"Krone" interview

Perchta: Musical legend culture from Tyrol

Midwife and mother by day, Frau Percht on stage by night: this is how the artist celebrates Tyrolean legends with her folkloristic metal project.

(Bild: Krone KREATIV/Prophecy, Cartismandua)

Seven years ago, a Tyrolean midwife with a love of music fulfilled her dream with Perchta. The band has been touring live since 2022, mixing harsh black metal with folkloric and natural sounds. Now the second album "D'Muata" has been released, on which Ms. Percht mixes feminist and contemporary themes in Tyrolean dialect with rural legends. A fresh and successful splash of color on the musical map.

The legend of the Perchten and Perchta originates from Bavarian-Austrian, Alpine customs. She is the mistress of the Raunächte, winter goddess and leader of the wild hunt. A kind of goddess of the dead, but also the goddess of fertility, who is said to grow grain and protect the house and farm. In 2017, a musically active Tyrolean woman carved her alter ego Frau Perchta out of this legend. The project, initially conceived as a solo performance, combines textual elements from old legends and customs with current topics such as motherhood, nature conservation and traditional symbolism.

The lyrics are written in Tyrolean dialect, while musically Perchta, who have been playing live with well-known musicians from the local metal genre since 2022, mix raw black metal sounds with folkloristic spurts, ambient influences and unusual instruments such as dulcimer, zither or devil's fiddle. On their second album "D'Muata", which is being released these days, feminist thoughts and natural spirituality are combined into a maelstrom of unique sounds. Whispering, hissing, yodeling and screaming are not only permitted in the songs to enhance their content and effect, they are also encouraged. On the occasion of the new album, band founder and front woman Ms. Perchta gave us deeper insights into the being and nature of the project and her life outside of it.

"Krone":  Ms.Percht, we are increasingly seeing bands like Wardruna, Heilung or Perchta refer to various traditions, myths and legends of the respective folklore. What is the magic of these themes for you?
Frau Percht: I've always been interested in the complexity and closeness to nature of these folkloric stories. It is particularly exciting to combine more topical themes with old legends and fairy tales to make them more relevant. We are blessed with the landscape and culture in which we were allowed to grow up and still live. The nature that surrounds us in combination with the rich world of legends is reflected in our compositions. The extremes of light and shadow, the brute and the subtle are core elements of our work.

With all three bands mentioned, we are constantly on the rise. Some play big festival slots and open-air shows, others are still growing in the underground. Why do you think bands that emphasize nature and mysticism are so popular?
It's not just musically that I'm happy about this development and this change in attitude. In my view, it conveys a global reflection on our origins, mindfulness and sustainability. In my opinion, the musical trend also reflects the more conscious life of many people in terms of vegan nutrition, waste reduction, climate neutrality, etc. In a (first) world of abundance with a consumer-driven society, it is good to reflect on consistency, authenticity and familiarity. In our sound design, we take great care to convey emotions using, for example, ASMR sounds (they promote a relaxed and calming feeling - author's note) and nature sounds to offer a more intense listening experience. That feeling of sitting around a campfire in the mountains, far away from plastic and media, listening to the old stories and sounds of nature. 

What does the band Perchta stand for and what do you stand for as Ms. Percht? What messages do you carry out into the world and do the songs, albums and band as a whole follow a concept that is already well thought out?
As Frau Percht, I am incredibly lucky to have fantastic musicians behind me with my Perchten, who are more than just band members. I see them much more as my brothers, with whom I get to spend a wonderful time in front of, behind and on stage. As a family, we weave a strong bond of trust and make all decisions together. Tasks are distributed according to talent and ability. With great gratitude and reverence, I am responsible for the creative development of our projects. Since 2013, before the band was officially founded in 2017, there have been three almost fully developed album concepts.

Each coherent and cohesive in itself, as well as with parallels to the other albums. The big all-encompassing concept describes the cycles of life. In "Ufång" the cycle of nature on an elemental basis and in "D'Muata" we deal with the cycle of life with a focus on the female cycle. With reach comes responsibility, so I see it as our duty to spread context that is meaningful to us, but without being missionary. With "D'Muata", Cartis Mandua, a great Austrian artist with whom we work a lot, and I want to start a small movement to create more cohesion among us female artists. This is to be carried out into the world under the name "Schuiterschluss da Schwestanschåft" and contribute to more solidarity, acceptance and authenticity among women.

If we compare Perchta with Heilung or Wardruna - do you see any fundamental similarities in the content or approach of all three projects? Are you siblings in spirit?
Among my eternal top 10 albums is definitely "Runaljod - Gap Var Ginnunga" by Wardruna. When I discovered this album in 2009, a new musical world opened up before my inner eye. This music has been with me ever since, even though I no longer follow the new/further creative process of Wardruna. I draw on the magic of the first album. It often happens that Perchta is compared to Heilung, even though I can only recognize a few parallels myself. Maybe it's the hair, or the ritualistic, folkloristic elements in the stage presence or the music.

I have the greatest respect for these artists, who bring their work into the world with the utmost dedication and attention to detail. I have already been able to experience the impressive show in Munich twice as an audience member. What clearly distinguishes Perchta from these two greats is the black metal framework that our music is clothed in. Even though we don't like to divide our work into genres, it is a suitable framework for us to emphasize our concept of brute force and subtlety. This gives us a niche life in metal, but we love our freedom and have other priorities in life. We enjoy every moment we get to experience through our music, but not at any price.

Basically: Where do Alpine folklore and Nordic mythology meet? To what extent does a concept such as esotericism carry weight in your musical and conceptual world?
We see many connections worldwide in the legends and folklore. For example, to follow the geographical path of Frau Percht, we see how she becomes Frau Holle further north and Frigga further down in Scandinavia. I love this connecting idea. We are all one, we all have the same origin. This can definitely be seen as a spiritual aspect of Perchta. Be it the power of three, the elements, the symbolism or the witches' creed, which finds a lot of space in Perchta's artwork or lyrics.

I tend to distance myself from the word esoteric in my private, personal and professional life. What counts for me is living according to the principles of nature, in harmony with my environment. For me, mindfulness and conscious experience have little to do with external forces, but rather with a strength and ancient knowledge that every living being carries within itself.

How can bands/projects like yours be combined with an increase in fans and followers from society? Is it even "healthy" to continue to grow in breadth?
As already mentioned in the answer above, my priorities are distributed differently. For me as a mother, freelance midwife and front woman, every day is a new ordeal and logistical masterpiece. Despite everything, I love and need every part of my life. In order to experience the dream of being in a band as "healthy" as possible, I need a strong social network, both within the family and within the band. I also need clear and open communication and a conscious awareness of my own limits.

We enjoy celebrating songwriting sessions, band rehearsals and road trips together, sharing the incredible experience on stage and then talking to the people who feel and appreciate our music. For us, it's not about getting as much growth as possible and the like/follower counter in the social networks. In conversations with people in front of and behind the stage, as well as via email, we experience incredible appreciation for our work and our deliberately few live concerts and online presence. So we continue on our path - full of confidence. With the certainty that quality before quantity is right for us and that we will reach listeners who appreciate this principle as much as we do.

Ms. Percht with her full live band.

(Bild: Cartis Mandua)

What are the values or traditions that you want to convey with Perchta? And what are you yourself inspired by?
We don't want to be missionary in the sense of telling people what we believe in. During the songwriting process, every artist is probably in an extremely vulnerable phase. Topics that move us, such as nature conservation, mindfulness, women's rights, etc., were woven into the musical web of Perchta with a lot of passion in both concept albums. The wonders of nature that surround us and the lovingly detailed traditions of our Alpine culture with all their symbolic power result in an insatiable flow of inspiration throughout all seasons without any stupid patriotic ulterior motives.

What stories or legends do you draw on lyrically for the Perchta songs? What are - musically and also in terms of content - elementary stylistic devices that serve as a continuous basis?
As already mentioned, our concepts are cyclical. We love the all-encompassing, interconnected idea, according to the Gaia principle: the big in the small and the small in the big. In addition to the legend of Mrs. Percht as the soul guide of her children, we particularly liked the two legendary figures of Långtuttin and Stampa for the female concept. Both figures are similar in their fairy tales. Very darkly packaged and set to an Alpine horror soundtrack, with disturbing ASMR noises of creaking beams, a squeaking oven door, scratching and knocking, the legends and the dark desire for a child are presented from the demons' point of view. The origins of this lore can be traced back to the dark and merciless times of the historic Tyrolean side valleys, when life was characterized by pain and suffering due to the loss of a child or when children were deliberately discouraged from going into the woods alone by means of black pedagogy.

The Långtuttin lured children by offering them her breast to be eaten. The legend of the Stampa only exists in the Tyrolean Gurgltal. This creature abducted unattended newborn babies from the puerperium. In other cultures, similar stories can be found in the "changeling" tales. I am always interested in the meaning behind a legend or a legendary figure. So we also interpreted the traumatic background of an unfulfilled desire to have children, the loss of a child or abuse/neglect in upbringing in this piece. The radical nature of black metal certainly provides us with a suitable framework and the folkloristic, traditional instruments such as the hammered dulcimer and zither provide a perfect counterpoint for us. Moosmandl in particular manages to project the Alps directly onto your soul with his harmonies on the dulcimer, no matter where you are.

Is Perchta and your life outside the band also about a basic and genuine way of life? Do you have a credo that avoids concepts such as neoliberalism or capitalism as much as possible?
Perchta is a part of me and the attitude and philosophy found in Perchta is also reflected in my daily life. In today's world, where everything has to move faster and limitless growth is approaching the limits for people and the planet, it is all the more important to live in harmony with yourself and the environment around you. It is important to me to focus on the things that make life unique and valuable. This doesn't include material achievements, share speculation or mainstream recognition. It's moments that you remember forever, it's family that fills you with so much love that nothing else could, and it's meeting people and hearing their stories.

I feel very strongly how important it is to be together, and it hurts how against each other the world is. That's why I make it my daily task to promote and live together. I don't know if you should call that "real". That would deny the opinion of those who see it differently, which I don't want to take the liberty of doing. Nevertheless, I am convinced that this feeling of appreciating and loving interpersonal relationships can be an enrichment for everyone and can harbor the very happiness that we are always looking for on our journey through life.

In what context do Perchta texts take place? So: between witchcraft, nature magic and spiritual local color - are there other areas you can/will go into?
I found strong inspiration for the lyrics of "D'Muata" from my own life as a midwife, mother and wife. I also got inspiration from conversations with friends and observations of world events. The text of the "labor canon", for example, has been with me since the beginning of my professional career. I have sung this empowering mantra for expectant mothers and sometimes with them as I accompanied them through the birth process. Other lyrics were written after the birth of my son or in the course of brainstorming, for which I usually isolate myself for a few days on a mountain pasture.

With Wardruna, it's easy to project themes into the present. I think this is also possible with Perchta, if you think about climate protection or leaving nature in a world of increasing soil sealing. Is that really the case and are many songs particularly aimed at the present?
Absolutely, most of the content of our songs is highly topical. I like to think of Perchta as a Gesamtkunstwerk, because for us the concept behind the band and the albums is at least as important as the music we write. Packed with symbolism and allusions to current world events, there is always a lot to discover and recognize behind the folkloristic, rustic cloak. Whether it's nature conservation in "Erdn" or the topic of domestic violence against women in "Ois wås ma san", we like to point out social problems with the sharp claws of the Perchta and thus encourage reflection.

Does the approach of the Perchta project involve a certain "everything used to be better" romanticism? Or are you basically creating a kind of wishful past in order to make the present the way you would like it to be?
No, on the contrary. It is precisely the harsh, cold and frightening mysticism and atmosphere of our history that allows us to transport the pain of some of our ancestors from remote mountain villages and learn from them. But always with an eye to the future, to a hopeful future. Trusting in the all-encompassing, ever-regulating nature that takes each individual back into the cycle of life.

To what extent is Perchta as a band an outlet for your emotions, longings, desires and wishes, or how far does the project extend into your private life? Or is there a strict separation here?
A highly emotional question for me! I put on the Percht as a stage character with the greatest reverence shortly before the concert. Like in the transitional phase of a birth, I give my body to her and am amazed and astounded each time anew at what happens. It was a process that I often resisted at first in order to exhibit the loss of control. In 2017, Perchta was considered a studio-only project, with no intention of ever playing live. But over time, I learned to allow this process and let myself drift, even enjoy it. As a conflict-averse, sensitive person in need of harmony, feelings such as anger and aggression always had a very negative connotation for me and I found it difficult to express or endure these emotions, let alone deal with them.

My subconscious processed them in my sleep and nightmares plagued me for decades. All that remained was to escape into lucid dreaming, from which the vision of Perchta also emerged. There is no light without shadow. I need the Percht. But it is with deep gratitude that I put this role down again with relish after a concert. For me, a show is like an emotional high-wire act full of ecstasy. The nights have been quiet and peaceful ever since.

To what extent is the addition of symbolism important for Perchta? What do instruments, stage equipment or additional visual features consist of? Do you put them together yourself and what do you use or what are props or costumes made of?
Almost everything visual is handmade, consists of natural materials and has been selected with the greatest care. The symbolic power is hidden in every detail. From the stage decoration, which consists of branches from our forest, to bone fragments from game carcasses that have been specially prepared for this purpose so that the death of these creatures is honored and at least given a little meaning, to family heirlooms that are carried on. The Percht's garment is a traditional "Kasettl", or "Röcklgwand", which can only be found in the Tyrolean Lower Inn Valley. It was slightly modified by hand by a tailor friend and also decorated with family heirlooms.

For me, the connection to my ancestors through these relics is extremely important. They strengthen me and give me support during a performance. The microphone witches' broom, the drum, the devil's violin and the satchel were made to my specifications by blacksmiths, tailors and instrument makers from the immediate vicinity. Even the costumes of the Perchten are individually tailored. For example, our Gsell wears his carpenter's outfit and the Woidschrat wears leather trousers that are over 70 years old. The black handprint they wear on their faces is applied by the Percht in a small internal ritual before the show as a symbol of solidarity.

Which collaborations with which other artists or styles are realistic and conceivable for you with Perchta? And what other steps are planned for the project?
Thanks to our open and sociable nature, many friendships have been made during our concerts in recent years. We are looking forward to some exciting collaborations in the future. We live and celebrate the idea of networking in our scene, especially because we ourselves as musicians of Perchta are very busy in other projects (e.g. Asphagor, Vinsta, Lichtspielhaus, Agrypnie, Wesen, Firtan). At the end of the tour, there will be a self-organized show in Innsbruck in November around the campaign "16 days against violence against women" with a focus on protection against violence and human rights.

In addition to the concerts, there will be a vernissage by three German and Austrian artists, whose art prints will be sold in aid of the Tyrolean women's shelters. We are particularly looking forward to the reading by author/journalist Julia Korbik from her book "Schwestern - die Macht des weiblichen Kollektivs". In keeping with our motto for "D'Muata": Schuitaschluss da Schwestanschåft!

Live in Innsbruck in the fall
The next time Perchta can be seen live in Austria is on November 30th at the PMK in Innsbruck - before that there are a few dates in Germany. Further gigs later in the year are still possible. You can find more information and all other dates for the band at www.perchta.tirol.