THE DARK HIVE (TABERNIS): “We Are Deeply Inspired By Medieval Traditions”

Ethereal folk duo Tabernis are set to release their debut album entitled Seasons Of The Dark Hive is set to be released on April 24th. The duo (known as The Dark Hive) that make up Tabernis spoke with Metal Express Radio about the upcoming album, the formation of Tabernis, playing major festivals such as Wacken, and more. Check out the chat below!

Metal Express Radio: How did the formation of Tabernis come about?

The Dark Hive: Tabernis was born from the desire to step away from individual identity and place the focus on something greater than us. The figures you see are not meant to be recognized, they serve a purpose. At its core, the project is tied to the preservation of pollinators. The hive became a natural symbol: a structured, collective organism where each presence has meaning beyond itself. The ritual dimension did not come first. It emerged as we brought the project to the stage. As the music took shape in front of an audience, it became clear that it needed a form, something immersive, almost ceremonial.

MER: Who are some of your musical influences?

The Dark Hive: Our influences are not only musical. Of course, we are deeply inspired by medieval traditions, but also by visual arts such as Bosch or Brueghel, and by medieval representations of beekeeping. That said, bands like Saltatio Mortis played an important role early on. They were among the ones who introduced us to this kind of music and showed that it could exist on modern stages with real impact. We later had the opportunity to tour with them in 2025, which gave a concrete dimension to that influence. More than specific references, what inspires us is the idea of building a coherent world, something that goes beyond genre and becomes an experience.

MER: Tabernis’s debut album, entitled Seasons Of The Dark Hive, is set for release on April 24th. What can you tell fans about the upcoming release?

The Dark Hive: The album is built around the cycle of a hive, but through our own interpretation. These are not literal seasons; they are the seasons of the Tabernis universe, which we have named Aurora, Abundantia, Collectio, and Vespera. Each phase reflects a state of the Hive: growth, abundance, gathering, decline, but also something more ambiguous, something that belongs to our world. Rather than a linear record, the album is meant to be entered. It moves, it breathes, it shifts. Each piece carries a distinct intention and atmosphere, pushing it as far as it can. We did not try to follow a fixed medieval model. Everything comes from within, shaped through our instruments. What matters is not complexity, but whether it feels alive. The Dark Hive is at the center of it all, not just as a concept, but as a space where different states coexist, where something can feel both alive and unsettling at the same time.

MER: How was it writing and recording together for your first major album?

The Dark Hive: It was both a solitary and collective process. Most of the material began in isolation. Each of us explored ideas on our own, something very instinctive, sometimes a melody carried by the bagpipe, sometimes a rhythm coming from the davul. We let these elements exist on their own before bringing them together. When we met again, the goal was not to reshape everything, but to listen. What mattered was whether it felt alive. Improvisation played a key role. Some of the most important moments appeared unexpectedly, and those were often the ones we kept. The challenge was not to build complexity, but to preserve the identity of each piece while maintaining a strong coherence across the album. Because of the nature of our instruments, everything remains very physical and direct. There is no distance between the intention and the sound. In the end, the album was not constructed; it was revealed, step by step, as something that was already there but needed the right form to exist.

MER: What do you see as plans for yourself and Tabernis after the album is released?

The Dark Hive: We want to bring the album to life on stage. For us, the live experience completes the work. Beyond that, we will continue expanding the world of the Dark Hive, both musically and visually.

MER: Is there anyone you hope to tour with and why?

The Dark Hive: We are interested in touring with artists who create strong atmospheres and immersive experiences. The connection is more important than the genre itself. What matters is sharing a coherent world with the audience.

MER: Is there any place you hope to play live and why?

The Dark Hive: More than specific places, we are drawn to where the Dark Hive already exists. We have started to feel that there are different Dark Hives forming in different parts of the world. Each one has its own energy, its own presence. We would like to meet them, to bring the music to those who already resonate with it, and to see how the ritual takes shape in each place. Returning to the United States would be an important step in that path, as we know there is already a big Hive waiting there.

MER: Tabernis has already played some major festivals such as Wacken, and Summer Breeze Open Air. How was it playing to those massive crowds with only an EP out?

The Dark Hive: It was a very powerful experience. What struck us the most was how naturally the audience connected with what we do. Even without a full album, the energy was there. It confirmed that the Dark Hive already exists, it just needed a place to gather.

MER: How would you describe your sound to someone completely unfamiliar with Tabernis?

The Dark Hive: We often describe it as dark medieval music, but that’s only part of it. It’s a combination of traditional instruments, repetitive structures, and ritualistic intensity. Something hypnotic, physical, and collective.

MER: What are your hopes for the future of Tabernis?

The Dark Hive: To continue building something meaningful and coherent. To grow the Dark Hive as a real community. And to keep creating experiences that people don’t just listen to, but become part of.