The War Inside My Head: An Interview with Beannachd Leibh

There are few pleasures in the esoteric world of an esoteric "critic" writing about esoteric music on one's esoteric site. But one of the main sources of joy for such a small endeavor undertaken by such a small person is that precious moment in which the same minuscule individual and his minuscule works taps an unknown artwork square on one's Bandcamp rocky ridge and strikes gold. Such is that case with Canadian project Beannachd Leibh (which, I am told by Wikitionary, is Scottish Gaelic for "goodbye"). The creativity, the explosion of emotion and its counterpart in an eruption of musical talent, the dynamism, the taste, the sound, all of it. I wrote in my recent "blurb" about the project that it sounds like the merging of two Krallices, but that, of course was in jest. Or, if not in utter jest, in an attempt to grab those eyes who enjoy that avant-garde twang to their black metal. What Beannachd Leibh and their upcoming debut full-length represent is true originality and wonder. The space in which art is allowed to breathe, and the decimation of that space in which art is allowed to sometimes grow. It's a special thing, and y'all need to be circling July 24 on your fancy calendars for what promises to be one of the most exciting albums of the year.

And how does one, the same one, recuperate from the encounter with gold in the mountain? Well, be politely asking to interview Alec, the mastermind behind the flurry of guitars, synths, and blast beats to discuss their musical affinities and proclivities. That interview is presented here before you. Enjoy.

If you're new to this metal blog of bones you can also check out the various interview projects I have going on as well as the weekly recommendation posts. And if you'd like to keep abreast of the latest, most pressing developments follow us wherever I may roam (Twitter, Facebook, Instagram, Spotify, Bluesky, etc), and listen to my, I guess, active? (no) podcast (YouTube, Spotify, Apple), and to check out our amazing compilation albums. You could also possibly support my unholy work here (Patreon), if you feel like it. Early access to our bigger projects, weekly exclusive recommendations and playlists, and that wonderful feeling that you're encouraging a life-consuming habit. It's probably a bad idea, but to each their own. On to Alec and Beannachd Leibh.

What was the first album you bought with your own money, and where did you buy it?

That would be the blue Weezer record. I think you could do a lot worse for a first album, so I’m glad it was that. I was a late bloomer when it came to enjoying music, growing up I didn’t have a lot of interest in what was on the radio or Much Music (Canadian MTV) the way my friends did. By chance I encountered “Say It Aint So” on TV and a switch flipped, I was obsessively interested in that song. My dad, who is and was a music buff through and through, was kinda waiting for me to finally activate and appreciate music – So he was more than happy to drive me to the giant HMV at Yonge and Dundas in downtown Toronto (it was a big deal) to go and drop all my pocket money on the full album.

Which 2-3 albums did you listen to the most as a kid?

After the Blue Album opened the door, it was a cause and effect chain to arrive at darker, heavier, more technical music as a primary interest of mine. I think a connecting theme between a lot of them is that they were aggressive and punishing, in this wounded, spiteful kind of way – But also vulnerable and soft. I was fascinated by that contradiction:

Misery Signals – Of Malice and the Magnum Heart

Between the Buried and Me – The Silent Circus

Thursday – War All the Time

Which albums have taught you the most about the technical aspect of making music? 

Kayo Dot’s Plastic House on Base of Sky (PHOBOS): I can’t overstate the impact this had on me. It’s the key to the lock that was making a record like Walking in His Works (or anything I’ve worked on since it came out). Prior to the release of PHOBOS I knew I wanted to work a lot with keyboards and embed them into more aggressive music without it being just a novelty or overtly electronica. I was also split on how to approach drums, wary of leaning into programming out of fear of a lack of authenticity or that it might sound silly. Then bravely comes PHOBOS, making keyboards and synths the center of its timbral identity, layering recorded (“real”) and programmed drums to create dense rhythmic patterns… It was like I was given “permission” to pursue what was taking shape in my head.

King Crimson’s Discipline/Beat/Three of a Perfect Pair trilogy: Shades of this can be found on records like Anata’s The Conductor's Departure, Intronaut’s Habitual Levitations etc, but the “phasing” counterpoint that is present in King Crimson’s 80s output has been joy to understand more deeply over the years. I love the effect of the shifting melodic lines constantly re-contextualizing one another, it’s a huge influence on the music I write.

Jute Gyte’s Discontinuities: This is the record that introduced me to microtones. I had to look up what they were because I had no point of reference for the dissonances I was hearing. Xenharmony is not something I engage with a lot of in my music (I’m not really even qualified to), but incorporating quarter tones in select parts of Walking in His Works has allowed me to drill down into the specific moods I was going for.

Which is the last album that absolutely shocked you?

Plebeian Grandstand’s Rien Ne Suffit is the of record I’ve been waiting for – It’s a truly alienating experience by all metrics. I joke with my friends that enjoying metal is akin to being a spice lover in cooking, bit by bit you’re always trying to tolerate more and more heat. Rien Ne Suffit is the Carolina Reaper pepper of music as a whole for me right now.

What album relaxes or centers you the most?

Steve Reich’s 2×5 I love for a lot of the same reasons I’ve mentioned previously, but this piece in particular I find so meditative and centering. I return to it a lot.

What are the 2-3 albums you’ve listened to the most recently?

Tomarum – Beyond Obsidian Euphoria. So far my 2025 favourite. Really emotionally present blackened death with awe-inspiring riffs and solos

Orgone – Pleroma. I can't tell you how happy I am that Stephen Jarrett has come out absolutely swinging with this new masterpiece. Orgone should be on everyone's radar and Pleroma is so good it just makes me want to quit [Mentioned briefly in this post, MM]

Defeated Sanity – Chronicles of Lunacy. My favourite record from last year. They just keep getting better (how is that possible?)

Which album is grossly underrated?

Yes' Tormato. I’m kinda joking but “Future Times” is a great track. My real answer is probably Interstellar Overtrove by Behold the Arctopus (or anything by them). They’re known on YouTube as “The Worst Band in the World,” or often being called out for “just playing random notes,” which are really depressing responses to that music in my opinion. The reality is that they're an incredible band – long live BTA! They’re a gift and we don’t deserve them.

Which album would you recommend from your local scene?

My all time favourite Toronto/Hamilton records are Cursed’s Architects of Troubled Sleep and the Mare self titled. But in terms of something more recent from Toronto that’s closer in ethos to Beannachd Leibh, I’d recommend listening to Thantifaxath’s Hive Mind Narcosis – But c’mon, I’m sure you already are! Ok last one, anything that Bryan Bray (Gates) works on. Dude has been a mainstay since I've been going to shows and has been holding it down as Toronto's resident weird metal mastermind.