Romana Kalkuhl and Laura Guldemond on Metal, Burning Witches, and the Power in Not Repeating the Past
Formed in 2015 in Brugg, Switzerland, Burning Witches have forged a commanding presence in the world of heavy metal, defined by their unapologetic ferocity and unrelenting spirit.
Founded by guitarist Romana Kalkuhl, the all-female band set out to channel the classic energy of traditional heavy metal and power metal while infusing it with their own modern ferocity. With influences ranging from Judas Priest and Iron Maiden to Dio and Warlock, Burning Witches blend galloping riffs, soaring vocals, and blistering solos into anthems that feel both timeless and urgent.
That balance between tradition and reinvention is alive and well on their latest album, Inquisition, released in August 2025 via Napalm Records as part of their 10-year anniversary. Produced by Damir Eskic and V.O. Pulver, the record sees the band at their most thunderous and focused yet, diving into themes of medieval persecution, religious oppression, and the unbreakable spirit of resistance. Across tracks like “Soul Eater,” “High Priestess of the Night,” and the storming title cut, Burning Witches sharpen their signature blend of melodic hooks, galloping rhythms, and occult atmosphere, proving that they can still summon the power of classic metal while pushing it into darker, more ferocious territory.
Over the course of multiple albums and relentless touring, Burning Witches have earned acclaim not only for keeping the flame of old-school metal alive, but for proving that women can dominate the genre’s loudest and heaviest spaces with conviction and authenticity. With Inquisition, Burning Witches don’t just continue their rise — they cement their legacy as both torchbearers of heavy metal’s past and vanguards of its future.
Our publisher, Kristin Prim, chatted with Burning Witches’ founder and guitarist, Romana Kalkuhl, and lead vocalist, Laura Guldemond, about the evolution of metal, the band’s fiery origins, and the undeniable power that can be found in not repeating the past.
KP: I have to begin with your name; I love it! For those unfamiliar, how did “Burning Witches” come about? What does it represent to you, both symbolically and politically?
RK: We were just searching for a name, and honestly, there were a lot of bad ones thrown into the pot. We didn’t like any of them — things with “dolls” or “Barbie,” everything sounded awful. Then someone from our camp suggested, “Hey, let’s call you Burning Witches, because you’re all crazy! It fits perfectly, and it’s a great theme.” And that was it. Burning Witches was born!
LG: We never really set out to be a political band. First and foremost, we just wanted to have fun together as girls who love heavy metal. The name, Burning Witches, simply felt like the perfect fit — it captures the passion, the fire, and the energy of women playing metal with everything they’ve got. That’s really how it should be seen.
KP: Burning Witches was initially formed to revive traditional heavy metal. What specific elements of classic metal were you most drawn to, and how did you hope to modernize or reinterpret them?
RK: Most of us are traditional metalheads — we breathe, think, and love metal like Judas Priest, Iron Maiden, and Slayer! Our mission is to keep the flame alive, even after the old legends are gone. I don’t know if “modernize” is exactly the right word, but of course, we try to reinterpret things and not repeat ourselves. In the end, though, the style is what it is — and we love our albums, our songs, and the art of how we do it.
LG: I think we just pulled together elements from all of the bands that we love. For example, you can hear influences from Manowar, Iron Maiden, Kreator, and of course Judas Priest — all of those classic old-school heavy metal bands. They’ve really inspired us, and you can hear bits of all of them coming through in our music.
What makes our sound feel more modern, though, is the people that we work with. Our mixing and recording engineer, V.O. Pulver, is also heavily inspired by the ’80s, but he brings his own touch as well. He knows exactly how to handle our music, blending old-school techniques with more contemporary ones.
For instance, I record with a Neumann microphone that has a tube in it — which gives it that vintage, old-school feel — but it’s combined with modern production methods. That mix of influences and approaches is really what shaped the sound we have today.
KP: I think you can definitely hear that, particularly on the latest record. But before we get to your latest release, 2025 marks ten years of Burning Witches. When you first formed the band in 2015, what kind of musical or cultural gap did you feel compelled to fill?
RK: Honestly, we just wanted to rock and play shows! We never expected to get as far as we have gotten now. It’s amazing. Burning Witches became a worldwide brand, and people sing our songs no matter where we play. That’s a huge goal in our lives!
LG: I wasn’t there in 2015, but from what Romana told me, she really just wanted to start an all-girl band to have fun making music together. Usually, it’s the guys forming bands, so this time it was about the girls coming together — and that was the whole idea.
It wasn’t about trying to fill a gap, though maybe back then there were fewer women in metal than there are today. At the core, it was simply about enjoying making music with each other.
KP: To speak of your work more at large, both occult symbolism and witchcraft play a prominent role in your lyrics and imagery. What draws you to these themes? Do you view them more as theatrical storytelling or a feminist reclaiming of power?
RK: It was — and still is — the perfect theme for this band. We also love telling and reminding people of historical events so that they’re never repeated again. The whole theme is still relevant today, so we’re always busy with these ideas.
LG: These days, people often connect what we do with feminism, but that wasn’t really our original intention, like I mentioned before. At the core, we just wanted to make music. Still, by choosing the name Burning Witches, we naturally tied ourselves to certain themes. Witches are often seen as strong women who go against the grain, who are rebellious, independent, and unafraid to have their own thoughts about society. I completely understand why people pick up on that in our music, and if it empowers them, I think that’s amazing. I’m totally happy with that.
For me personally, I also just love fantasy — movies, stories, the occult symbolism, witchcraft — all of it is really entertaining. And I hope it’s just as entertaining for the listener, too.
KP: As an all-female band in a traditionally male-dominated genre, what kinds of support — or resistance — have you encountered along the way?
RK: Everything: love, hate, laughter, jealousy. But we don’t give a fuck about that anymore — we just have our way, and we love it completely. Still, it’s not always easy. We have to constantly take care of things like makeup, photos, and presence — all the extra expectations. Male bands don’t face this to the same extreme. But it is what it is — we keep going and doing our thing.
LG: To be honest, especially in the beginning, it was a bit harder. Like I said, I wasn’t in the band yet, but I heard stories — people questioning whether we actually played ourselves or if there was a guy behind the stage doing it for us. To me, that’s just ridiculous. You either play or you don’t, and in metal — especially old-school metal — there’s no room for playback.
Of course, newer bands sometimes use orchestration or backing tracks, but we don’t do that, apart from our intro and outro music. When we started out, some people weren’t sure what to think of us, but by now they know who we are. In general, people are supportive and totally fine with us.
That said, there are always a few rotten apples who are just against women in metal, and I think that’s absolute nonsense. Luckily, I haven’t had to deal with too many of them personally. It’s like the trolls you see leaving nasty comments on YouTube — you know they exist, but you don’t give them your energy. We just ignore them. To us, they don’t exist.
KP: On that note, has being labeled an “all-female” band ever felt restrictive, or do you see it as a strength that empowers your identity and message?
RK: We don’t see ourselves as a “typical” female band. Most female bands play symphonic metal, which isn’t our thing. We compare ourselves with Slayer or Iron Maiden — that’s it.
LG: There are always a few rotten apples. And if one of them happens to be in an organization, then yeah, you might get unlucky and miss out on a festival or a certain slot because of that person. But honestly, I don’t think it happens too often, luckily. I don’t feel it’s very restrictive either — in fact, being an all-female band is also something special, and not everyone has that. So in the end, I don’t think it matters much.
KP: Your sixth full-length studio album, Inquisition, just dropped — congratulations! The record explores themes of religious persecution and the enduring power of resistance. What inspired you to dive into these historical and political themes? And do you see any parallels between those narratives and current global struggles?
RK: Thank you! Yes, we’re proud of Inquisition. Mankind keeps repeating itself — we want to show that and compare the past with the present. Some of the lyrics fit perfectly with what’s happening in the world right now. We like to tell the truth and write about history, especially occult history — times when people were scared, but also curious and open to new things. The laws back then were really harsh, and that’s something that we wanted to reflect.
LG: I think the theme is always relevant, no matter where or when. The Inquisition was a historical moment when people could be accused of wrongdoing without having done anything at all. There was a system, backed by the Catholic Church, where once you were accused, you had to confess and name others, whether they were guilty or not. Maybe you’d survive, maybe you wouldn’t — but the idea was that your soul would be saved. It was an incredibly heavy time, because religion dominated every part of life. Everyone shared the same belief system, so almost the entire society was caught in this mass hysteria, terrified of being accused next.
And sadly, you still see versions of this today in extreme situations. It doesn’t even have to be religion — it can be politics, social groups, or even personal dynamics. If you have a different opinion in the wrong place, you can be completely ostracized, or worse. In our video for “Inquisition,” we even explored the idea metaphorically — those inner voices in your head telling you conflicting things, creating your own personal “inquisition” within your mind.
As for resistance, that’s also something that still exists, but it looks different today. The positive side of our modern world is that it’s easier to access information and different viewpoints, even from remote places, because of the internet. It’s much harder now to find a community where everyone thinks the same way, unlike in the days of the Inquisition. Of course, resistance to certain ideas and beliefs is still very present today — maybe even more so than back then — but the context has changed.
“To be truly part of rock and roll, you have to live it — to be a monster in life, a tough person both on and off stage.”
KP: It’s simply shocking how quickly we can regress as a society, isn’t it? While on the topic of the concept of Inquisition, how do you feel it influenced the songwriting process and the album’s overall sonic direction?
RK: We love moving between historical themes and sometimes more ironic things. When I started composing the first melodies, I jumped right into the occult but true concept — brainstorming riffs, melodies, and lyric ideas around it.
LG: I do think that most of our songs focus on the darker side of things — that sense of anxiety, anger, and all of the heavy emotions that people carry. You can really hear that throughout the album. But we do have one song that’s different, more uplifting: “High Priestess of the Night.” That one leans into the theme of resistance, and it feels more hopeful, even heroic, compared to the others.
So on one side you have a track like “Soul Eater,” which is probably the heaviest and most intense, and on the other side you have “High Priestess of the Night,” which offers that brighter, more empowering energy.
KP: This record has been described as your “most focused and ferocious” release to date. In your view, what sets Inquisition apart sonically from previous albums such as The Dark Tower or Hexenhammer?
RK: The Inquisition lasted for hundreds of years, and the theme is very strong. It really shaped the songs — we created darker tones compared to our earlier albums. Of course, we love all of our records, but Inquisition feels deeper and heavier, both lyrically and musically. We paid special attention to that. Honestly, we already started working this way with The Dark Tower — maybe it was just a matter of time before we went further. This is our magic!
LG: You know, I’d almost want to listen back now because I actually forgot which songs opened some of those albums. Maybe people call this one the most ferocious because the first track is “Soul Eater” — and that’s definitely the heaviest song. In my opinion, though, the album has a really good variety. It covers the full range of what we do — from the darker, heavier side to the less intense moments.
Of course, when you’re the one working on it, you don’t always see it clearly yourself. To me, it feels a bit less “happy” overall, maybe more ferocious than, say, Dance with the Devil. But then again, Hexenhammer was also pretty ferocious. So honestly, you’d have to explain to me what makes this one feel more intense to you, because I’m not sure. I think, in the end, it really comes down to opinion.
KP: What can you reveal to us about Inquisition’s writing, recording, or production?
RK: Since the beginning, we’ve worked with the same production team, and we’ve grown together with them. That’s a huge achievement for us — we can fully trust them, and they completely understand and respect our sound.
LG: We approached Inquisition much like we did our previous albums, but of course this time Courtney joined us, and we love what she brought. She wrote some really great lines for all of the solos and even contributed a bit to the ballad. Her sound is definitely something new for us — she has her own style, and for the sharp listener, you can hear how the overall sound shifts a little when a new member comes in. I think what she adds is really cool, and we’re so happy she’s part of the band now.
The rest of the process stayed the same. We do a lot of our writing by sending ideas back and forth on WhatsApp — simple recordings, whether it’s a guitar riff from Romana, something from a rehearsal, or even early studio takes. From there, I start shaping lyrics and melody lines. Sometimes Romana already has strong ideas for vocal melodies, and I usually keep a list of potential song titles or themes to draw from. For this record, we already knew the Inquisition would be the central theme, so we built songs around different aspects of that history, while leaving room for other optional ideas too.
Once a song starts to come together — when the chords, structure, and vocal lines feel solid — then everyone else usually joins in to flesh it out with the full band. Sometimes a riff or part is already so strong that we jump straight into drums and bass, because we know that the vocals will fall into place later. Finally, in the studio, we work out the details with the producer, who brings in a fresh perspective. That’s usually when we might shift some parts around to make the song as strong as possible.
KP: What words of advice would you offer to women who dream of starting their own band, especially in heavier genres?
RK: Just play! But also go out, meet people, and enjoy life. Our business side came from going to other bands’ shows, meeting people, and supporting the bands that we loved. It’s not just about the music — it’s about who you are and how you live. I had my old band, Atlas&Axis, before Burning Witches, and through that I met people who later became part of Burning Witches and our career at large.
“There’s a saying in Dutch: ‘Je moet je eigen slingers ophangen,’ which literally means ‘you have to hang your own streamers.’ Basically, you’re responsible for making life a celebration — putting up your own balloons and flags, creating your own sense of joy.”
LG: Honestly, the advice that I’d give to any musician is simple: practice like your life depends on it. If you’re not practicing, ask yourself whether you should be — the answer is probably yes. Make sure you can really kick ass on your instrument.
But it’s not just about technical skills. It can also be about having something unique in your sound or creating a cool stage show — there are lots of ways to stand out. The most important thing is that you stand for something and put the work into it.
Another key aspect is networking. As a musician, you either need to be super social yourself or surround yourself with people who are, because you’ll need help — getting gigs, connecting with the right people, and making things happen. Meet others who share your passion, whether they’re fellow musicians or people involved in the industry, like bookers. Building those connections is crucial for growth and opportunities.
KP: What advice would you lend women about life, work, or love?
RK: If you love what you do, then you’ll never work a day in your life! People stuck in jobs they hate often end up living sad, boring lives. But if you love your work, life is full of passion and good moments. It’s not easy to give one answer, though — we’re lucky to live in the middle of Europe, which is generally a good place.
LG: Oh, love? Yeah, honestly, it’s kind of the same advice I’d give about being a musician or working in a heavy genre. There’s a saying in Dutch: “Je moet je eigen slingers ophangen,” which literally means “you have to hang your own streamers.” Basically, you’re responsible for making life a celebration — putting up your own balloons and flags, creating your own sense of joy.
I think that’s really important. You’re the one in charge of what happens in your life, and when you embrace that responsibility, you live better — whether it’s in love, work, or life in general. It might not sound very fun at first, but ultimately, that’s what it comes down to.
KP: What do you feel makes a provocative woman?
RK: Good question, and not an easy one. Musically speaking, some women play the “Barbie” role — they live a quiet life but act like they’re metalheads. That feels wrong to me. To be truly part of rock and roll, you have to live it — to be a monster in life, a tough person both on and off stage.
I grew up surrounded by musicians and opera singers. It might sound strange, but opera singers are wild — they drink, smoke, party, and are full of passion. I loved being backstage at the Zurich Opera as a kid, which was part of my father’s world (he sang there for 35 years.) Now he sometimes travels with me, like when we went to Wacken together — we had a huge party!
I’ll give another example: once at a festival, it was hot, and we were already drinking Jack and Coke, having fun before the show. Nearby, another band sat in silence all day, one girl glued to her phone. Later, I saw her post: “Full party backstage!” I was shocked. She sat there all day doing nothing — how can you fake being a party animal? That’s just Barbie behavior.
Provocative people, on the other hand, have strong character. I have a close friend who’s one of the most provocative people I know — sometimes I love him, sometimes I hate him, but he’s family. And even though he’s tough, he’ll cry during a drama movie. Maybe that’s the “girl” side of him, haha!
LG: Oh man, that’s a really difficult question because everyone has a different sense of what’s provocative. Of course, I grew up exposed to a lot of provocative things — watching TV, turning on MTV — so you kind of get used to it over time.
It’s funny because you ask specifically about women, and honestly, these days what’s provocative is often similar for men and women. That said, I guess showing nipples is still considered provocative — people just can’t get over it. And it makes sense in a way: they’re sexualized in a way that men’s bodies often aren’t. So if you want to be provocative, showing your chest can do it. Beyond that… I can’t really think of much else that’s universally provocative.
Cultural differences also matter a lot. For example, humor in the Netherlands — and maybe the UK — can be very harsh before it’s seen as provocative. In the Netherlands, when I was young, people would curse using diseases — typhus, cancer, and so on. Back then it was somewhat provocative, but now some of those things, like cursing with cancer, are considered completely unacceptable. So what counts as provocative really changes over time and between cultures.
So, yeah — if you ever want to dive into Dutch culture, just don’t curse with cancer, and you should be fine.
