In a world where freedom of expression is frequently challenged, how does Nachtmahr find its voice? Thomas Rainer discusses the band’s music, the accusations they face regarding radical ideologies, and the resilience of their audience in the face of criticism, highlighting the importance of community in their artistic journey
Justyna Wróblewska, Bartek Krawczyk: Thank you for finding time for us before the Nachtmahr concert in Warsaw. What can you tell us about your experience with Polish fans so far?
Thomas Rainer: I’ve been extremely happy with the excitement I’ve encountered from the Polish fans on social media. It feels like they really support the shows by sharing their enthusiasm with others and posting stories. In some countries people tend to say, I’m going to the show, but here, people want to encourage others to experience our band. If this excitement on social media is just a small percentage of what I can expect from the crowd, then we will be very pleased.
We hope so! Nahtmahr is known for its provocative, militaristic, and BDSM-related imagery. What is the purpose behind it?
The imagery perfectly complements the music. Personally, I am a member of the BDSM scene and have a passion for hardcore uniform fetishism. When I started Nahtmahr, I found that these themes supported the music. A good promotional photo should give an idea of what to expect from the music. My passion for uniforms and BDSM aesthetics, combined with the music I create, has become an integral part of both my performance and our identity.
Many industrial EBM bands, like Throbbing Gristle, for example, have used shocking military and BDSM imagery. How do you respond to accusations of promoting totalitarian or radical right-wing ideologies?
To understand our stance, one only needs to read my interviews or the lyrics, as I clearly address these topics. For example, one of my songs, Die Fahnen unserer Väter, addresses the Austrian resistance movement during the Nazi occupation. Some listeners focus only on the chorus without considering the verses that discuss the struggles and strength of the Austrian people during that time.
I also make clear statements about this on stage to clarify our position, so people should inform themselves before forming an opinion. Or they can just ask. I enjoy engaging on social media, so if fans have questions, despite any suspicions, they can ask directly to understand us correctly. I have nothing to hide.
Thank you! We had to ask about it because a few months ago, your concert in Hanover was interrupted by some left-wing activists. How do you feel about that situation?
In the end, it was ironic. The activists came on stage with fire, etc., and took the microphone to throw out accusations of Nazism, but the audience, around 450 people, joined in to oppose them. The harassers expected the fans to also be Nazis. But it showcased that our crowd is actually diverse.
Many fans, including those from the LGBTQ community, connect with our lyrics, which often encourage finding your own path in life and not allowing others to dictate how your life should look like. The irony during the incident with troublemakers was evident when the audience took our side, loudly shared their opinions, and the attackers realized that our audience in large part actually shared their viewpoint.
Nachtmahr is not only about music but also a well-prepared show. Kat & Tenja, could you tell us more about yourselves and your roles on stage?
Kat & Tenja: First of all, in our shows, we are free to express ourselves artistically. Of course, we discuss the performance, but no one pushes anyone into anything. While we collaborate, each member contributes naturally to their roles, which we prepare individually and feel comfortable with.
We strongly believe in empowering other girls to express themselves, and that’s super important for us. We also receive valuable feedback from women who appreciate our approach. So it’s all about empowerment.
So it’s all your idea – the choreography, etc.?
Yes, of course.
Thank you! Thomas, you’ve stated on social media that the essence of Keine Lieder is raising a middle finger towards the haters. Could you elaborate on the song and the video clip?
Thomas Rainer: Yes, definitely. We’ve received a lot of hate, and the song reflects that experience. The German music industry can be quite commercialized and resembles big business, and we’ve operated outside of those norms. So there is a lot of resistance that we face, but it only fuels our determination.
The video for Keine Lieder was shot by an old friend of mine in the catacombs beneath Rome, giving it a unique and cinematic feel. It’s different from typical music videos, focusing more on storytelling than flashy effects. We took a more old-school approach; the pictures are great as they are, and you don’t need all this digital post-processing. It’s cinematography and lights, not computer work.
Why did you choose Stimme in mir as a single, and what inspires the song?
The song explores the dark voices within us, specifically focusing on the struggle of someone who discovers a violent urge they’re trying to suppress. It’s about the internal battle between choosing darker impulses or upholding moral integrity. The video serves as a continuation of our narrative, depicting the consequences of those dark choices.
Clearly, you care about your fans. Why is it important to maintain a close relationship with them?
Because without our fans, we couldn’t do what we are doing. They are the fuel for our dreams. We have an incredible community that stood by us during tough times. We hold fan meetings before our shows to create a welcoming atmosphere for interaction. We love meeting them and talking with them, and it’s absolutely free of charge. Many bands, especially American ones, charge for Meet & Greet; we also hold special acoustic concerts, and it’s all for free. It’s our way of returning the favor.
Throughout your journey, what have been the biggest challenges you faced?
Challenges often arise from hostility and betrayal, particularly from those who were once friends. Recently, I have also taken legal action against a venue that made hateful statements about us, accusing us of being Nazis, and in May or June, we’ll meet in court. You cannot just write on social media, This band is Nazis, if you don’t have proof. What is heartwarming, there were about 500 comments defending us under that post.
Unfortunately, we lost a lot of money because we had to refund ticket purchases. But people, at least two-thirds of them, were very supportive of us. We later sold many T-shirts, which partially covered the loss.
Our fans are a great community. I’ve always been determined to stay true to our path. Compromises are not an option for us, although there is a price we pay for remaining authentic. When tough moments come, we just stand out and go through them like an iceberg.
Could you share your favorite electronic or black metal records of all time?
That’s a tough question, as all of us originally come from a black metal background. One of my favorites would be Hvis lyset tar oss by Burzum, and Storm of the Light’s Bane by Dissection.
Is it true that your favorite neofolk album is one from Death in June?
Yes, The Rose Clouds of Holocaust. I am also doing some neofolk work; you can listen to some music on Spotify, and I have collaborated with Death in Rome.
What inspires you in terms of literature, movies, or culture?
Netflix’s series Adolescence was a sledgehammer; it had a profound emotional impact on me. The narrative style, using a single continuous shot for each episode, creates an intense emotional depth. It’s genuinely one of the most powerful things I’ve seen; I was crying like a child. You really have to watch it.
Lastly, what are your favorite places in Vienna, perhaps dark independent clubs or cemeteries?
The club scene in Vienna is quite fragmented. I miss the unity of the past when everyone danced together, regardless of genre. As for cemeteries, I have a special connection to the Cemetery of the Nameless, which holds historical significance related to those who perished along the Danube. It’s a mystical place filled with energy.
What are your future plans?
Our schedule is full until the end of 2026. I’m working on collaborative releases with several bands. Additionally, I’m preparing a new album that we aim to release in 2026, along with plenty of concerts lined up.
Thank you very much, Thomas!
