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CVLT Nation Interviews WOVENHAND

Tiina Liimu

In recent times, you’ve toured alongside other boundary-dissolving acts such as Chelsea Wolfe and Marriages, as well as been a part of some prominent festivals (such as Roadburn and the upcoming Psycho Las Vegas) that are known for their diverse lineups – how does it feel to be able to take your live show to fans from such varied musical tastes and backgrounds?

we have no home

so anyplace that welcomes us in for however long, we are thankful

Do you think that signing to Deathwish Records for the last album has given Wovenhand more exposure within the world of heavier music, with more opportunities for shows and festivals with line-ups that are traditionally on the heavier side?

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yes I’m sure so

yet even back with 16 horsepower we were accepted by some in the field of reeds



Photo: Andrea Petrovicova


2014’s ‘Refractory Obdurate’ felt like a cementing of the more guitar-oriented direction that the band have taken over the past few albums. How natural has this evolution felt to you as a band (if you would call it an evolution at all)?

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i don’t call it anything

i just let it be what it is and what it becomes

How fluid is the writing experience now that it’s more of a collaborative effort? Does it feel like all members’ influences creep into the songs?

the writing is still done in a solitary way

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it’s just the way it happens most times but yes it is surly a solitary collaboration



Photo: Andrea Petrovicova


“Good Shepherd” was an unexpected lighter moment on the last album and saw the band move away from the brooding, emotional heaviness that many have come to associate with your music. How much emphasis do you place on the arrangement of songs within an album, or even on using songs such as this to lift the overall mood?

i very fond of this song and its way

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but i think i the only one

What are your hopes and intentions regarding the Wovenhand live experience? What can those who have yet to experience you in a live environment expect versus what they experience on record?

i am a nervous wreck in both places


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WOVENHAND; THE BILTMOTE CABARET; Vancouver 2014; tiina liimu mus

Photo: Tiina Liimu


What, if any, have been the general thoughts and feelings you have received from non-religious or anti-religious fans who find they can still very much enjoy your music? I feel that that the fiery passion and sincerity found within your music, and in particular your vocals, helps to transcend any differences in beliefs that might exist. Do they perhaps realise that you also take an anti-religious stance, at least from the perspective that religion as a concept was created by humankind, and that we are all inherently evil?

i hope what you say is true of our music

What did you make of Marduk’s cover of “Oil On Panel”? Morgan has stated previously that the extreme contrast in musical and conceptual style between the two bands is why they chose a Wovenhand song, as well as the fact that he is a huge fan of your music. Can you identify with the beliefs and ideals that predominantly go hand in hand with black metal?

i am glad they even know who we are

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WOVENHAND; THE BILTMOTE CABARET; Vancouver 2014; tiina liimu mus

Photo: Tiina Liimu


With new album ‘Star Treatment’ on the verge of release, what can we expect from it in terms of musical direction?

hopefully heading true north

for the hungry sake

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WOVENHAND is on the bill for this year’s Psycho Las Vegas

13178999_1043655569060168_8804163688862326493_nDesign by: David V. D’Andrea


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Written By

Meghan MacRae grew up in Vancouver, Canada, but spent many years living in the remote woods. Living in the shadow of grizzly bears, cougars and the other predators of the wilderness taught her about the dark side of nature, and taught her to accept her place in nature's order as their prey. She is co-founder of CVLT Nation.



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