Into the Dark Hive: TABERNIS and the Ritual of Sound

In an age where most bands compete for visibility, TABERNIS have chosen the opposite path. The enigmatic duo, recently signed to Napalm Records, prefer to remain hidden behind symbolism, ritual and atmosphere rather than personal identity. Their debut album, Seasons of the Dark Hive, arriving on April 24, introduces a world where medieval soundscapes, ancient traditions and the philosophy of the hive merge into something hypnotic and strangely timeless.

At the center of this universe stand two figures known only as Noxifer and Umbrae, self-described “beekeepers” guiding listeners into what they call the Dark Hive. Through the haunting resonance of bagpipes and the primal pulse of the davul, TABERNIS channel an atmosphere that feels both ancient and ritualistic, blurring the line between music and ceremony. For them, the project is not about personalities but about immersion — a collective experience where musicians and listeners become part of the same swarm.

As the duo explain, the concept of the Dark Hive grew from two powerful fascinations.

“Tabernis was born from two fascinations that slowly emerged into one vision,” they reveal. “The first is the medieval world with its music, atmosphere and symbolism… In those times, music wasn’t just entertainment, it was ritual, gathering, memory. The second is the hive itself. Bees have lived beside humanity for centuries, embodying balance, cooperation and a deep connection with nature.”

That intersection between history and nature lies at the heart of the band’s identity. The hive, in their mythology, becomes more than a symbol — it is a metaphor for community and shared purpose.

“A hive survives because every element works together. There is no ego inside a hive. Only purpose,” they explain. “The Dark Hive is our reflection of that idea. Musicians and audience alike are part of it.”

This collective philosophy also explains the group’s decision to remain anonymous. While fans have speculated about who might be behind the masks and pseudonyms, TABERNIS insist that the question itself misses the point.

“Noxifer and Umbrae are just the two beekeepers of Tabernis,” they say. “Where they come from or who they are are questions people often try to answer. But the truth is simpler. We are not hiding anything. It is simply irrelevant.”

Instead, the focus lies entirely on the immersive world they are building — one that draws heavily from the ancient craft of beekeeping.

“Beekeeping is one of the oldest relationships between humans and nature,” they reflect. “For centuries, beekeepers were seen almost as guardians… The Hive cannot be forced, it must be respected. In many ways, Tabernis works the same way. We observe the world, and we translate it into sound.”

Musically, that translation takes an unusual form. The band’s sound is built around just two core instruments: bagpipes and davul. Yet within this minimal setup lies an intensity that feels almost trance-like.

“The bagpipes carry a continuous sound, almost like the hum of a hive,” they explain. “The davul is the heartbeat beneath it. With just these two instruments, something primal happens. The music moves through the body before it reaches the mind.”

From that foundation, TABERNIS have constructed their debut album, Seasons of the Dark Hive, a fifteen-track journey that mirrors the natural cycles of a living hive.

“The album follows the natural cycle of a hive through the seasons,” they say. “Aurora is the awakening, when spring returns and the hive begins to stir. Abundantia is the time of strength and celebration… Collectio marks the harvest before the cold arrives, and Vespera is the dark season when the hive retreats into silence.”

Like nature itself, the story never truly ends.

“Nothing truly ends,” they add. “It only sleeps before returning.”

The album also reaches deep into history. One of its most striking moments is the track “Mel Obscurum (Palästinalied)”, a reinterpretation of the famous medieval song written by the 13th-century poet Walther von der Vogelweide.

For TABERNIS, reviving such pieces is an act of reverence.

“Palästinalied is one of the most famous medieval songs that survived through the centuries,” they explain. “Playing it is like opening a small window into another time. It’s our way of paying respect to the musicians who came long before us.”

Atmosphere plays an equally crucial role in shaping the TABERNIS universe. Throughout the album, whispers, drones and the subtle buzzing of bees weave through the music, creating an almost cinematic environment.

“Tabernis is not only about melodies,” they say. “It is about atmosphere. The whispers, the drones, the buzzing — they create the environment in which the music exists. We want the listener to feel like they are stepping inside our universe.”

Despite their mysterious nature, the duo have already brought that universe to large audiences, appearing at major festivals such as Wacken Open Air and Summer Breeze Open Air. Far from diluting their ritualistic atmosphere, those massive gatherings seem to amplify it.

“Festivals are actually the perfect environment for us,” they explain. “Thousands of people gather in one place, sharing the same energy. When the drone begins and the drum strikes, something happens very quickly: people start moving together. The hive becomes visible.”

For those encountering TABERNIS live for the first time, the experience is designed to be participatory rather than passive.

“Expect rhythm, expect to move, expect to be part of something,” they say. “Tabernis is not something you simply watch, it is something you enter.”

Looking ahead, the band’s sonic palette is already expanding. While bagpipes and davul remain the sacred core of their sound, new textures are beginning to emerge through collaborators known as the Dark Monks, who bring instruments like cello, violin and bouzouki into the fold.

Yet even with these additions, the duo insist that Seasons of the Dark Hive represents only the beginning of a much larger story.“The Hive has many cycles yet to reveal,” they hint. “We are only at the beginning.”

And if TABERNIS could deliver one final message to the modern world, it would be as simple as it is urgent. “Listen to nature,” they say. “The hive survives because it respects the balance of its world. Humanity often forgets that it is part of the same balance. We are not above nature — we belong to it.”

And in the quiet hum of the Dark Hive, TABERNIS seem determined to remind us of exactly that.

The Riff Collective