“Music once belonged to something deeper than entertainment” – interview with dark folk duo Tabernis

The Belgian dark folk duo Tabernis doesn’t fit into the traditional metal or rock category, but despite that, it has been enthusiastically received at both Wacken and Summer Breeze festivals. What is this duo, dressed in medieval beekeeper outfits, all about? Chaoszine spoke with the band on the verge of releasing their debut album “Seasons of the Dark Hive.” The album will be released April 24th via Napalm Records.

Greetings, Tabernis! How has your spring started and who will be answering our questions?

Tabernis: Greetings. Spring has begun to awaken again. The first echoes of the Hive have already been released, and the response has been immediate. Something is already moving. This is Umbrae & Noxifer answering for Tabernis.

Let’s start from the beginning. When and how did Tabernis come to be?

Tabernis: Tabernis did not begin as a constructed project. It came from a shared perception, a fascination for the medieval world, its sound, its rituals, and the idea that music once belonged to something deeper than entertainment. At the same time, there was a growing awareness of how far we have drifted from the natural balance that sustains us. The Hive became the point where these elements met.

You have quite a unique thing going on: medieval beekeeping. How did that become your thing? Is there a deeper meaning behind it?

Tabernis: It came naturally. Beekeeping is one of the oldest relationships between humans and nature, it carries something symbolic, almost sacred. But it also reflects something very real. We are moving further away from balance, we consume more than we preserve. Pollinators are essential, yet increasingly threatened. The Hive represents what we are losing, balance, cooperation and respect for what sustains us. Through Tabernis we try to make that felt rather than explained.

You’re about to release your debut album “Seasons of the Dark Hive” in April. What can listeners expect from it?

Tabernis: They can expect to enter a world rather than just listen to a record.
Each piece is built to push its intention as far as possible, to carry a specific atmosphere.

We did not try to follow a fixed medieval model. Everything comes from what we hold inside, shaped through our instruments. The album is not linear. It moves, it breathes, it shifts. It is a space where different states coexist, where something can feel both alive and unsettling at the same time.

Can you walk us through how a typical song on this record came to life, from initial idea to final version?

Tabernis: It often begins in isolation. Each of us works separately at first within his own space, exploring something very instinctive. Sometimes it starts with a melody carried by the bagpipe, sometimes with a rhythm coming from the davul. We let these first elements exist on their own before bringing them together.

When we meet again we don’t try to reshape everything, we listen. What matters is whether it feels alive. Improvisation plays an important role in this process, some moments appear unexpectedly and those are often the ones we keep. The challenge is not to build complexity but to preserve the identity of each piece while keeping a strong coherence across the whole album.

You’ve previously covered Corvus Corax’ song “Mit Dans Is All Die Werlt Genesen (Alveus Umbrae)” which is a medieval-ish German tune and on the upcoming album you have versions of the 13 th century songs “Ai Vist Lo Lop (Apem Vidi)” and “Palästinalied (Mel Obscurum)”. Do these songs have a special meaning to you, or do they just happen to fit your “vibe”?

Tabernis: There is always a reason. These pieces carry something that has crossed centuries. What matters to us is not the text but the sound. A melody that survives through time carries something beyond its origin. We do not approach them as covers, we let them pass through the Dark Hive.

What emotions or reactions do you hope listeners take away after hearing “Seasons of the Dark Hive”?

Tabernis: Something between energy and stillness. A form of connection, not only to the music but to something deeper, something older. A feeling of being part of something larger.

How do you plan to bring the atmosphere of the album to life in a live setting?

Tabernis: By making it physical.
Sound, movement, presence. It is not built as a performance but as an environment, something shared, a ritual. We are no longer alone on stage. The Dark Monks now move with us, extending the presence of the Dark Hive. They bring depth, texture and a stronger connection to what exists on the album. Through them the atmosphere becomes more complete.

You’ve already performed on bigger stages, such as Wacken and Summer Breeze. How does the audience react to your music in such settings when compared to smaller shows?

Tabernis: On larger stages something happens very quickly. The sound spreads and the reaction becomes immediate.
The audience responds as a whole through movement rather than individuality.

At a certain point you stop seeing people as individuals. You begin to perceive something else, something very close to a swarm. That’s how we know we are in the right place at the right moment. The Hive becomes visible.

What does the future hold for Tabernis? Any touring plans, Finland perhaps?

Tabernis: We are already moving. Several major festivals appearances are planned in Belgium and Germany, and more will likely follow.
Nothing is planned for Finland at the moment, but it is a place we would truly like to reach. If the Finnish Dark Hive is called there, we will listen carefully.

Thank you for your time! Anything you’d like to add to your fans and our readers?

Tabernis: We feel deeply grateful.
The support we have received has been stronger than we ever expected. It is something we do not take lightly. To see the Hive take shape like this, beyond us, beyond the music… it is something powerful.

We are truly thankful. The Hive grows with every presence that answers the call.