Gwyn Strang on Spirituality, Power, and Frayle
Gwyn Strang, the enigmatic frontwoman of the Cleveland-based doom outfit Frayle, masterfully crafts “lullabies over chaos” — ethereal, haunting, and deeply emotional music that navigates the tension between beauty and unrest.
Strang's musical journey began in Toronto before relocating to Cleveland, where she met Sean Bilovecky, a former member of the band Disengage. Their collaboration blossomed from a shared passion for music and a desire to explore uncharted sonic territories. Strang's haunting vocals and Bilovecky's intricate guitar work became the foundation of Frayle's distinctive sound, which draws inspiration from a diverse array of artists, including Sleep, Portishead, Björk, Kyuss, and Black Sabbath.
Frayle's debut full-length album, 1692, released in 2020, delved into themes of isolation and inner turmoil, while their subsequent album, 2022’s Skin & Sorrow, further refined their haunting, immersive sound. Their latest release, Heretics & Lullabies, pushes the band’s signature sonic approach even further, merging ethereal melodies with unpredictable, intense textures to explore themes of transformation, resilience, and the beauty within disorder.
Across her work, Strang weaves soundscapes at once intimate and unsettling, reflections of a mind that’s unafraid to linger at the edges of experience. With a steadfast devotion to authenticity and fearless experimentation, she alchemizes chaos into something profoundly lyrical, drawing strength from vulnerability, complexity, and the uncompromising raw honesty of pure emotion.
KP: You’ve described Frayle’s sound as “lullabies over chaos,” which is undeniably fitting. How did the push and pull of such a unique sound evolve, and what does it signify to you?
GS: The push and pull evolved very naturally over the course of the albums. Sean and I write everything separately and get out of each other's way so that what we produce is authentically us. I am inspired by music and visuals that soothe, and Sean is inspired more by music that pulls out all emotions. I think if we tried to sit together and write, it would be a muddy version of what we have today.
KP: Your debut album, 1692, drew inspiration from the Salem Witch Trials. What drew you to that historical moment in particular, and how did you translate and weave its themes into your music?
GS: I’ve been to Salem several times — it’s definitely a magical place. When you visit the areas that were active during the trials, you can feel the heaviness. For me, the persecution of the witch trials is symbolic of the persecution of those who don't fit in today's society. I’m not sure if what I am or believe could be deemed a “witch,” as I don’t follow any particular doctrine or religion, but spirituality is — and always has been — very important to me. It’s a big part of my life, so it naturally works its way into the music and lyrics.
KP: Speaking of 1692 as a record, I can’t help but ask about “Darker Than Black,” “Burn,” and “Dead Inside,” three tracks that I really love. Can you tell us a little bit about their writing and production?
GS: Sean initially came to me with the riff for “Darker Than Black,” and I immediately knew that I wanted it to be anthemic. I wanted it to be a summation of what I saw and felt within our community. I wanted to give voice and comfort to those that have been cast out or marginalized. That song in particular means a lot to me.
Sean was really passionate about “Burn.” It was one of those songs that really moved him. I wanted to write a song about the cycle of heartbreak and the idea that it is our “job” on this earth to work through these relationships and hopefully learn something each time.
“Dead Inside” is a deeply personal look at suicide ideation and how sometimes you just want to give up. It is one of those songs where everything flowed very easily from the writing to the recording and its end production.
KP: To return to speaking about the persecution of women, how do you respond to the challenges of being a woman in a genre that has historically been male-dominated? What role do you believe that women should play in shaping the future of metal?
GS: While I definitely am aware of the struggles of women within this genre, I can’t say that I personally have experienced blatant sexism — or, if I have, I’ve dismissed it as a personal problem that someone was having that day. I am very aware that it does exist in all facets of life, but I can’t say that I’ve come face-to-face with it explicitly.
I think the role that women play in shaping the future of metal is whatever we want it to be. We have already expanded the genre and added our particular spin to it, and I think it is much stronger and better because of it.
KP: I certainly agree. Your forthcoming record, Heretics & Lullabies, explores themes including inequality, deception, and the imbalance of power, touching on feminism as well as questions of religious and moral conformity. As an American — as am I — how has the current political and social landscape influenced the creation and production of this record?
GS: I think the political landscape can’t help but affect us, especially recently. It's really amplified all of the cracks and inequalities in the country. As a female living in the States right now, having to live through radical ideologies — such as a bunch of undereducated yahoos yelling “your body, my choice” — really shines a direct spotlight on the fact that women are still not treated as equals.
“Remember that your pain is as divine as your joy. Everything is a lesson.”
KP: We, unfortunately, have a very long way to go. Were there any specific events, movements, or personal experiences that directly informed the lyrics or musical direction of the album?
GS: All of my lyrics are deeply personal, and all are informed by events from my past. Heartbreak, loss, and depression — I’ve been through all of these, and if, through music, I can help someone feel a little less alone by sharing these experiences, then I’m elated to do so.
KP: Your cover of “Summertime Sadness” received a considerable amount of attention upon its release. I love Lana — it was a fascinating crossover. What inspired you to choose that song, and how did you approach making it entirely your own?
GS: Lana is the queen of melancholy, so it seemed a natural choice. Whenever we decide that we want to include a cover song on an album, we choose a few to flesh out and then demo the ones that we think are the strongest. We both really liked “Summertime Sadness,” but it took a bit to get all of the pieces to fall into place. Changing from full chords to single notes as an opening to the song made us know this was “the one.” We sent it off to our producer, Aaron Chaparian, who added the pause before the chorus. When we got it back, we knew that we had magick.
KP: Magick it is! The witch is an ongoing theme in both your music and imagery. What role does spirituality play in your music and personal life, if any?
GS: Spirituality is a huge part of my life; it colors everything that I do. Because it is such a big part of me, it definitely also plays a big role in my lyrics. I also try to make everyone feel included. I’m not against any religion — if it makes you feel good, and it doesn’t hurt anyone, then keep at it.
KP: While researching for this piece, I couldn’t help but notice that many people have drawn comparisons between you and Peter Steele. It’s not something that I thought about immediately upon hearing you, but now I can’t not hear it! [Laughs] As a native New Yorker and a Type O Negative fan, I mean that as the absolute highest praise.
But some artists shy away from comparisons, while others embrace them. Who would you say have been your personal musical influences, and how do you feel that they’ve shaped your sound?
GS: Peter Steele is an icon, so to be compared to him definitely is high praise. I don’t mind someone comparing me if that helps them somehow, but I certainly don't seek out comparisons either. Beth Gibbons and Alison Shaw have both influenced my vocal style. They both evoke such vulnerability and beautiful imperfection with their voices, which is something that I aspire to.
KP: Visuals seem to be an inseparable part of your art. Are there particular visual artists, movements, or aesthetics that have significantly influenced your creative identity? How do you see the relationship between your music and visuals evolving in future projects?
GS: Visuals are definitely a big part of the artistic process for us. Music comes first, but the visuals are the icing on the cake, so to speak. I’m always inspired by horror movies. I’m very excited to see Frankenstein this year. I think that we will continue to work on and evolve our visuals just as we do our music. Sometimes we’ll get a new piece of equipment or plug-in, and it will change the way that we look at everything.
KP: The attention to detail is very prominent. Do you have a favorite visual of Frayle’s so far?
GS: I think the White Witch album cover is one of my favorite visuals that we've produced. It's so simple, yet it says so much.
KP: What advice would you give to women who are trying to break into rock today?
GS: Put on your blinders and just do it. Don’t shrink yourself, live big… And don’t read the comments.
KP: What advice would you lend women about life, work, or love?
GS: Remember that your pain is as divine as your joy. Everything is a lesson. Visit your pain, but don’t live there. Try to determine what you are meant to learn from that moment. It takes the focus off of the pain and directs it to your higher purpose.
KP: What do you feel makes a provocative woman?
GS: Being your true, authentic self, and not caring what others think of you. To me, those are the first steps to becoming provocative. Doing that without any apologies and not shrinking into the shadows, but living fully in your light, makes for the best kind of provocation.
