Oerheks – “An ancient force, a wisdom that is contained in the forests and fields of Kaggevinne”

The combination of enchanting atmospheric Black metal and profound lyrics dealing with the Belgian area of Kaggevinne were just a few of the many obvious qualities of the band Oerheks. To delve into what moves the band and what lies ahead, we contacted mastermind H. The questions and answers in this interview were formed over the course of several months and took place in Dutch. Not only since it’s our mother tongue, but also out of respect for a beautiful part of Belgium. The text was translated to English by TheWhisperer and H., and the Dutch version makes an appearance on the website here as well. This conversation follows previous interviews with our colleagues of Addergebroed and Severed Heads Open Minds, for which we thank them and gladly refer to the original sources at the end of this article.

Thank you for this opportunity to further dive into the world of Oerheks. It’s been a few months since the release of ‘Landschapsanachronismen’. How do you look back at the material? And as far as it’s something you’re concerned with, what is both the most flattering as well as the most surprising that people have said about it?
I’m quite happy with how the second Oerheks release has been received. It also seems that because of ‘Landschapsanachronismen’ more people started listening to ‘Cagghenvinna’, and like that try to keep track of the band. I still see people discovering both releases on Bandcamp, and as we are writing this interview, the LP and the Tape versions of both releases are sold out from the respective labels. So, I certainly have no reason to complain.
Besides the positive reviews and comments (such as those on Bandcamp) I have received some messages from listeners that sent stories about old oaks in their own vicinity, people that sent me pictures, etc. The most remarkable came from a listener that because of the release visited the old oak in Kaggevinne along with the surrounding area.
One of those listeners is yours truly. Fascinated by the stories of Oerheks we set out to the region of Kaggevinne on a recent vacation to visit not only the oak, but also the forest of Averbode as well as a small area around the river Demer. A beautiful area of which in particular the oak left a deep impression, quiet and solitary, standing in the midst of agricultural fields. It made us feel insignificant, but also somewhat saddened. How did your connection with the oak form?
My first memories are from a time when my parents lived in a solitary house close to the oak. They moved there when I was about two years old. I saw the oak every day, from the windows or from the backyard. When I was five years or so, we moved a little bit further away but I kept visiting the oak regularly. When I moved back into the area (and within walking distance from the old oak) in 2009, that personal bond was reinforced. Until this day it’s still one of my favorite places to be.

The perspective of the first demo was aimed at describing the beauty of the nature of Kaggevinne. Compared to the first demo, besides that admiration of the surroundings ‘Landschapsanachronismen’ also harbors an inherent pain of the loss of the Prinsenbos (which translates to Prince’s Forest) that used to surround the oak. This is captured in the lyrics, but certainly also in the melancholic undertone of the music on the second demo. What was your main motivation to focus on this subject?
The old oak is an essential part of this landscape. As I describe on ‘Landschapsanachronismen’, there is a certain charge and history attached to this tree. Since Oerheks mostly narrates about what this area used to look like before humanity was here, the oak cannot be ignored as a last survivor and silent witness of the Prinsenbos that once graced these hills and plains.

Previously you indicated that many of the songs form at the moment that you decide to record, and that you close yourself off from everything to reach a state of trance or of a ritual. What does it take to decide it is time to record a demo? A riff, a structure, a theme?
That can be either of the things that you mention, but regardless it goes hand in hand with an intense need to create for Oerheks. Often a theme/concept is the first incentive, riffs and ideas start to shape around that and I start to build the songs. The lyrics usually come last, but already from the first step in the process it’s clear what they will deal with and what story they intend to tell.
Does that mean that there are also subjects that you purposely put on the shelf to immortalize because you are still searching for a fitting musical interpretation?
You could indeed describe it like that. I have a whole list of concepts that I could still work on, and most of these evolve several times before I effectively start to work on the musical side of them.

In a previous interview you already indicated that the recordings of Oerheks are released as demos because the band is still forming and is essentially still imperfect. What have you learned from ‘Cagghenvinna’ and ‘Landschapsanachronismen’? How do you listen back to these older demos when you compare them to the later demos that you have finished since?
The largest part of the recording process of the first three demos happened within the time span of a few months, in fairly rapid succession. As a consequence the sound of the first three is therefore along the same lines, even though there is an evolution in the organization and structure of the songs. Demo four is short (18 min.) and I created it in two days, five months after I had started on ‘Cagghenvinna’. This fourth demo is quite different in atmosphere and sound. A little while later I recorded the song for the split with Aerdryk. After that it took a while before I effectively started recording again (partially because a lot had to be finished on the first three demos, such as vocals and artwork). In July 2022 I recorded the largest part of the fifth Oerheks release. Whether that will be a demo, only time will tell. More details will follow in a later question.

Depending on the times at the vinyl pressing plant, the third demo ‘Valkengebed’ will see a release in October/November. Judging by the title ‘Valkengebed’ (which means ‘Falcon’s Prayer’) I imagine a falcon up high in the sky, searching for its prey. Is that the theme we can expect from the upcoming demo or is there another story hidden behind the title? What influence did the theme of ‘Valkengebed’ have on the sound of the songs?
What you imagine is exactly what this demo originates from, the (almost daily) sighting of falcons preying above the fields of Kaggevinne. In the end ‘Valkengebed’ turned into a diptych; with the second song ‘Blauwe Vleugels’ (‘Blue Wings’) inspired by the many blue herons that found their home here.
This demo shows a different side of the surroundings and history of Kaggevinne. These animals were here long before people settled, and are – together with other fauna and flora –  still the true rulers of this landscape.
Of course we will have to wait a little while more before the demo is released, but in the sense of the theme in relation to the music, can we expect a more primal approach in the sound, representing the ancient forces of the flora and fauna?
I would rather describe it as more ‘floating’ and perhaps even more impressionistic. In certain passages I tried to transcribe the prayer of the falcon and the flight of the heron into music. Ultimately the goal of this demo is the same as ‘Cagghenvinna’ and ‘Landschapsanachronismen’, to transport the listener to the Prinsenbos and its surroundings.

What further details about ‘Valkengebed’ can you release, as well as about the fourth and fifth demo that at the time of the release of ‘Cagghenvinna’ already started to take shape? Is there more lying on the shelf at this moment?
At the time of writing, the LP version of ‘Valkengebed’ is in production, and the tapes are as good as ready for production. These are (once again) respectively released through Amor Fati Productions and Babylon Doom Cult Records. This time, the artwork was drawn by Pierre Perichaud (Business for Satan), who also drew the band logo. In addition, he provided a unique shirt-design for the release.
Demo 4 is still awaiting vocal recordings, while demo 5 is still a release that I have my doubts about; in the sense that it might not be a demo, but an album. Time will tell. Besides that there is also an upcoming split with Aerdryk, hopefully coming in 2024.
Coinciding with the release of ‘Valkengebed’, there will be LP-reissues of ‘Cagghenvinna’ and ‘Landschapsanachronismen’. At the request of Babylon Doom Cult Records we will – if all goes well – together with Amor Fati Productions also present something on CD format for the first time.

Demos are classically a platform for experimentation and to add new elements. Is there something you would still like to experiment with on future demos?
I’m still contemplating (and there are some existing recordings) releasing demos with only ambient material. I’m not 100% confident whether those will ever become a reality, but I did already start the experimentation.
Otherwise I want to keep challenging myself as a musician. Even though the formula for Oerheks songs has for the most part remained the same, I want to continue to try to become a little bit better at playing the instruments and arranging and producing the songs.

In a previous interview with Addergebroed you said “I want to know what used to be before, what this area looked like before humanity and what drew the first people to explore the area.” You have also indicated your fascination for old maps, to collect these, and you even used one on the cover of ‘Cagghenvinna’. What other resources did you use to immerse yourself in the Kaggevinne of the past?
Just some of the resources I used are:
B.De Maegd & J.Aerts – Kaggevinne, bij Demer en Diest in Vlaams-Brabant (2014)
L.Duerloo & M.Wingens – Scherpenheuvel, Het Jeruzalem van de Lage Landen (2002)
A.Boni – Scherpenheuvel (1953)
A.Lantin – Scherpenheuvel, Oord van Vrede (1971)
P.De Maeyer, M.Galand, B.Vannieuwenhuyze, G.Vanthemsche – De Geschiedenis van België in 100 oude kaarten (2021)

In addition I started digging online where I found a lot of articles and writing that taught me more about the history of the area.

In ‘Een Oude Wijsheid Werd Hier Geveld’ you describe the following: “They came from the direction of the Demer, And moved South, The forest of Princes, Step by step, Tree trunk by tree trunk, a downfall of more than the sun, all became flat.” When I was preparing for the review and started reading about the history of the oak I could only find that on maps of approximately 1870 and later the forest appears to disappear. Did you manage to find what exactly took place that led to the disappearance of the Prinsenbos?
It wasn’t so much one specific thing that happened, but a sad evolution that unfortunately happened at many different places in Europe and the rest of the world. Slowly humanity expanded, which increased the need for food. In combination with cattle breeding and cows that need massive amounts of food, this all led to deforestation… Most of what’s grown on the fields of Kaggevinne these days is food for cattle. The native fauna and flora still have to make way for that to this day…

The old oak returns on both of your demos released thus far. On the first demo it is described as The Last of the Princes, referring to the last remnant of the Prinsenbos. On the second demo you ask the question “Mighty Prince, Oerheks, where are your companions”, and you ask the Oerheks to represent the pain of the landscape. Is the old oak essentially the same as Oerheks? Or is it more literal, and is something known from ages ago about witches’ circles and forest rituals in the region?
Yes and no. The old oak is just one of the embodiments of what Oerheks represents. For example, I refer to him – in the same text –  as ‘Oereik’ or ‘Ancient Oak’. For me Oerheks is a connecting and overarching concept around the stories and history of my region. An ancient force, a wisdom that is contained in the forests and fields of Kaggevinne.
The stories about witches’ and druids’ rituals to the oak are certainly based on truth and still occur to this day. Unfortunately little details are known about this.

More than once in a while I get the impression that nature is not something people are aware of, that they treat recklessly without any realization of how precious it is that for instance trees like the old oak have been part of the landscape for generations. Do you consider people like yourself that care about how nature used to be also a type of anachronism, something that doesn’t quite fit in the current time?
In general I think humanity doesn’t belong to this time, or any time. My first steps into nature, even as a child, were steps away from people. If nature teaches us something it is that as a species, we are insignificant. Most of the elements from our environment have been here long before humans came, and will still be here long after they have gone.
That is an interesting perspective which raises a point. On one hand humanity is trying to control nature, but in reality we are nothing more than a puppet at the whim of nature, something that’s reflected almost daily in our struggle against heat, wind, water etc. Do we as humanity merely have the illusion that we have control over nature and the land, and is a phenomenon like the oak a sign that nature is always there, despite how we as humans are trying to influence/destroy it?
It’s indeed a delusion that humanity controls nature. It doesn’t take a whole lot to see through that. You already mention some good examples; when in summer it gets a little bit warmer than expected, it’s almost immediately met with a panic reaction. I remember a warm summer, when all of the sudden trains couldn’t go because the tarmac underneath the tracks was too soft, and basically had started melting. The same panic applies to cold, water, storms, etc. Other than that you only have to go to abandoned places. Take away the human element permanently, and nature reconquers all in a matter of mere months or years. An extreme example are the surroundings of Pripyat near Chernobyl, where due to radiation danger – in the best case scenario – humanity cannot settle for another 20.000 years. However, despite the predictions of mutations and cancer types, it appears that fauna and flora – less than 40 years after the nuclear disaster – have once again found a balance. Within the exclusion zone there are wolves, bears, lynxes, bison, deer, moose, foxes, wild boar, about 200 species of birds, etc. When researching the flora within the environment, scientists found that plant species had undergone protein-alterations, as a protection against the radiation. Furthermore they found radiotrophic species of fungi in the area. These fungi have adapted to use the radiation as nutrition instead of rejecting it. Once again, this all happened in less than 40 years… I believe that – once we inevitably disappear – humanity will be quickly forgotten, like a virus, rapidly shrugged off by the planet.

Lyrics are an integral part of Oerheks, something you seem to pour your heart and soul into. You also wrote lyrics for the song ‘Mijn Boetedoening’, the first song of the impressive Aerdryk debut. What did you do to move yourself in the mindset to write the lyrics for this purpose? 
That is quite an interesting question, but the answer is perhaps a little mysterious. I wrote the lyrics for another project of CvB, because he wanted to do more with the Dutch language. Things then went a little differently; the lyrics inspired him to start Aerdryk and write several lyrics in Dutch for that project. So from my side it didn’t require so much of imagining myself into that situation. The lyrics were a gift to a friend that later sort of started a life of its own. CvB and I have learned over the years how we can trust the process and inspiration of the moment. The lyrics of ‘Mijn Boetedoening’ are a perfect example of that.

Scrolling through your posts on Instagram reveals you have a very diverse taste in music that besides Black Metal also includes many Doom Metal bands and even trips to later Ulver. You have previously shown your affinity to Doom Metal in for instance Monads, while Ignifer, Silver Knife and Oerheks all thread on Black Metal paths but differ strongly from each other. Is there a musical direction that you would like to explore in the future? Hint: I wouldn’t mind a ‘Watching From a Distance 2.0’.
Besides the projects you just mentioned there are a few other things ongoing, both newer and older (anonymous) projects. In these I explore other styles, mostly subgenres of Black Metal, but indeed also Doom Metal. Somewhere inside me is the need to create more, to explore and to experiment. I’m always busy with the next project. Some of these turn into releases, others don’t. But I won’t delude myself, ‘Watching From a Distance’ cannot be touched, period. (redaction- Agreed, a record at a lonely height!).

Pure out of interest about what moves you on a musical level. What albums have impressed you recently? Can be old or recent and in any style.
Recently I’ve been listening to both Müür albums a lot, both of which have been released on vinyl by Babylon Doom Cult Records at the time of writing. I can’t get enough of these two records.
Additionally:
Altai-Sayan – S​ä​ngke​-​T​ū​rem Najt Mut​-​Mor​ä​h
Auld Ridge – Folklore from Further Out (as well as both albums from 2021)
Djevel – Naa Skrider Natten Sort (and its predecessor ‘Tanker Som Rir Natten’)
Eternality – Deaþwyrd
Haavard – Haavard
Lure – Memories of Humanity
Mournful Congregation – The Exuviae of Gods, pt.2  (and pt.1)
Urdôl Ur – Seven Portals to the Arcane Realms

Furthermore it’s hard to get these artists out of my constant rotation: Anathema, Darkthrone, Deathspell Omega, Emperor, Hexvessel, Immortal, My Dying Bride, Paysage D’hiver, Ulver, … The list could go on and on!

I think that’s it for the questions. Thank you for the pleasant conversation!

For previous in depth conversations with Oerheks we would like to refer to the work of our colleagues of:

Addergebroed
Aerdryk & Oerheks – De beste muziek komt uit de underground
https://addergebroed.com/2022/08/10/aerdryk-oerheks-de-beste-muziek-komt-uit-de-underground/

Severed Heads Open Minds
Interview with H. of Oerheks (Silver Knife, Hypothermia, Monads…)
https://severedheadsopenminds.blogspot.com/2023/02/interview-with-h-of-oerheks-silver.html