The Making of the Video for ElectraChic’s Song Erde/Terre

September 1st, 2017


ElectraChic is a German based band who released their debut album, ImPassionnément, in November of 2016. They find their influences & themes in Shamanism and through the Sacred Feminine.



When it was time for ElectraChic to set out to make a video for the first song, Erde/Terre, off their new album, ImPassionnément, they did not have very far to look. Singer Annick Moerman & Musician Rike Casper turned to Annick’s son, 25 year old Thomas Govaerts, a recent graduate of the School of Media.


We asked Thomas to share his thoughts with us on the making of the video for Erde/Terre and here is what he had to share:


For a couple of years I’ve also been passionate about spirituality and esotericism. During my studies I had the chance to try a shamanic journey with drums. I looked for many other practices since then (paganism, mediation, or yoga for example).

About one year ago, my mother (Annick Moerman) made this album, ImPassionnément, with Rike Casper. She asked me if I could do a music video for her. I could choose any music off the album and I immediately chose Erde (“Earth” in German) because of its shamanic sounds.

In my job or during my studies I worked on great projects, but none of them had a spiritual meaning or aesthetic. I’ve always had a wish to insert spiritual contents in a pure visual form, almost abstract and without using words in videos.

So, for me shamanism is the perfect subject. During a shamanic experience (not necessarily using drugs, but only drum or dancing) someone can get information, not in a literal form but through images or sensations. Maybe that’s the reason why there are many symbols in old mythologies.

This is the kind of feeling I wanted to put in a video, I wanted to use visuals to deliver a spiritual feeling. 

For this reason I did a lot of research on pagan symbols: Icelandic magical staves, Viking runes, Aztec symbols, Rongorongo alphabet. The sami drums was also a major inspiration (more info:

In this video there is a mix  of old and existing symbols and symbols of my creation.

Even if those symbols come from very different times and places, I find them very similar. They are very simple and naïve but they have the power to connect you to something very old and ancestral. They don’t interact with your intellect, but they go deeper. It’s as if they could activate an unconscious force.

I also wanted to represent the sacred feminine and its connection to nature and earth. I think that the dance is a visual form that can perfectly express this. The dance  allowed me to do a fluid and dynamic video, and not only to show static symbols. I tried to create a unity between the symbols, the music, the dancing and nature, to make a very alive and organic video. In the same way, during a shamanic experience, things are connected but always changing: what is usually hidden to the eyes becomes manifest. At the end of the music video the dancer completely merges into this unity. 

So I hope that the video works on the viewer’s unconscious and that, in some way, it connects him to the invisible aspect of nature.

I don’t know if I succeeded in this task, I’m still a young filmmaker and this is one my first works. I see that there are still a lot of mistakes in the video. However, I hope that in the future I’ll make other better videos. I would like to make videos that have a real impact on the viewer, as if they were spells. A little bit like Lynch’s or Jodorowsky’s movies.

The shooting of the video was made in the forest near Brussels. For the equipment we used a Canon 5D. The cinematography is made by Quentin Govaerts. The dancer is Charlotte Bossu. I did the directing, editing and the visuals effects.”


We’d like to thank Thomas for taking the time to let us in his head to experience what he did while making this video.


We now present the video for ElectraChic’s Erde/Terre, Enjoy!!






You can find ElectraChic’s Album for purchase on their site:


They also have an ElectraChic Facebook Page at:




About the Author:

Jennifer Sacasa-Wright is an Eclectic Witch who runs PaganPagesOrg eMagazine. She has many opinions, thoughts, & suggestions, and, at times, has problems holding her tongue. She loves hearing your opinions and thoughts on the magazine and welcomes comments.


Lord is an Australian heavy metal band that is really a mix of styles from all over the world with their own unique spin on it that’s hard to quantify exactly. I would say more than anything you can hear a hunger and a drive in Australian metal because the scene there is so small, and to be a cut above anyone else and to make a real go of it you need to be up there with the best in the world or you have no hope of making the leap from small bar band to international touring act. That hunger trickles down from the top tier of international touring acts right through the entire scene. It’s that drive that gives the Australian bands a freshness and energy that’s lacking in some of the more over saturated markets.

With LORD, while they say they’re a heavy metal band, there’s much more to their sound than just being under that label. They have the obvious elements of traditional and power metal, but they also mix it in with a good helping of thrash, melodic hard rock, melodic death, and even incorporate elements of things as diverse as prog metal, mainstream rock, AOR and many extreme metal styles. It’s that diversity that makes up the LORD sound, so while they are proudly an Australian heavy metal band, they’ve also evolved into something far more broadly than that.

LORD was born from the ashes of Dungeon, who were one of the longest running and better-known Australian metal bands. The singer/guitarist of Dungeon was under the name of “Lord Tim” (which is actually more of a joke name than anything else), and he released an album of solo material as a side project in 2003. He disbanded Dungeon in 2005 and started LORD as a proper band rather than a solo project. It was convenient to use that name because they already had an album out, so the name was known, plus LORD is a fairly ambiguous word that can mean a lot of different things to different people, so it suited the diverse sound that they were aiming for. Essentially LORD is Dungeon when you break it all down, but with even more diversity in its style.

Dungeon, toured with Megadeth, Opeth, Mayhem, Destruction, Doro, Angra, Edguy… the list goes on. LORD has toured with Nightwish, Queensryche, Nevermore, Gamma Ray, Saxon, and lots more as well. They are very fortunate that their profile makes them one of the go-to bands for promoters to choose as a support to international acts that tour there, and getting the opportunity to tour the world with the likes of Megadeth, Queensryche and Edguy who are some of their favorite bands, and play with incredible musicians like Angra and Opeth is just a fantastic experience. They have also had the great honor of collaborating with members of bands like Doro, Dio, Megadeth, The Poodles and Angra. As the band puts it,” It’s amazing thinking back to when you were growing up and seeing posters of these people on your bedroom wall and then one day you find you’re not only just a fan, but you’re now a peer that is either touring or collaborating with them. That’s a pretty amazing feeling!”

It’s a pretty amazing feeling when we listen to their music as well. On A Night Like This is actually a cover of a Kylie Minogue song, believe it or not. It’s one of those wacky ideas that they did semi-seriously and it turned out great, and has since gotten national airplay and tens of thousands of plays on their My Space page. It’s a cool song and a lot of tongue-in-cheek fun.

Rain is one of the more popular songs on the Ascendence album, with a very Queensryche kind of vibe. It’s possibly the most ballad-like song on the album but when it gets to the middle section, it becomes quite heavy. The band says,”  It’s a challenge to play live but very satisfying and I think we’d get lynched if we ever stopped including it in the live set.”

Footsteps in the Sand is another mainstay of their live set. The lyrics are about deja vu and precognition, with a discussion asking if destiny is already mapped out and we’re just following “footsteps in the sand”, or if there are infinite possibilities and paths to follow. The band says,” This song is great to play live because there’s a big Iron Maiden-esque sing along part in the middle that always gets a great reaction.”

Reborn has so much cool stuff in there – dozens of guitars, hundreds (literally) of vocal tracks, orchestras, choirs… you name it – and because it tells the story of the demise of Dungeon and the birth of LORD, it’s very symbolic.

As for Last Rites, the subject matter is fairly thought provoking and it goes through a wide range of movements and themes to tell the story.

One thing everyone says about LORD is that even if they’re not particularly a fan of their style of music, they still enjoy the performance. The band likes to put on a show rather than just standing there and playing their instruments. There’s a lot of crowd interaction, lots of jokes and crazy stage moves. People can see they’re having a great time on stage and not taking some of the stuff they do too seriously, but all the while actually managing to play the complex material they have on their albums.

LORD has the following albums out: A Personal Journey (2003, remastered and re-released in 2005 when LORD became a proper band), Ascendence (2007), Hear No Evil EP (2008) and 2009 will see their new album Set in Stone released. There’s also been a limited edition live album called Live at the Metro (recorded live in late 2006, released 2007). They tend not to count A Personal Journey as a “real” LORD album, although they’re still proud of the material on there and play some of it live, so as far as evolution goes they would say it starts with Ascendence. That in itself was a continuation on from Dungeon’s style and was very much a transitional album between the more straight ahead heavy metal sound Dungeon had into the more adventurous sound that LORD was developing. That continues on into Hear No Evil where there’s more of a blend of elements like thrash and mainstream rock into the core heavy metal sound, and Set in Stone is more diverse again, and the most ambitious project that they’ve done yet in both LORD and Dungeon.

The band is currently putting the finishing touches on their new album, Set in Stone, which should be due out this year. You can expect a couple of video clips and possibly a limited edition DVD sometime this year as well, and then they plan to take a much needed break from writing/recording until 2010 sometime because it’s been absolutely non-stop tour/record/tour/record for the band since it was formed. They’d also like to concentrate on touring and recharging their creativity before they tackle the next one, and given the high mark they are setting themselves with Set in Stone, I think they’re going to have a tough act to follow.

No tour dates in the US yet, unfortunately, but they are working on international dates at the moment. Hopefully that’ll take them to the US sometime in early 2010 if all goes well and their distribution is in place. For all of LORD’S tour dates, the best place to check them out is on their My Space page: they’re just about to embark on an Australian and New Zealand tour in a week, and they’re adding more national and international dates as they get confirmed.

You can get LORD (and Dungeon) albums at their online store: and you can also legally purchase MP3s from the Hear No Evil EP from places like iTunes, Rhapsody, Napster, etc.

Modern Invasion is the Australia label that released A Personal Journey and Ascendence. Soundholic is the label that released Ascendence in Japan. From Hear No Evil onwards, LORD has been and will be released through Dominus Records, which is their own label. They’ve chosen to go that route to give them more control over their product and marketing, and they’re arranging distribution and sub-licensing for territories around the world.


Artwork by: Angela Jayne Barnett ~2010

Cernunnos Rising – Music Review

It is a rarity to find an album that every song touches the heart, but Wild Soul by Cernunnos Rising has accomplished something others have only dreamed about.

Interview with Cernunnos Rising (George Nicholas)

Pagan Pages: Since our last interview I see you have graced us with a new album Wild Soul, what was your inspiration here?

George Nicholas: Well, I had originally done my first album with Medwyn Goodall the famous New Age Music composer and producer; that project involved my guitar playing and singing only  and didn`t feature any of my friends or group who actually play with me when I perform live at venues etc. I also provided all the original songs to Medwyn and let him arrange a custom sound to it just to see how it materialized, and as it stands it seems to please people a lot and these versions are available on iTunes and on M.G. music’s site amongst other distributors around the world. The answer to your question, ‘what was my inspiration to produce The Wild Soul album’ is simple, many of the pagan/ Druidic fraternity I know had asked me to produce a version closer to what they had heard us play, and with the merry men I gig with, so I couldn`t resist, and I did have the need and compulsion to do this anyway ‘closer to heart’ you might say! And as for the title ‘Wild Soul’, well that about sums me up perfectly. I really feel a lot of folks today have forgotten their inner “wild soul”, and don’t know how to connect anymore… Laughing, dancing, singing, losing inhibitions, enjoying the realms of the creative imagination, not losing your inner child! Let’s face it, nowadays we are all hung up too much about how we look and what others think of us and are we “conforming” and “fitting in”! We really just have to be comfortable in our own skin (warts and all!) and enjoy this little journey!

PP: Are you planning a new album?

GN: Yes I am planning a new album, I want the title to be Urban Druid!-It`s alright me singing and warbling on about the verdant splendor of our wild spaces and places but let`s face it, most of the population live in heavy urbanized or city areas and rely on our meetings and festivals etc to keep us sane. I am very fortunate in as much as I have managed to situate myself in a green and rural environment to live, and I did exactly the same when I lived in Atlanta , Georgia U.S.A… I just had to be with the trees and greenies! That being said, I am originally an inner city Lad from a rough part of Liverpool and even then from an early age I found the need to be amongst the green spaces, and I made sure, I got to these nemeton, serene, bubbles of bliss, where I could ‘Green-Dream’, and meditate , one was in an old overgrown scrap yard , ironic, to watch Mother nature slowly dismantle the many vehicles of some of our recently departed ancestors’ prized and cherished possessions that they probably spent many a year polishing and maintaining… all part  of the ‘Coming and Going’ I suppose.  The other Green retreats was the local park and a wonderful (time-warp) Cemetery, and my bedroom that had wall to wall plants and trees and flowers and cactus, and wood and rocks, and my crazy collection of books and Man Myth and magic magazines etc . But it was inside myself, my heart and mind, I found the great escape!

PP: Will you ever be coming to the United States?

GN: It is a serious wish for me to come back to the United States and share my music with whoever may take the time to listen, I have had 5 emails this week alone asking me this question, many who have had the pleasure of listening to and attending my kind and generous friend Damh the Bard while he was performing over in the States have asked if I will be doing the same, all I can say is, it would be my pleasure!!

PP: So since your new album how have you and the rest of the group been getting on? What have Simon, Nick, and Phil been up to?

GN: Since the new album, Simon has been organizing his own solo gigs as an independent performer (and very cool he is too!). Nick has disappeared again into the mountains and valleys of north Wales; Phil Orme is helping others with their songs and album projects with his plethora of musical skills while feeding them with his superb cooking recipes and showing them some amazing magic tricks (this guy really does not realize how talented he is)! We are also blessed to have with us two new additions to Cernunnos Rising music. We have a truly exceptionally talented flute player Mr. Martin Clarke, who also plays a mean Harp and keyboard, and Mr. Matt McGrory, a brilliant guitarist who has played with many a known artist and has had venues throughout the U.K. including TV exposure… Oh, I almost forgot we are starting to feature some female vocals into the mix by way of my young daughter Katie and a local lass and good friend Carla Lewis; she is also the singing and gigging partner of Phil Orme!

PP: The artwork on this album is exceptional, who was the artist?

GN: A mix between myself, my young Daughter Katie ,and my fabulous and wonderfully talented friend Angela Jayne Barnett from A true green soul with an unbridled imagination… go see!!

PP: In our last interview you told us a little about you murals, do you have any new ones?

GN: Yes, I am in the middle of a huge multi-cultural mural project for children at an inner city Liverpool school right now, and another mural project highlighting our ancient and ancestral past featuring some of Britain’s most spectacular and sacred sites.

PP:  Bountiful Blessings go out to Cernunnos Rising. Thank you so very much for grating the readers and I such a magnificent opportunity to be the first to interview another such wonderful album. It has truly been awe an inspiring experience. Again thank you.

To the Readers:

To listen to Cernunnos Risings music click here and prepare to be intoxicated…

Cernunnos Rising Links

Also on Facebook/Youtube/Red Bubble etc – you can find links on the above sites! (Angela Barnett)

Yvonne Ryves: Weaving the Web


Yvonne Ryves is a practicing shamanic healer, shamanic drum maker, holistic therapist and trainer. Living and working in West Cork, Ireland, she runs courses on energy healing and shamanic work. She has recently contributed to the Shaman Pathways series with the book Web of Life, cited as a new approach to using ancient ways in contemporary times. I caught up with Yvonne to find out a bit more about the book.

Mabh: What inspired you to write Web of Life?

Yvonne: For some time before I wrote Web of Life, I had been aware of how often I came across ways of working which were powerful and useful but which did not really fit me, and so caused me to adjust either them or myself accordingly. For example I had been struggling on and off for about four years with working with a medicine wheel and not being able to hold on to any of it enough to work with it. A healing blanket made for me, which contained the spirit animals I work with, really highlighted that I actually work within an amalgamation of cultures; some Celtic, some Native American, some Andean and that this was completely right for me. This got me thinking and made sense of why the medicine wheel as such didn’t fit me. Alongside this I had become increasingly aware of how other cultures have guidance e.g. in the form of medicine wheels, wheels of life and the wheel of the year, for example, but those of us who are not from such cultures or backgrounds have nothing to guide and support us. Out of this thinking came the need to create something that could be taken by anyone regardless of culture or beliefs and be developed by them to create something unique to them and with which they could work. This turned out to be the Web of Life.

MS: Who do you think will get the most out of this book?

YR: Everyone! And I really do mean that. I think we all benefit from opening to the connection we have with all that exists, learning to listen to the guidance and knowledge that is around us and using it to assist us in moving through our lives with greater awareness of what we are choosing to create as we do.

MS: So, would you say the ideas within this book could be adapted by those not on a specifically shamanic path?

YR: Undoubtedly. My aim was to create something that was accessible and adaptable by everyone regardless of their culture or belief. Web of Life is not specifically shamanic; rather, it is based on the belief that everything that exists is alive and communicates with everything else that exists, a belief that is shared by Pagans, Shamans, Buddhists, Wiccans and also some scientists to name but a few.

MS: Tell us a bit about the Shaman Pathways series this book is a part of.

YR: The Shaman Pathways series is a collection of short books by a range of authors and published by Moon Books, which look at different aspects of shamanism. There is a parallel series Pagan Portals also published by Moon Books.

MS: Shamanism is often regarded as a South American or native American idea; how well does shamanism translate into our western culture?

YR: The origins of the word shaman actually come from the Tungus people of Siberian rather than South American or Native American. It has though grown in use as a general term used to describe tribal cultures which work in similar ways to those seen within the Tungus people. There are many aspects of shamanic practice but the one thing that makes it different from everything else is the ability to walk between worlds and work with spirit helpers or guides.

Shamanism in some form was probably used by every culture that existed and not restricted to any one culture. Although the names that were used were different (e.g. Witch, medicine man or woman, sin eater) they were all forms of what we now would term as shaman.

In the West we have always had a shamanic culture even if there is little evidence of it having existed. I think that the world needs shamanism and that in the current climate people are seeking a way to reconnect with this element of their lives. Shamanism here is not necessarily tribal shamanism, nor does it need to be. As everything adapts, so has shamanism so it is very relevant and translates easily into our western culture.

MS: How did you first become interested in shamanic ways?

YR: While I was doing my apprenticeship as a Reiki Master I had some spontaneous past life recall one of which was as a young Native American child being shown how to identify and work with the plants in the woods by my Grandfather. He has lead me ever onwards since that time although it was a few years since I had a name for what I was being taught and a name for shamanic journeying. By the time I had these names it was just something that was part of me and what I did.

MS: You do many aspects of magical work including Reiki and holistic therapy as well as shamanic healing; would you say, overall, that you are a healer?

YR: Mmm that’s a difficult on [laughs]. I had an argument with one of my students years ago about just this. I denied that I was a healer, instead holding onto the belief that it was the energy that did the work and that I was just a channel for the energy. I could also add to that, that it is my spirit helpers that do the healing when I do shamanic work but this really negates what I do and my role within the process of healing. Overall though I would now say that yes, I am a healer.

MS: Web of Life is quite a slim volume; any plans to expand upon it?

YR: Not specifically. I could so easily have made it a much bigger book and included more background on Medicine Wheels, more theory behind the idea of a web of life for example, but I wanted it to be immediately accessible to people including those who might never have picked up a book like it before. I made a conscious decision therefore not to do this. I really wanted to give readers their freedom to create something that works for them rather than have to adapt a way someone else has created. I believe therefore that people, once they have worked with Web of Life, will create their own unique ways to expand their work with their webs.

MS: And what other projects do you have on the horizon?

YR: I am in the process of writing a book about shamanism and labyrinths which is something I am very interested in and have another idea for a book lurking but nothing firm yet.

I have also been contacted recently about shamanic training and this is something that I would like to look at in the future, both in person and distance training if I can find a practical way to make it work.

MS: A few of us with family in Ireland have observed that talking about life as an alternative practitioner or Pagan doesn’t have to be so ‘hush hush’ anymore. Living in Ireland, do you feel as if Paganism is on the rise there?

YR: Yes I do. There are still those who see anything alternative as being the work of the devil of course but in general people here, even older generations, are much more open than in the past and there is a growing interest in returning to the roots of our ancestors. I have really noticed an upsurge in those offering access to courses relating to all forms of paganism including shamanism. I actually find it very easy to be authentic here and never feel I have to hide what I do or what I am.

MS: Do you feel a connection to the land where you work and does this help with your healing?

YR: Yes very definitely. The land, and my connection to it, is vital for the type of healing I do. I rely a lot on being in contact with the energies around me and being able to call upon their assistance when I need to. I am blessed with living in a place that has amazing energy.

MS: Your academic qualifications are in teaching and education. Is this still a big part of your life?

YR: Not teaching in the traditional sense but passing on what I know and what I have learnt to others is still a big part of what I do whether this is in person or through my writing. I have tried many times to walk away from teaching but it is such an intrinsic part of me and my path here that I have now just accepted that. I do love seeing others grow, develop and find their own paths and it now feels like a gift to be able to be part of this.

MS: Does the teaching experience spill over into your spiritual endeavours; do you use the same skills when passing on your knowledge of shamanic skills, for example?

YR: Yes very much so. I have always been a facilitator rather than someone who is didactic and this is still how I work. I myself learn best by doing, through experiential learning and this really is how I pass on skills and knowledge now.

MS: You have a diverse range of experience and your bio tells us that you are now studying with the Order of Bards, Ovates and Druids. What is the common theme in all your endeavours; what drives you to learn these skills?

YR: I think the common theme of all of it is going where I am led. I rarely know why I am drawn to do something, but trust that somewhere in it all is something I need. It’s a way of being that has taken me to some interesting places now but I can honestly say that none of it has ever been wasted. It might be several days, weeks, or even years before I understand why I did something but in the end it does all make sense. Sometimes my guides take pity on me and I am given some insight before I start but this is rare and to be honest makes it all so much more fun.

I think that whatever I do I learn more about myself and the more I learn the more I can help others.

MS: And finally, where do you see yourself in your own Web of Life 5 years from now?

YR: Oh that really is an impossible question for me to answer and always has been. I have never been able to visualise where I will be in 1/5/10 years’ time for some reason. I can remember during some training being asked to do this and honestly not being able to. I think it’s linked to my going where I’m led, going with the flow as it were. If I live this way, if I trust I am being looked after and guided then I only need to know about the now. When I plan my life path within my own Web of Life it is only to connect with the energies/teachers who are going to help me with what is ahead. I know if I work with them I stand a much better chance of learning the lessons that are there for me, understanding what is going on and not missing something important. With every path I weave in my Web of Life I weave it in the knowledge that it will take the time it needs, so I never know whether the part of the path I have woven is a short path or a long one.

Yvonne’s book Shaman Pathways: Web of Life is out now via Amazon and all other good book retailers.

George Nicholas: Cernunnos Rising




Just before Yule I was fortunate enough to catch up with a favourite interviewee of Pagan Pages, George Nicholas of Pagan band, Cernunnos Rising. George was kind enough to bring us up to speed with what’s been happening since he last spoke to us.
MS: It’s been five years since we last spoke to you, and there have been two more Cernunnos Rising albums in that time. How has the band evolved? Who are you working with currently?
GN: Albums to date have been Cernunnos Rising, Wild Soul, Urban Druid, and the latest is Nature’s Child. The band members are now Martin Robinson on flutes and keyboard; Phill Orme on various instruments, vocals and lead guitar; Terry Gallagher on bass; Carla lewis on vocals and Eric Smith on drums. I tag along too.
MS: Going back to your third album, the title Urban Druid will no doubt resonate with many Pagans who live in our ever increasing cities. What was the primary inspiration for this album?
GN: My primary inspiration for creating the Urban Druid album was living in London; years of commercial business and hassle, and a feeling of being disconnected from nature in particular. I would seek out green spaces whenever I could and write my poetry and songs. Many of the songs are about trees, in fact, and some of their lost lore and mythologies. One song in particular was inspired by an ancient Yew tree I use to visit whenever I could, up in Borrowdale in the Northern Lake District; still alive thousands of years later, and going strong.
MS: What made you decide to use the theme of different trees throughout Urban Druid?
GN: The theme of trees seemed to sit well for me on the Urban Druid album, because trees and wild natural places occupied my mind so much when i was surrounded by concrete and city structures. It was my method of escape: visualising, drawing and writing about trees, and their ancient myths and legends.
MS: Is there a particular tree you connect to spiritually and why?
GN: I have no particular favourite tree really. I love them all, from the acorn decorated oak, to the essential apple tree, to the Elder tree with her beautiful, rich berries and aromatic flowers, to the ancient thick dark verdant Yew. All of them, special.
MS: Are you still an Urban Druid yourself, or are you more surrounded by nature and the countryside these days?
GN: I have seriously made it my business to spend the remaining years of my life enveloped and surrounded by nature. I live in an open aspect upon a hill. I welcome the clear vista of the sun arriving in the east, and relax and admire the beautiful sunsets that this aspect allows me to enjoy of an evening. I also spend much of my time on my land where I have my own stone circle with a central fire pit, surrounded by a mixture of trees; my peaceful little Nemeton.
MS: When and where do you feel most connected to nature or your spirituality?
GN: I feel most connected to nature and in the moment when I’m in a storm, or swimming in a cold mountain stream, or diving in the sea, or hang gliding, or skiing, climbing or in caves; in fact any aspect of land, sea and sky and in all seasons.
I certainly feel divorced from nature stuck in front of the T.V. or glued to a computer or mobile phone in a built up, urban scenario. Dissolves the soul.
MS: Tell us a bit about this year’s album, Nature’s Child. How has this latest album differed from your first two? Has it been more of a challenge, or as you create more albums, does the process become easier?
GN: The Natures Child album is different from the other albums in as much as I have mixed up the treatment and styles of the songs, as not to follow any format. There are personal songs on there; there are heartfelt ecological concern songs and protest songs on there; even new mixes of older popular songs, particularly Blessings Of Beltane. I had my Daughter Katie and co singer Carla do a much more sensitive and feminine version. I feel they have a quality in their combined voices i could never achieve and their version is closer to the Goddess.
MS: Do you have favourite tracks from the albums? If so, which are they, and why?
GN: I’m afraid I don’t have any favourite tracks from my albums. It’s the same with my artwork or paintings; once I’ve completed it I no longer like it! I instantly move on to the next creation.
MS: Do you have any gigs coming up over the festive season?
GN: There are many gigs we are considering at the moment, including a very large one in North Wales. We like to visit and play to our fans at our usual yearly venues like Pagancon in Preston, Lancashire etc. We will be confirming our dates in Jan 2016. Our last gig for this year will be our Yule event for the Merseyside Circle of Pagans at the `Casa Liverpool city centre.
MS: What has been your favourite gig to date, and why?
GN: My favourite gigs to date have been PaganCon as it is so friendly and warm, and a wonderful communitas has developed. Also I loved playing in the beautiful wooded areas of Silverdale for Wood Spirit Camp.
MS: How many of you are there when you play live, generally?
GN: 6 or 7 usually in the band when we play live, but can cut down to 3.
MS: Which do you prefer: composing, studio time or performing?
GN: I really like studio time. It seems like  a magical creative process, where things come to life and the last drops of inspiration jump from the cauldron and add to the tale.
MS: Do you consider yourself a Bard?
GN: People describe me that way… I consider myself a ‘creative’, be it poetry, music, art, sculpture. I consider myself fortunate and blessed.
MS: Who have been your biggest musical inspirations? Is there anyone you would absolutely love to work with, given the chance?
GN: Again, I try not to follow another’s style or skill. I don’t want to have musical inspirations if i can help it. The words and lyrics are my own, and the sound of the songs just happens, although some of my songs seem to me to have a formula. For instance Urban Druid has a jazzy twist, Beyond Us is the Cost has a Spanish feel, etc.  I’d love to work with Kate Bush, Nigel Shaw of 7th wave music, Brendan Perry of Dead Can Dance, Mike Oldfield, Loreena McKennitt… Ha ha, don’t want much do I?




MS: What other projects do you have on the go at the moment?

GN: I have projects upon projects!! My charity takes up so much of my time it’s hard to get anything done, but I’m doing a new album, launching The Werebears (my character creation) again, various mural projects, possibly building a roundhouse meeting centre and devising a new book.

MS: And finally, how will you be celebrating the festive season?

GN: I`ll be celebrating the season with family and friends, with music and laughter… and prayers and deep thought for those now and in unborn time who the British government decided to turn to dust and exterminate. /I\

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