In a world where nature is burning and the algorithm reigns supreme, Oakenthrone reminds us that the forest still has teeth. Emerging from the damp soil of England’s heavy underground, Oakenthrone is a solo project rooted in the divine, the decayed, and the deeply human. Blending the introspective chill of black metal with the mournful grandeur of doom, this truly reflects on our inevitable return to the earth.

At the helm is Simon, a musician, father, and philosopher of the absurd. He writes from the liminal space between myth and mortality, where Yggdrasil stretches its roots and The Green Knight waits patiently in the mist. In this conversation.

Here’s what Simon had to say.

You mentioned that the name Oakenthrone loosely refers to the world tree, Yggdrasil. Can you delve deeper into the symbolic significance of this name and its connection to your music?

Being consumed by nature is one of the overarching themes of Oakenthrone. Yggdrasil is one representation of this. The Green Knight too. Some of Gustave Dore’s works in the Divine Comedy featuring the treemen (one of which I have used for promotional material) is what I have in mind when I think about the name.

The idea being we can presume to be in command of nature, and sit upon an oaken throne, so to speak - but ultimately nature will consume us all. I wanted it to invoke the divinity of nature alongside our inconsequential human introspection.

Bands like Windir and Moonsorrow have influenced your work. How do you integrate elements of Scandinavian folklore into your compositions, especially in tracks like “Rune Lord”?

These are some of my biggest influences on a personal level, but Scandinavian folklore is a theme I have only ever really flirted with in Oakenthrone. Rune Lord is the best example of this. Lyrically, this is heavily based on the poem “The Speech of the High One” from the Poetic Edda.

I found an old book by Ralph Blum called The Book of Runes that featured the poem and an illustration showing Odin’s internment on the world tree and it fit perfectly with the overriding themes of this project. Scandinavian mythology and folklore does overlap with themes that are important to me, so I expect to explore it a little more in the future, but in itself it isn’t core element of the band.

Your recording process is mostly solo. What’s the strangest or most unexpected challenge you’ve faced while bringing a track to life entirely on your own?

Everything up until now has been solo, but that will be changing in the future now that I have a full band with me. That transition will likely be strange for me, but one I’m really looking forward to.

But the most challenging element of everything I’ve done so far is only having yourself for feedback. Not having the back and forth with other people to review and critique your work can make it hard to know when something is finished. I’m not necessarily a perfectionist, but I find it difficult to know when to stop tinkering with something.

How do you plan song dynamics, when do you hit full blast versus when to pull back for ambience?

Everything comes pretty naturally and I don’t over plan the process. I always start with a riff, then build around that. It’s all very instinctual. I try not to follow standard structures and I like to allow the progression of each track to tell a story.

Do you have any rituals or habits that help you get into the creative zone when composing or recording?

No, I am a slave to my inconsistent brain. An idea will formulate out of the blue then I have to get that recorded as soon as I can. I have set up my home to accommodate. My studio space is always accessible, I’m never more than a couple of meters away from a guitar. When I get into the flow I can reel off a lot of music in a short space of time. But then there’s no guarantees when the next flurry of activity will happen!

Looking ahead, are there new musical directions or themes you’re eager to explore with Oakenthrone?

I can tell you in the newest material that I’ve written I have tried to explore, musically, the big, epic moments more. I am also writing with the fact that this is now a full live band in mind, and making the most of the musical ranges that will provide. I am still exploring the themes closest to my heart. The absurdities of life, love, death and the apathy that the universe has for our obsession with these things.

What are some of your favorite metal bands?

I’m listening to a range of things at the moment. A lot of Der Weg Einer Freiheit, Bell Witch, Obsequiae, Deafheaven, Caladan Brood, Abduction.

Are there any genres or artists outside of metal that have unexpectedly influenced your music?

Whether it comes across in the music or not is questionable. But I listen to a lot of nordic folk. Forndom, A Tergo Lupi, Myrkur, Wardruna.

Beyond music, are there other art forms or artists that inspire your work?

Yes, Gustave Dore’s art is something that has directly inspired my writing. But also more epic works from the likes of John Martin, John Constable, Goya. Films too. The 70’s Nosferatu the Vampyre remake has an atmosphere and tone, visually and audibly, that has stuck with me since I first saw it as a teenager.

If you got caught up in a scrap and you could have any two metal artists with you (dead or alive) to fight off the hooligans who would it be?

Good question! With the amount of swords and armour about in the black metal scene we’ve got a decent choice. I’ll take a couple of the Immortal guys. They’re always tooled up.

If you could score any film past or present which would it be and why?

Nosferatu. The original. But I’d make it pure funeral doom start to finish.

What's the most English thing about you (and it can't be that you support Liverpool!)?

Good shout! That’s mainly for my eldest son, but we do go watch our local team, Wigan quite a bit.

In general, being English isn’t something I’m particularly proud of at the moment. There are a lot of flag shagging fascists who claim that for themselves. And frankly they can have it.

You're a father, do your lads ever ask you about starting their own band and if they do what was your advice?

Maybe one day! They have been to our band rehearsals (I call them Acornthrone) and I try to involve them in as much as possible. I just try to ensure that music and creative pursuits are a vital part of everyday life. Whether or not that blossoms into a real interest is secondary to the benefits of that being a normalised part of their lives.

You've just released your latest Demo, Astral Binding & The Oathsworn, what's on the horizon for Oakenthrown/can we expect some live gigs?

Well since Astral Binding & The Oathsworn I’ve released the singles Litany of Proper Death and A Cleansing Flame. Both of which appeared on a split release with Gate Master. But yes, lots of things cooking. We are hoping to re-release our music (Embers of Reverie onwards) on a limited CD run soon. We will also have our debut album out next year.

We performed our first live show in October this year and we have plenty more in the pipeline.

Any final words for the fans?

Just thank you for the support we’ve had so far. The response to our first live performance was incredible. And thank you too, Chort, for the interview. Really appreciated.

Oakenthrone on Myth, Mortality, and the Majesty of Nature