Hailing from East Frisia, Germany, Harlinger is the one-man Black Metal project of J.B., an artist deeply inspired by his homeland's culture and myths. With his debut album Kinderschreck, JB explores the haunting tales of German "bugbears," weaving ancestral wisdom with modern Black Metal influences. In this interview, J.B. reflects on his artistic journey, the themes behind Kinderschreck, and the personal connection driving his music.
Serial Metalbums: Can you introduce Harlinger to our readers? What inspired you to create this project, and what vision did you have when you started? The name Harlinger has an intriguing sound to it. Does it carry a special meaning or story behind it, and how does it connect to the essence of your music?
JB: Harlinger is and will remain a one-man Black Metal project from East Frisia, a region located in northern Germany. It was founded in early 2024, I guess. Back then, as now, I was playing in a very cool band (which will remain a well-kept secret) that is entirely concept-based. Yet, I also wanted the opportunity to create music centered around specific concept albums, giving me the freedom to vary in style and musical approach. I also longed for a musical way to express my bond with my homeland (which is primarily East Frisia, not Germany—it’s a bit difficult to explain, and I don’t want to bore the audience with the peculiarities of German culture, but feel free to ask if you're interested). Anyway, that’s where Harlinger was born.
The name means "Man of Harlingerland," which is the region in East Frisia where I was born. I’ve been searching for a musical identity for this approach on music for a long time and have ended up where I first started playing music and composing songs in my youth. I feel like I’ve finally arrived. I don’t want to sound too pathetic, but this means the world to me.
Serial Metalbums: What are the key musical or artistic influences that have shaped the sound and identity of Harlinger? Are there any non-musical inspirations, such as literature or personal experiences, that play a role in your creative process?
JB: When I started listening to Metal back in the day, I was deeply touched by the old In Flames with their amazing polyphonic lead guitars. I also liked Enthrone Darkness Triumphant by Dimmu Borgir a lot—it was a fantastic album. But in terms of Black Metal influences for Harlinger, the key bands would be Ulver and Dornenreich. Not just because they had a more melodic approach, which you’ll also find on Kinderschreck, but because they dared to break the rules of Black Metal. They literally embodied the uniqueness and individuality that Black Metal represents for me, doing whatever they wanted to express their musical ambitions. That highly inspired me.
Personally, it’s very difficult for me to explain what drives me to make this kind of music. I thought about different ways to answer, but they’d all either be too cryptic or too sprawling. Again, I don’t want to burden your audience with German history. "I’m a heathen, searching for his soul," I guess—and maybe it’s just as simple as that.
Serial Metalbums: What can you share about Kinderschreck? What are the core themes or messages you wanted to express through this album? How do these elements reflect your artistic identity?
JB: Kinderschreck is a concept album entirely based on German bugbears that were invented to frighten children and make them obey their parents. You know, the classic Kinderschreck would go something like this: "If you do this or that, something terrible will happen to you." I was highly impressed by how detailed people in Germany were when describing this "something."
On one hand, it’s a kind of homage to these people’s creativity back in the day. But, of course, it’s not that simple. The Kinderschreck figures also represent the very reasonable fear parents had of their children dying—for instance, because they wandered out alone at night, played in dangerous waters, or explored rye fields during midday. These stories might also connect to a more "living" nature, reflecting ideas from pre-Christian Germanic culture.
What I aimed to do was to honor the practical wisdom of past generations of parents and the myths they created. At the same time, I tried to explore what these stories can teach us today. I wanted to give them a modern twist and a hidden subtext that reflects something truly worth fearing.
Serial Metalbums: Could you walk us through the writing and recording process for Kinderschreck? Did you have a specific workflow, and were there any challenges or breakthroughs that stood out during its creation?
JB: Since I was clear that I wanted to write a concept album, I first started a long research phase, during which I examined all the possible Kinderschreck figures. In a second phase, I made a selection, trying to sense which ones might have a "deeper" meaning or be detailed enough to inspire a whole song.
I wish I could explain how the songwriting process went, but that’s nearly impossible for me. You know, I can’t read a single note and never had guitar or bass lessons. It’s just something that happens in my head, and then I start playing to see if I can record the ideas I have in mind. Sometimes I have to discard them because they only sounded good as an idea. Other times, I explore them further by adding a lead guitar (or vice versa) or even a second one. Then, the music starts to interact with my lyrics and kind of develops on its own.
JB: I completely underestimated the time required to run a "promotion campaign." Nowadays, it’s difficult to reach people with your music. With that in mind, I started showcasing reels on my Instagram channel. This consumed far more time than I expected, as I’m totally unused to social media. So, right now, with only a short amount time left before the release, I feel kind of sore and exhausted.
What really helped and made me incredibly grateful was the support of my artwork artist Sacred Azoth, my colleague and friend from 31a Studios Bremen, the people of Black Flame Alliance, and, last but not least, my friend from Triste Tage (check out his band; it’s amazing music!). I can’t thank you guys enough!
Serial Metalbums: What are your ambitions for Harlinger following the release of Kinderschreck? Can fans expect live performances, collaborations, or new material in the near future?
JB: Harlinger will most likely never be seen live. As I mentioned before, I already have a band, two jobs, my wife, and my children. So, I doubt I’ll ever have the time to assemble a second live band with rehearsals and everything. Right now, I don’t think I even want to perform live with Harlinger. I’m quite happy with how things are. Still, never say never. The future’s a book full of unwritten tales.
Nevertheless, I’ve already written two concepts for new albums, and I don’t think this will be the end of my creativity. So, it’s (hopefully) worth staying tuned!
Serial Metalbums: How do you see the current Black Metal scene, both in Germany and internationally? Do you think it has influenced your music, and what do you hope Harlinger contributes to it?
JB: I was absent from Black Metal and Metal in general for a long time because I couldn’t find music that really caught my interest. What reignited my passion was, by chance, getting in touch with the artists of Black Flame Alliance and the members of the Black Metal Musicians Telegram group. It’s been inspiring and a joy to see people so deeply devoted to their music. It reminds me of the days when I was MP3-trading with my best friend, discovering fascinating new music (we did buy our stuff, too!) and I never could have imagined to get this feeling again!
I don’t know if Harlinger has anything to contribute to "the scene," because I am very aware that this debut album may not be that "classical" Black Metal experience. So I think, modesty is more suiting right now, but of course I'd be more then happy finding people that can connect to my music and find it worthy. For now, I’d be happy if I can contribute to Black Flame Alliance’s excellent work as a nonprofit netlabel.
