Operatic black metal rising stars FOLTERKAMMER are pleased to finally release their sophomore full-length, 'Weibermacht,' which is now available worldwide as of today via Century Media Records! In celebration, the band is sharing the final single from the offering, "Die Unterwerfung," which can be heard below.
Vocalist Andromeda Anarchia comments on the offering, "This song somehow combines everything that is Folterkammer: classical music elements, raw black metal aggression, historical themes, mythology and quotes from European folklore, portraits of cunning and strong women, strong contrasts, and provocation.
"Folterkammer makes classical music, played by a metal band. Not symphonic music with an orchestral sound, more like a chamber music ensemble playing black metal recitals. Or as we call it: torture chamber music.
"The music of 'Die Unterwerfung' is strongly inspired by the classical aesthetics of the Middle Ages. Thematically, this song is about the old and well-known spicy story of Aristotle and Phyllis, which has been told in the southern part of the German-speaking regions since the Middle Ages. Since musicians are also storytellers, we wanted to translate this story into modern times and create a black metal version of it - and thus keep this wonderful old tradition alive.
"What the story is about: The beautiful and charming Phyllis seduces, tricks and humiliates the intellectual, role model figure Aristotle out of revenge in front of an entire court. Aristotle is then exposed to ridicule and disgrace and flees. In a distant land, he meditates on the deceitfulness of female cunning.
"This tale was written by an unknown court poet. It depicts the motif of the wise and powerful man who is seduced, humiliated, and disgraced by a cunning woman. Two German versions are known, the so-called Strasbourg version and the older Benediktbeuren version. We quote small passages from both versions in the intro of this song, immediately after an altered sequence from a popular German nursery rhyme at the very beginning of the intro.
"There are various explanations for the popularity of this motif: one of them is that it is assumed that the depiction was intended to appeal to the public as a warning against the deceptions and temptations of women and was therefore particularly popular in the religious context of the time.
"The motif of the superior woman who seduces, incapacitates and humiliates the wise man has been known in world literature since the 5th century and was particularly popular in Europe from the 13th to the 16th century. It probably came to Europe from the Orient at the time of the Crusades. The term 'Weibermacht' is an official art and cultural-historical term for this motif. The d*minatr*x embodies this female figure to the fullest, which is why we have highlighted her in our 'Weibermacht' album.
"In addition to the textual evidence, this motif was also widespread in the pictorial representations of the late Middle Ages. Depictions have been found on everyday objects such as knife handles, combs, and stove tiles. Sculptures and façade reliefs in various churches and cathedrals have also been documented. In art, a variety of design techniques were used to depict the motif. In addition to sculptures, drawings, copperplate engravings, woodcuts, ivory carvings etc. are also documented. A concrete example is the woodcut 'Weibermacht' (from 1513, by Hans Baldung Grien).
"It is obvious that we have also been influenced by this graphic aesthetics for our album cover, painted by the one and only Eliran Kantor."
'Weibermacht' serves as a counterpart to the band's 2020 debut, 'Die Lederpredigt.' The new record is another searing blend of modern black metal and classical music elements, lending to its Avant Garde sound. The music itself is elevated by frontwoman and vocalist Andromeda Anarchia's dynamic vocal work as she juxtaposes her classical training as an opera singer with her hellfire screams, summoning a maelstrom of ethereal chaos. Pre-orders are now live HERE.
The album artwork for 'Weibermacht' was created by Eliran Kantor
Founded in New York around 2018/2019, Folterkammer, or “Torture Chamber,” is the operatic black metal outfit that is redefining modern music. This ingenious band seamlessly fuses beauty with brutality. A combination of raw passion and technique contributes to the epic nature of Folterkammer’s dark art. Their work is both nostalgic and remarkably fresh. Yes, Folterkammer fuses various musical traditions and genres to craft an unparalleled experience.
Folterkammer is composed of Andromeda Anarchia on vocals, Zachary Ezrin on guitars, Darren Hanson on guitars, Laurent David on bass, and Brendan McGowan on drums. Both Anarchia, who hails from Switzerland, and David, who was born in Paris, divide their time between Europe and Brooklyn. Thus, even though the group can be described as international, Anarchia states: “It took New York to create Folterkammer.” Her project Andromeda Anarchia’s DARKMATTERS acted as the catalyst that brought her to the Big Apple, where she met Ezrin. Many metalheads already know that Anarchia has appeared as a guest on the three most recent albums by Ezrin’s brainchild Imperial Triumphant — a leading avant-garde band that marries extreme metal, jazz, classical components, etc. McGowan has also provided guest vocals for Imperial Triumphant, and Hanson lent his songwriting excellence to their 2012 instrumental track “Scaphism.”
Ezrin, McGowan, and Hanson have a wealth of shared history. These friends attended college together in California, where Hanson and Ezrin studied classical composition. Thus, much of Folterkammer’s orchestration is classically based. Hanson harbors a special love of Baroque music and knows precisely how to expertly wed it with his passion for black metal. Folterkammer was actually conceived when Ezrin proposed that Anarchia collaborate with him on some of Hanson’s material. Ezrin writes killer riffs and more for the band. McGowan was invited to join Folterkammer on Hanson’s wise suggestion. His drums are perhaps the heaviest element keeping one of Folterkammer’s limbs firmly anchored in traditional black metal. McGowan mines inspiration from different generations of acts: He names 1349 and old-school heroes like Blasphemy and Marduk. That said, black metal fans will also be pleased to hear the spirit of the second wave in the aggression of Folterkammer’s tremolo picking, for example.
The exceptionally skilled David, Folterkammer’s newest weapon, truly perfects the group with his golden touch on bass. Whereas the bass is not always as prominent as it could be in the content of many black metal groups, Folterkammer purposely allows David’s bass to shine through. Like his bandmates, David is an avid consumer of several forms of music, and thus creates delightfully eclectic art. He has received both classical and jazz training. This major talent has toured worldwide alongside musicians and bands such as Ibrahim Maalouf, Guillaume Perret & The Electric Epic, Yael Naim, and Shijin. David has done so both as a side man and as a band leader/producer. Anarchia and Ezrin already knew David before asking him to join Folterkammer. After all, David founded the “avant metal-jazz trio” Kilter of which Imperial Triumphant’s Kenny Grohowski is an essential part.
Lineup:
Andromeda Anarchia - Vocals
Zachary Ezrin - Guitars
Brendan McGowan - Drums
Darren Hanson - Guitars
Laurent David - Bass
Guest Harpsichord: Steve Blanco on "Anno Domina"
Album Credits:
Producer: Zachary Ezrin
Recording: Kevin Antreassian at Backroom Studios in NJ
Additional Recording: Laurent David and Antoine Delecroix
Mixing: Colin Marston at Menegroth, The Thousand Caves, in NY
Mastering: Fred Kevorkian
Cover Art: Eliran Kantor
Album Layout: Brendan McGowan
Photography: Alex Krauss
Logo Design: Mister Kams
Bio: Jillian Drachman
Photos: Alex Krauss
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