Cleveland’s Frayle have become one of the most intriguing forces in modern doom, weaving together ethereal vocals, crushing riffs, and a sense of haunting ritual that sets them apart. Their music is as heavy as it is hypnotic, exploring themes of vulnerability, empowerment, and the shadows we carry within. Metal Imperium had the pleasure of speaking with Frayle about their latest work, the creative process behind their unique sound, and the spiritual weight that fuels their art.
M.I. – Frayle is often described as “haunting” and “phantomic”. Beyond the music, how important are visuals, aesthetics, and atmosphere to the overall experience?
Gwyn and I both have backgrounds in fashion design so expressing ourselves visually is second nature. We’re interested in creating a world that surrounds the music. Projects don’t feel complete to us until they have a strong visual identity. The music is always first, but we just can’t help ourselves when it comes to putting effort into the visuals and atmosphere.
M.I. – “Heretics & Lullabies” marks your third full-length record. How do you feel this album captures where Frayle is at right now, both musically and personally?
I think this record sees us coming into our own sonically. It feels more like “us” than anything we have done in the past. I see art as a journey and not a destination. Currently we’re at a spot where we are focusing way more inward than outward when it comes to songwriting, layering tones, etc. We’re ignoring what else is happening out there musically and focusing on what excites the other person.
M.I. - You’ve described your music as “lullabies of chaos.” How has that vision evolved on this record compared to “Skin & Sorrow”?
We’re always playing with the contrast of Gwyn’s voice “the lullaby” over the heavy guitars and bass “the chaos”. The textures on this record are more complex. Having our own studio has given us the luxury of spending lots of time on sounds. I feel fortunate each and every time I walk in there. Gwyn also has the luxury of taking as much time as she needs when tracking vocals. As the studio has evolved, so has our sound.
M.I. - The album was recorded by the band and produced/mixed/mastered by Aaron Chaparian. What drew you to working with him, and what did he bring to the sound?
We spoke with a few different producers prior to recording the record. We hit it off with Aaron immediately. Me and the drummer, Jon Morgan, went to Glower Studios in NJ and spent a week tracking drums with Aaron and his colleague Shane Stanton. We then tracked the guitars, bass, vocals, and some atmosphere and sent the files back to Aaron to work his magic. He added more synths, textures, etc. And then we started getting mixes back. He blew our minds. Early on I told him that I wanted to record to sound like the early 2000s. Real drums. Lots of low end. Gwyn way on top. That dude is super talented and we would work with him again in a heartbeat.
M.I. - Vocally, Gwyn’s ethereal delivery contrasts with the crushing instrumentation. How does she shape her vocal melodies to cut through such a massive wall of sound?
I think a lot of it has to do with each us doing our own thing. I don’t try to write riffs to set her up for anything, and she kinda reacts to what’s going on musically. Although sometimes she’ll have a melody before even hearing the music. We try to EQ the guitars and synths to create space for her in the mix as well. Aaron did a great job of this on the record. It’s something that we try to do live as well.
M.I. - Which track was the hardest to complete, and which one surprised you the most in how it turned out?
The hardest track on the record to complete was probably Boo. We thought we had it “done” for a long time but then Popson sent us a text and said he had an idea for the ending. We liked it so much that we had him track two more parts and now each chorus has its own Popson section. The biggest surprise for me was probably “Summertime Sadness”. That was the first song that Aaron sent back to us as a rough mix. I honestly had a few tears. I couldn’t believe what he was able to make happen with the mix and master. We mixed and mastered everything we have done prior and I was hesitant… But after hearing that first mix I was sold.
M.I. - “Souvenirs Of Your Betrayal” seems to be one of the most personal songs on the record. Can you share a little about what inspired it?
Gwyn was inspired by heartbreak from past relationships. The lyrics on that song just kill me. It’s my favorite song on the record because of them. I hope that people find strength or are able to work through some things when listening to it. I know I do.
M.I. – There’s a strong spiritual/occult undertone in your work. How do personal beliefs influence the lyrical world of “Heretics & Lullabies”?
Spirituality affects everything in Gwyn’s life. It creates a lens through which she sees the world so it obviously colors everything she sees, hears, and feels. Her lyrics are echoes of her past and so they are deeply colored and inspired by her spiritual beliefs.
M.I. – How do you translate such layered, atmospheric music into a live setting?
Pedals, pedals, pedals. Haha. Between the bass player and myself we are always bouncing between pedals to get as much texture as possible. We also have backing tracks with synths, spooky sounds, etc. We put a lot of energy into bringing the world of Frayle to a live audience. We do everything we can to make sure that Gwyn’s voice is on top of the band. This isn’t the easiest thing because Gwyn’s voice is so delicate. Sometimes the amps are turned backwards, or even backstage.
M.I. - Has performing internationally influenced how you approach songwriting?Everything about Europe inspires us. The people. The landscape. The different cultures. We love it there! Bands that take chances and push boundaries do really well there. I think this has inspired us to look more inward and not care as much about what US bands are doing. Don’t get me wrong, there are plenty of incredible US bands. But collectively I just think Europe has more going on.
M.I. - Are there any songs on the new album you’re especially excited (or nervous) to bring to the stage?
As I mentioned “Souvenirs of Your Betrayal” is my favorite song on the new record. I can’t wait to play that one live. “Boo” is also going to be a lot of fun. We played it once a while back and the crowd was chanting “boo” back to us by the second chorus.
M.I. - You’ve reimagined Lana Del Rey’s “Summertime Sadness”. What made you choose that song, and how did you approach transforming it into a Frayle track? Are there any other non-metal tracks that you’d like to turn into Frayle tracks?
We actually demoed a few songs to cover. The pieces for “Summertime” just seemed to fall into place. We struggled at first with what the guitars were going to do under the verses, but once we got it we were super stoked. We wanted to honor the original song, but also make it as much of our own as we could. I’m much more into having couples sway together at our shows than having circle pits, etc. We definitely have a few more up our sleeve that we hope to release in the future.
M.I. – Frayle have been named a “band to watch”. Do you feel that kind of spotlight adds pressure, or does it fuel you creatively?
We are extremely grateful for any forward progress we have been making as a band. We owe much of that to our incredible management team (Dez and Anahstasia Fafara at The Oracle) and everyone at Napalm. They truly believe in us and know just how to push us to get the best from us. As Gwyn and I have been turning our creative focus more and more inward, we don’t really get stressed or feel pressure. If anything, it tells us that we are doing to right thing by just keeping each other stoked.
M.I. - What do you hope listeners will take away after experiencing “Heretics & Lullabies” from start to finish?
I hope that we inspire people to look inward and care less about any outside pressures that could cause them to sway from their authenticity. I hope that maybe someone can find solace in a song, a verse, or even just a sound.
M.I. - Beyond the album release, what does the next chapter for Frayle look like? More touring, collaborations, experimentation?
Many thanks for taking the time to answer our questions.
We can’t wait to get back on the road and support the record. We have some plans in the works, but nothing that we can talk about quite yet. We hope to see everyone out there very soon! Thank you for taking the time to speak with us. It means so much. Gwyn and I are so grateful for the questions.
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Questions by Sónia Fonseca
