Aorlhac have long stood as torchbearers of Occitan history in black metal, channeling forgotten voices and landscapes into their music. From their early days shaping what became the “Trilogy of the Winds” to their latest steps forward, their craft remains deeply tied to heritage, rebellion, and the echoes of the past.
With their first performance in Romania set for Underground for the Masses II, it was time to uncover more. Here’s what Spellbound and NKS had to say.
Aorlhac
© Grimancyin
Greetings and thanks for taking the time for this interview. Let’s dive right into it—Occitan history plays a significant role in your lyrics. What sparked your interest in this theme?
Spellbound: In a modern world that interests us very little, the original and main idea since the band’s inception has always been to infuse a historical momentum thematically, to highlight our cultural heritage, and Occitan history has been part of that. It’s the band’s main driving force, perhaps even before the musical aspect. We mainly develop elements from Occitania, but we also sometimes narrow the focus to evoke our regional and local folklore, which allows us to revive forgotten stories as well as local figures or characters (bandits, writers, soldiers, etc.).
How deep do you go into research when crafting your lyrics?
Spellbound: Even though we keep some parts of our sources secret, we generally draw and compare our inspirations from books, explorations and travels, the writings or oral accounts of local scholars, and tales and legends passed down by our ancestors. And, why not when necessary, from the corners of the internet, which, whether we like it or not, is a great tool if you know how to search for the right information and distinguish fact from fiction. Everything is an excuse to develop our themes and texts, as long as the elements seem reliable
and serious.
Have you ever uncovered anything surprising or lesser-known during your research that ended up shaping a song?
NKS: Although this research is mainly focused on writing lyrics, in our early discographic days, we also drew from our folklore heritage. For example, the main theme of “Sant Flor, la cité des vents” comes from what we call an “Auvergnat bourrée”. In fact, most of these locally well-known tunes have no known authors, which prevents us from giving them the credit they deserve.
Your first full-length album “La cité des vents”, released in 2010, marked an important step in your discography—how do you view it today?
Spellbound: This album was a major turning point in our discography in several ways. It was the confirmation and second part of what would become our future “Trilogy of the Winds”, and it was also during this period that the trio formed by NKS, ASH, and myself evolved from a purely studio project to a full lineup ready for live performances. Initially working in isolation, particularly on our first studio effort “A la croisée des vents“, the team has since expanded. Despite several lineup changes, we now have a solid core with Alex on bass, Lenos on second guitar, and Gus on drums. Now, in addition to live performances, everyone contributes to the recording process. “La cité des vents” was indeed a major turning point and a catalyst in Aorlhac’s history.
“Le bûcher des Cathares” from the aforementioned album paints a vivid picture of the persecution of the Cathars. What drew you to this chapter of history?
Spellbound: To put it briefly, in the heart of medieval Occitania, there was a strong and clear division between those known as the “good men” or “perfects” (Cathars) and the dominant church. The year 1244, with the siege of Montségur, marks an important chapter in the history of what the region once was—a symbolic culmination of the near-total eradication of the Cathars, who opposed the dominance of the Roman Church. Even though it’s not a recurring theme within the band, it seemed important for us to address it.
There’s a strong sense of place throughout the album—Carcassonne, Montségur, Sant Flor. Is there a particular location on the album that holds more significance for you personally?
Spellbound: Many places mentioned or referenced in our songs are, of course, close to our hearts. For me personally, it’s the places where I live and those I’m geographically close to that resonate the most: Saint-Flour, Alleuze, Aurillac—for their historical and cultural significance, as I live near these places and still visit them regularly.
You close the album with a cover of Taake’s “Over Bjoergvin graater himmerik IV”. What made you choose this particular track?
NKS: In addition to drawing from our Auvergnat roots, Aorlhac originally had two major influences: Taake and Ulver. We decided to pay tribute to the former as early as our second album by covering this track. Even though this cover is now 15 years old, I remember that out of respect for Hoest’s composition, we aimed to stay faithful to the original interpretation, with only the vocals and the ending part reinvented.
Moving to “L’esprit des vents” from 2018—the album contains a mix of historical storytelling and personal emotion. How do you find the balance between these two aspects?
Spellbound: There’s a personal interpretation just as much as historical narratives. Since history constantly repeats itself in different forms, it’s easy to channel the aggression and emotion needed for this kind of exercise. The oppressor/oppressed dynamic evoked in some songs probably inspires, perhaps unconsciously, more personal or modern struggles too—linking the past and present through our music. We play and sing these songs as if we were on the battlefields we describe, as if we were soldiers or characters committing acts of violence, as if we were part of the landscape we depict. It’s a blend of nostalgia, urgency, and heightened melancholy.
The presence of betrayal and manipulation in “Infâme Saurimonde” is striking. What inspired you to explore these dark, deceptive figures in the context of your music?
Spellbound: In this case, I clearly used a folk tale to extract all its essence related to something universal, as well as a painful personal experience. That’s the magic of it—being able to express personal feelings through subjects that are sometimes very universal or ancient. The theme fits Aorlhac perfectly, considering the legend’s origins, but it also allows for clear identification with a specific theme—in this case, disunion and manipulation in romantic relationships, with its timeless and repetitive nature across centuries.
“Pierres brûlées” came out in 2021. Can you describe your creative process for the album?
NKS: After the success of “L’esprit des vents”, we had the opportunity to play about a hundred shows between 2018 and 2020. Even though some members are no longer part of Aorlhac today, that lineup undoubtedly shaped “Pierres brûlées”. Although it wasn’t a “live” recorded album, most of the songs were imagined while we were on the road.
Looking back on the creation of “Pierres brûlées”, were there any particular challenges or breakthroughs that stood out during the production process?
Spellbound: Every album is a challenge, a form of self-questioning, a desire to move forward and improve both as individuals and as artists. In the case of Aorlhac, I believe our evolution happened very naturally and spontaneously throughout our discography. The band started with little to no experience and a distinctly DIY approach. Progress has been made gradually over the course of our albums, and regarding “Pierres brûlées”, I believe that same logic followed us, of course with all the experience we accumulated along the way.
Given the complexity of the album’s themes, how do you hope listeners engage with “Pierres brûlées”—as an atmospheric experience, a historical exploration, or something else?
Spellbound: With “Pierres brûlées”, I chose to step away somewhat from the “usual” themes we tend to explore within the band. Perhaps to avoid repetition, or maybe to try changing our methods and evolving our lyrical scope. While there’s still a connection to our past work, this album excludes more of the predefined dates, locations, and battles tied to existing historical facts that we often base our writing on. Instead, it’s more about rural solitude, odes to our lands, and mankind’s relationship with nature. Something more elusive, more earthy—and let’s say 95% written from a blank page, without historical references.
Considering “Pierres brûlées” was released by Les acteurs de l’ombre (LADLO), what has your relationship with the label meant in terms of artistic freedom and reaching a wider audience?
NKS: We’ve been working with LADLO for a few years now, since the release of “L’esprit des vents” in 2018. Although most of their roster has changed since then, we have maintained excellent relationships based on trust and total artistic freedom, which I believe is essential to maintaining integrity in this industry. In addition to helping us expand our audience, we have also been able to rely on the high quality of their releases in terms of visuals and packaging.
Is there a particular song in your entire discography that holds a special meaning to you, whether due to its personal significance, the creative process behind it, or its impact on you as a band?
Spellbound: On a personal level, as we mentioned earlier, I would have to say “Infâme Saurimonde” for the reasons I discussed. In terms of a track that had a significant impact on the band’s history, I would especially mention “La révolte des Tuchins“. I think many people have a special connection with this song, and it resonates incredibly well with our audience, both in recordings and live performances. It was also a technical challenge for some of us.
Do you feel more at home in the studio, immersed in the creative process, or in a live setting, bringing the music to the audience?
Spellbound: I feel more comfortable in the studio—isolated from everything, in my bubble, my cocoon. The live aspect makes me more uncomfortable in some ways; there’s more pressure. But it’s still very enjoyable to meet the audience, share drinks, travel, and bring our music to the stage. The songs take on a very different energy compared to their album versions.
Speaking of live performances, you’re coming for the first time to Romania, at Underground for the Masses II. What does it mean to you to perform here?
Spellbound: We’ve had the chance to play abroad before (England, Belgium, Switzerland, Germany), and performing outside of France is always an exciting experience. This will indeed be our first time in Romania, and we are, of course, honored by this invitation. We’re eager to connect with your audience and hopefully see a bit of the country as well, especially since we’ve heard great things about the first edition of Underground for the Masses!
Aorlhac at Underground for the Masses II
© Nexion Arts and Anca Kivart
Are there specific songs from your discography that you’re particularly excited to perform live at this festival?
NKS: With our recent lineup changes, we’re currently reworking our setlist, and some songs that haven’t been played for a long time are regaining their spark! Personally, I’m curious to see how “Infâme Saurimonde” will be received. Unsurprisingly, “La révolte des Tuchins”, “La guerre des esclops”, and “Au travers de nos cris” remain some of our favorite songs to perform.
Do you have plans to perform more internationally?
Spellbound: We are waiting for our next album’s release to clarify our future dates, both in France and abroad. However, we are always open to meeting a new audience and visiting new countries.
Are there any specific countries or festivals you’d love to play at?
NKS: Despite the economic difficulties faced by some organizers, I feel like there are more and more quality festivals out there! As Spellbound mentioned earlier, we’re always honored to promote our music in new countries. Playing a date or festival in Scandinavia would definitely be something we’d love to experience with Aorlhac at least once!
What is next for Aorlhac in terms of new material? Are there any new musical directions or concepts you’re excited to explore in upcoming releases?
NKS: It’s still a bit early to talk about it, but what I can say is that we want to further develop the duality between epic and atmospheric elements.
How do you see your sound evolving with future releases—will it be a continuation of your current style, or do you plan to experiment with new elements?
NKS: Some may think we’re taking a step backward because, unlike the direction taken with “Pierres brûlées”, we will be taking full control of the production for the next album. This step is crucial to ensuring our sonic identity. Also, within the band, there are now three of us with experience in this field. Some members are also multi-instrumentalists, so the next album could well be an opportunity to experiment with new sounds.
As we wrap up, are there any final thoughts you’d like to leave with the crowd before you perform at Underground for the Masses II?
Spellbound: Thank you for this interview. We are, of course, excited to be there and to bring our music to your stage.
