way for humanity like Prometheus. Overall, the project is more focused on horror, philosophical themes, mythology, Lovecraft, Edgar Allan Poe, and more.
‘’In my dark ambient project Cryo Depth, I'm also inspired by games, and not just inspired by them, but also writing soundtracks/soundscapes for games. My favourite sources of inspiration are: Stalker, Resident Evil 4, Outlast, Clive Barker's Undying, Amnesia, Scratches, Silent Hill, Penumbra, Sublustrum, various gothic vintage quests like Dark Tales based on Edgar Poe.
‘’Regarding my workload, I'm currently focusing all my energy on my main project, Withered Land, and Olga Kann (besides covers, I'm also working on a folk album). Monumentum Damnati will likely undergo a rebranding and rethinking. In my limited free time, I try to support my other projects and participate on collaborations.
Final thoughts ?
‘’Thank you so much for your support. I'm working really hard right now, gradually establishing my creative process and looking for ways to maximize my enjoyment and relaxation in what I do. The new album has received a lot of enthusiastic feedback, and it definitely inspires me to keep going. Thanks!