Àrnica  |  Credit

WALKING TOWARDS THE SUN

An Interview with Àrnica

by Yannis H.

Introduction by Sage

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Àrnica is a neofolk duo hailing from the Iberian Peninsula who are dedicated to rediscovering, recreating, and performing music with an indigenous edge.  Focused largely on local and ritual instrumentation, which the listener will find is uniquely percussive in nature, Àrnica’s music is as in-tune with the spirit as it is their ancient past and the struggles of trying to elevate Tradition to a place of importance in their own modern existence.  They do not rebel against the world around them so much as they try to change it from within, allowing their music to filter out and remind their fellow Iberians of their roots.  Having released music through Pesanta Urfolk, Ahnstern, and Fronte Nordico among others, Àrnica have now spent nearly a decade honing their craft and proving themselves to be one of the most genuine and sincere projects of their kind.  Yannis H. was fortunate enough to have a recent conversation with co-founder Carles J., which you can read below.

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Heathen Harvest: I’d like to start off with a question concerning the formation of Àrnica. What were the various paths that led to the birth of this band?

Carles J.: Àrnica started in the 2001 as a one-member project. It was created as an answer to the necessity of self-expression as well as a response to the calling of the Roots. Àrnica is a project strongly based on our own roots, origins, legends, and ancient history that have become myth due to the writers of the world’s history, those who amass the ‘official history’ and lead society towards a unique mind and thought. So we pretend to break that stupid unique thought, that idea of the ‘official version’ of everything. We are here to recover the Roots in order to grow up a strong, healthy tree that feeds our souls and our blood.

Àrnica

HH: What is the significance of the Arnica plant for you?

CJ: Arnica is a flower that you can find at over 2000 meters of altitude. It’s a survivor in a very harsh environment. Besides that, it’s used as an ointment for bruises or muscular pain caused by hits since immemorial years. But if you drink it as an infusion or schnapps it’s quite poisonous. We really like that duality. A flower that can both heal and kill. Music that can heal or kill.

HH: The dominant concepts of Àrnica mainly focus on the Celtiberian tradition. Which of its aspects do you find the most fascinating?

CJ: Every single aspect is fascinating. Sadly in this country nobody has been interested in our own roots. At school, our history lessons follow along the lines of: Stone Age, Romans, Franco, and democracy. That’s all. Fortunately this has been changing in the last couple of decades and now we are discovering our Celtiberian heritage. We learn new facts that make us prouder and prouder of that civilization.

Arnica

We try to dignify and take out of the darkness our culture which has unfortunately been forgotten long ago. Contact with nature in life and death is one of the hot topics. Children should pass seven days and nights in the forests and mountains surviving by themselves as a maturity ritual. This ritual was called Long Nights. When the child passes it successfully then he becomes a member of the tribe. If a child died without passing this Ritual then he was buried inside the family house, as he doesn’t belong to the Tribe but to the family.

HH: Living in a modern European country can be considered as an obstacle to actually experiencing its traditions. Is the connection between Tradition and Àrnica limited to literary resources or have you somehow managed to live part of it?

CJ: We live Àrnica as a reality! Indoors both of us have our own rituals, traditions, and celebrations. From time to time, we can celebrate outdoors with other people, trying to expand old celebrations. We don’t live 2100 years ago, so we’re not going to feast or live as Celtiberians could do. We have hot water, the internet, and cell phones. I think it is strange to live out of your own time. I mean, what is the purpose? Try to live truly and be honest with yourself in the time you’re living in. Another thing is to live plenty in your time. We’re not going to be slaves of technology or of the modern way of living.

HH: Wolves, boars, vultures, sacred bulls, and other animals have found their way into your lyrics and artwork. In what ways has the animal kingdom inspired you?

CJ: Animals have an active and vital part in Àrnica. Not only because they are in the lyrics and artwork, but have also been used in the music through samples. Field recordings are essential for us, and when we play a song about an animal we usually record it. So they’re an active part of the music.

Also, when we play live they are present in bones, skulls (our masks are Wild Boar skulls), horns, feathers, and furs (we use fox fur as a patch drum).

Besides the band, we are lucky to have them in our daily life since we live in the countryside. So they are a constant reference for us.

HH: The use of traditional instruments within the broader neofolk scene is—more often than not—usually limited to adding a mere ‘touch’ of heritage. Yet, Àrnica seems to heavily rely on them, working the other way around. Of what importance is their contribution to getting your message across?

CJ: Our instruments reflect our Spirit perfectly. We use instruments from many points on the Iberian Peninsula. Bagpipes from Catalonia, bass drum from Aragon, etc. Even the bones and stones we use have their own history. The bones come from vulture nests, and stones from several castros (Celtiberian villages) including Numancia. It is important to us to know where the instruments and elements we use come from. They have their own personality and voice depending on their own origin.

Each offering demands its own instruments and language. We must only be attentive to that and flow with the music and lyrics.

Àrnica

HH: Either on studio or live performances, you have collaborated with artists like Demian Recio (Ô Paradis), Gerhard Halstatt (Allerseelen), Andrew King, Jay Kokopeli (Traum’er Leben), and Sturmpercht, just to name a few. How have these affected you, and are there any plans for guest appearances in the near future?

CJ: Collaborations are celebrations for us. They are a meeting with Soul-mates, people we share the Path with. Each band has its own style, but almost the same message in the end. Each collaboration has made us better, wiser, and grateful.

Now we’re recording a song with Portuguese band Urze de Lume and Spanish one-man project Neønymus. It’s an offering that will be part of a very special 7″. Hopefully it will see the light this Summer Solstice during the celebration at the Raíz Ibérica Festival.

And we have some other collaborations going on, but let us surprise you!

HH: Thank you for your time and for providing these insightful answers! Is there anything you’d like to say in addition to close this interview?

CJ: May the rains come. May the Sun shine while we keep on seeking what once was, because what it was should be now and will be again. Thank you, Yannis.

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