Welcome to Artist Spotlight, our new series where we introduce you to fresh and exciting artists you need to hear now! This week we are bringing it back to the medieval times to showcase TABERNIS, the mysterious yet hauntingly compelling ethereal folk duo who just released their stunning debut album Seasons Of the Dark Hive in late April via Napalm Records. While their music is largely instrumental and utilizes traditional folk instruments such as the bagpipes and davul, TABERNIS’ music invites the listener to find their own personal interpretations and escape into deep reflection through every human emotion.
Seasons Of the Dark Hive finds the medieval beekeepers in TABERNIS expertly towing the line between classical primitiveness and modern rock and roll energy across fifteen tracks, creating something widely unique and musically groundbreaking in the process. This spring/summer TABERNIS will be bringing their immersive live performances to various major European festivals and will undoubtedly continue to convert many new fans to join their “Dark Hive.”
In an exclusive interview with Haus Of Cult/The Pretty Cult, TABERNIS reflect on the creation of their ethereal debut album Seasons Of the Dark Hive, their use of traditional instrumentation, musical escapism, their unique medieval beekeeper aesthetic, immersive live shows — plus so much more!
Leading into the writing and recording of Seasons Of The Dark Hive, what was your overall creative mindset? Were there specific myths, regions, stories, or historical periods that shaped the core of the album?
TABERNIS:. Seasons of the Dark Hive is a response to the excitement surrounding Tabernis. We wrote it entirely five months after launching this project, which was originally intended for small shows in taverns. We quickly followed the momentum. We decided to write enough material for a concert of over an hour to meet the demands of our first dates, like the multi-day event at the Esalen Institute in California. We also wanted to offer a wide musical range to our listeners. We composed it in the heat of the moment around the Dark Hive, without asking questions or setting a specific plan. We created everything almost all at once and we are now releasing this first album.
Can you walk us through your writing and recording process for this release? As a debut album, it serves as a full introduction to your sound, so how important was it to make sure everything was as cohesive as possible and the best representation of where you are at musically today?
TABERNIS: We wrote it in a spontaneous and traditional way. We work a lot remotely and everyone stays free in their creations, working how and when they want. Usually, the bagpipes provide the base. We add the davul on top and arrange it right away without thinking about historical barriers. Sometimes, the davul provides the base and the bagpipes adapt to it. Some tracks were born from improvisations during our video shoots (for example, Lupanar Apum, the improv that created this song is visible by searching for behind the scenes). We recorded and mixed almost everything at home with technical support, keeping the energy of a live performance to preserve our feeling. The sound design, including sound effects and cello, was done with the help of our Dark Monk. We kept the imperfections on purpose. The mastering was handled by a studio to meet industry standards. For the mixing, we keep the typical sound of our first demo, just a bit more polished.
Is there a particular atmosphere or environment you prefer when writing in order to capture the darker moods and energy that define your music? Do you find the traditional studio setting to be an effective environment or do you prefer connecting more with nature and the external world? Are there any films, books, or art that need to be present when writing your music?
TABERNIS: We recorded in a familiar setting. The mastering studio is also close to us as we used it for our contribution to Saltatio Mortis' 25th anniversary album. The most important thing is that the sound engineers and the team enter the Dark Hive. They must soak up this positive energy and become full members of the band. We all work toward a common goal without getting bogged down by useless human problems. We formed a bubble to give birth to this project together. Everyone expresses themselves freely while respecting our framework: a raw recording with extreme live energy. We are obviously fans of medieval fantasy stories, video games, series, and movies that accompany us often and everywhere.
What have your individual musical journeys looked like? When did you first discover your connection to instruments like the bagpipes and the davul, and how has your musicianship evolved over time? Does it feel rewarding to be keeping these traditional instruments in the forefront of your sound at a time where they are not common?
TABERNIS: We have been playing percussion and bagpipes for many years. The davul was the obvious choice for Tabernis because this traditional instrument is portable, just like the medieval bagpipes. Learning the davul started with the project in June 2024. We keep the basics of the instrument while adapting it to a more rock version. These traditional instruments are alive. They react to the weather and humidity, which offers changing sounds depending on the location. Keeping these instruments going is rewarding. They are part of our heritage and past energies.
Your sound feels very raw, primitive, and organic while still being created in a modern context. How do you balance maintaining that authenticity while making use of modern day tools?
TABERNIS: We use authentic instruments and play them in an authentic way. We aim above all to make them sound as cool as possible, without ever distorting them too much. While our base remains traditional, our creative approach is modern since the davul, the breaks, and the arrangements are thought out with a rock energy. The idea is not to lock ourselves into medieval music at all costs, but to mix these universes freely and make them our own.
What does "The Dark Hive" represent within the context of the album?
TABERNIS: The Dark Hive belongs to the lore of Tabernis. It is a universe linked to our music that explains how medieval beekeepers find themselves here today. Some details are featured in our lore (available in our collector's pack). To summarize, the Dark Hive represents our hive. It is a small world, positive but ruthless, just like nature. We work there together to gather and share a moment.
Our audience, our technical team, and everyone revolving around the project form this human hive. It is governed by a Queen (imaginary) who reportedly sent the beekeepers and the dark monks to deliver a message, or something. We will reveal more information about this universe throughout our existence.
With Seasons Of The Dark Hive, what do you hope listeners ultimately take away from the experience? What are your hopes for bringing this niche sound to a wider audience and expanding your reach?
TABERNIS: We hope that people will close their eyes and let go. The idea is to look deep inside yourself and freely interpret your own emotions to feel united with others. Since there are no lyrics, only a few texts, everyone can make this sound their own. It is a call to open up positively, to forget your worries, to laugh, dance, cry, or be melancholy. A track works just as well as background music for a boss in Dark Souls, Kingdom Come, The Witcher, as it does while being alone in the dark reflecting, or even partying with the community. It is an album open to interpretation within the framework of the Dark Hive, because you are part of it.
Can you talk about the inspiration behind your visual aesthetic and outfits? What are you aiming to convey through that side of your identity?
TABERNIS: These are medieval beekeeper outfits from a Pieter Bruegel the Elder painting dating back to the 1500s. The goal is to represent a specific character and function within the Dark Hive, such as a protector or a voice bearer. The person behind the mask matters little, since the outfit becomes the character itself. The Dark Monks also join us live. In the story of Tabernis, they are specters and companions to the Beekeepers. They bring offerings and carry a specific energy. All these characters have names. Even though the individual fades behind the costume, the musicians remain the same.
You are preparing for several major European festival appearances this spring and summer. What are you most looking forward to, and what kind of atmosphere do you aim to create for the audience?
TABERNIS: It is essential for us to bring our atmosphere and our story in addition to the music. This is why we remain anonymous. We like to play with dark voices and moods that are both heavy and joyful. On stage, a great team helps us convey this universe. The sound engineer plays a central role because he mixes our instruments in a unique way to manage our unusual setup. On stage, we are five or six, accompanied by the Dark Monks. The dark voice and the cello atmospheres are performed live. We follow a ritual of offerings to the audience: we distribute honey-producing flowers and objects from the stage, and we even send gifts with a catapult. We do our best to bring the Dark Hive on stage to the swarm watching us, which is part of it.
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