EDENBRIDGE

Lanvall:
“I never compose according to a fixed formula.”

Sabine Edelsbacher:
“Experiencing contrasts makes us feel alive and allows us to enjoy music in its full range.”

Lanvall:
“Being in the moment is essential – because it is always now.”

Sabine Edelsbacher:
“If we get goosebumps ourselves, we trust that this energy will transfer.”

Lanvall:
“The more freely you allow inspiration to flow, the better the end result will be.”

Sabine Edelsbacher:
“Only what comes to light can be recognized and consequently transformed.”

Lanvall:
“The music has to excite me even after a year of working on it – otherwise it’s not good enough.”

Sabine Edelsbacher:
“With our music and lyrics, we have stood for transformation rather than escalation for over 25 years.”

Lanvall:
“Music can only touch you when it has depth.”

Sabine Edelsbacher:
“We want to connect people rather than divide them.”

With ‘Set The Dark On Fire‘, Edenbridge once again prove that longevity does not require stagnation.
Instead of reacting loudly to the noise of the modern world, the Austrian symphonic metal institution continues to refine its inner compass – musically, lyrically, and philosophically.
Fire, transformation, contrast, and awareness shape an album that feels both urgent and timeless.
In this in-depth conversation, Sabine Edelsbacher and Lanvall speak with Fok ‘bs’ about creative freedom, vocal transformation, instrumental choices beyond genre borders, and the power of music to connect rather than divide.
‘Set The Dark On Fire‘ feels less like a classic new chapter and more like a conscious intensification of your previous attitude.
Was there a moment when you realized:
now we need to be more direct, faster, maybe even more uncompromising?
Lanvall:
“This is a completely natural development, and interestingly enough, opinions differ on this point as well. Some media felt the new album was more progressive and harder to access, while others perceived it as more direct and simpler. I never compose according to a fixed formula. The more freely you allow inspiration to flow, the better the end result will be.”
Fire runs through the new album as a central image – not as destruction, but as transformation.
Did this motif emerge more from a musical process, or from an inner, personal one?
Sabine:
“For us, the creation of a new album is always to be seen as a synergy. Everything musical as well as the lyrics do not arise from an intellectual plan, but are the result of inspiration and an intense engagement with life’s themes. Of course, this always goes hand in hand with a personal process. You observe the world and global events, spend time in nature and in silence, then again in conversations with people, and thus gather your own experiences. At the moment, the element of fire runs like a red thread through the album. As a band, we perceive the collective shadow becoming more visible, and we welcome this with our new album ‘Set The Dark On Fire’. Only what comes to light can be recognized by everyone and consequently transformed. But it is also important to use the power of fire wisely, so as not to cause a wildfire. With our music and lyrics, we have stood for transformation rather than escalation for over 25 years. Lyrically, we have always processed how we can influence things constructively and creatively, how we can free ourselves from dependencies, find our own path, and thus positively influence the collective as well. I am convinced that we have far more influence on the collective field through our thoughts and emotions than we are consciously aware of. However, this influence primarily becomes visible within ourselves and in our own actions and effects.”
Edenbridge have never been a band that reacts loudly to current crises, but rather looks inward.
Is it harder today to maintain this attitude without being perceived as out of touch?
Sabine:
“The real question is how many listeners engage with the lyrics on a deeper level and then also interpret the metaphors in the way we intended them. Anyone who perceives us as out of touch has probably formed an opinion based solely on paradisiacal imagery. We enjoy sophisticated and profound lyrics, because anything else would not do the music justice. Therefore, it is far from our intention to lecture our listeners with banal statements. Humanity has always suffered from misguided ideologies and dogmas – we don’t want to add to that. With our layered lyrics, we prefer to stand for awareness, and that does not happen through the intellect alone, which is often part of the problem in this process. On ‘The Bonding’, for example, we described exactly this theme. Music itself can achieve so much more than even the most intelligent words combined. It is on this musical level that we want to operate – to connect people rather than divide them.”
You work with an impressive range of instruments, many of them outside classical metal conventions.
When does an instrument determine the direction of a song, and when do you consciously subordinate it?
Lanvall:
“The question is always what added value an instrument brings to a particular part. Only when used purposefully does it really make sense. Can I expand the stylistic touch with that instrument, or not? Natural string instruments always have the advantage of being clearly superior to sample libraries due to their rich overtones. ‘Divine Dawn Reveal’ practically cried out for incorporating a whole palette of oriental instruments. On ‘Where the Wild Things Are’, with its Celtic/Irish flair, it made particular sense to integrate instruments such as hammered dulcimer, bouzouki, and mandolin.”
Your voice on the new material noticeably moves between calm, clarity, and assertiveness.
Has your personal approach to singing changed more technically or emotionally in recent years?
Sabine:
“I’m glad you perceive it that way – thank you for that. In advance, however, it felt completely the opposite to me. A rather severe diaphragmatic spasm had practically put me out of action. No breathing exercise and no manual therapy initially helped. I owe it to my doctor that I was even able to walk upright again and breathe properly. Singing wasn’t even an option at that point. Then the diagnosis came like a bolt from the blue: SIBO – small intestinal bacterial overgrowth with fructose intolerance. And that shortly before Christmas 2024. Eating sugar-free, no fruit, no carbohydrates – for me as a vegetarian, a real question mark as to what was even left. But I had no choice and had to remain strict. The thought of whether I would even manage it in the studio stressed me enormously. My entire body was noticeably in transition, everything felt off, and access to my actual potential felt blocked. In retrospect, however, this whole disaster also enabled a fundamental shift in patterns – in how I generally approach things. In the midst of preparations, I suddenly experienced a new effortlessness while singing. Ultimately, the result of my ongoing joy in experimentation was more expression with less impact. In the studio, however, this wasn’t immediately accessible. Every studio day initially felt like a therapy session for me. Paradoxically, despite hours of exertion, I felt physically better the following day each time. Through singing, I had literally ‘ironed out’ my diaphragm. Once I became more stable with this new effortlessness and entered a flow similar to earlier times, I had reached a new vocal level. And that gave me great joy. Exactly at the point in the body where the diaphragm is located lies the solar plexus – our inner sun, which is mentioned in ‘Cosmic Embrace’. This sensitive network of nerves makes us react strongly to emotions and tends to block when everything becomes too much or when something quite literally ‘hits us in the stomach’. I know this topic well and view it from many angles. In hindsight, I was once again impressed by how this album met me exactly at that point, gave me a clear sign, and demanded change. My approach to singing has always been the same: I love to keep evolving. You never stop learning – technically as well as emotionally, in processing and expressing things – and often one flows into the other.”
Your music thrives on contrasts:
hardness and vastness, grounding and transcendence.
Is there a point at which this balance would tip, or is this tension precisely where you feel at home?
Sabine:
“For us, the boundary is very clearly where we ourselves no longer like it. Stylistically, our approach has always been very broad. Our own listening habits are diverse, and since we have never subjected ourselves to fashionable trends, this openness is consistently reflected in our music. On the one hand, this meant that we were hard to grasp for some and could hardly be pigeonholed. On the other hand, it opened up a creative freedom that ensures we still enjoy what we do even after more than 25 years. Our fans are accustomed to this diversity and appreciate the variety. Feedback repeatedly shows us that favorite songs vary greatly, that each person has different favorites spread across the entire discography. The contrasts you describe are an essential part of our musical identity; we need exactly this field of tension. If you want to give hardness a counterpart, for me that would be gentleness – sometimes in the form of quiet passages, sometimes through harmonious melodic guidance. Experiencing contrasts makes us feel alive and allows us to enjoy music in its full range.”
Many bands respond to a fast-paced music world by simplifying things.
Edenbridge, on the other hand, seem to focus on depth and structure.
Is that a conscious counter-design, or simply the only way of working that makes sense to you?
Lanvall:
“The only way of working that makes sense to me is not listening to – or eyeing – what is currently popular or trendy. Music can only touch you when it has depth. To make all the details in the mix shine, structure in the arrangement process is an essential necessity. Since I work on the songs and their arrangements for over a year, they still have to excite me afterwards – otherwise they simply aren’t good enough.”
With over two decades of band history, Edenbridge stands for continuity without stagnation.
In retrospect, what was more difficult:
evolving musically or staying true to yourselves in the process?
Sabine:
“Is there even an either-or? For us, one usually conditioned the other. Of course, there were difficult phases. We never had that one big breakthrough that would have allowed everyone in the band to focus exclusively on music from the very beginning. Lanvall was the only one who consistently pursued that path, and even he always had several projects running in parallel. We also consciously chose not to tour all year round, as many successful bands have done. The bar we set for ourselves musically is high, and living up to that is not something you can just do on the side – it is quite demanding. Personally, it was also always important to me to truly penetrate spiritual themes in life in order to remain authentic. Before becoming self-employed as a voice and personality trainer and vocal coach, I worked alongside Edenbridge as a certified nurse. I deliberately chose areas in which I was particularly confronted with death or the ‘in-between’. That often pushed me to my own limits, but the effortlessness I mentioned earlier is something I’ve only discovered more recently 😊”
Your collaboration appears exceptionally stable and organic.
Has your creative division of roles changed over the years, or has it simply grown without being newly defined?
Sabine:
“Since the 9th album ‘The Great Momentum’, Lanvall and I have been writing the lyrics partly together, which naturally brought additional aspects into play. We have developed a fruitful approach to this that we truly enjoy. Lanvall, Johannes, and I form the creative team for the graphic design. As a professional 3D artist, Johannes has the technical know-how to skillfully translate ideas into visuals, and above all, he has the necessary sensitivity for spiritual and mystical themes. Last year, he was extremely busy with the cover, booklet, and videos. I usually develop the ideas for the videos already during the phase when we write the lyrics. Their realization then involves everyone again. Overall, everything has become significantly more elaborate – perhaps precisely because with each album we do more and more ourselves. It feels as if the current album has occupied us from the very beginning, put us under fire, and kept us simmering throughout the entire year 😊”
The lyrics of the new album feel more personal, but not private – more observational than confessional.
Where do you consciously draw the line between openness and protecting your inner self?
Sabine:
“Your perception of the lyrics is interesting. It’s true that one often turns one’s innermost self outward, but it’s not a diary that we present in lyrical form. Sometimes I write down thoughts in sentences beforehand, which we then process together so that they convey the original message in rhymed form as well. Other times I have a clear idea and then have to completely abandon it because rhythm and rhyme lead to something entirely different. In every case, that outcome is better than what was originally conceived, because it is what the song or the creative moment demands. It does require persistence until it feels coherent, but without getting stuck or forcing things. The poetic form of metaphors gives us the artistic freedom to express deeper layers, while at the same time creating the space people need to find their own interpretations that resonate with them.”
Edenbridge are often described with terms such as symphonic, epic, or atmospheric.
Which terms would you personally prefer to hear, even if they are less genre-typical?
Lanvall:
“These terms describe our style very well. Fortunately, more and more media within our genre are now also acknowledging a certain uniqueness due to harmony structures, modulations, and melodic development. When that is recognized, it means a lot to me.”
After so many releases, retrospectives, and best-ofs:
Do you still write with the overall body of work in mind, or does only the moment of the individual song matter?
Lanvall:
“The moment of the individual song creates the overall body of work, so it is definitely both. ‘Being in the moment’ is an essential part of life anyway, because it is always ‘now’.”
If someone hears ‘Set The Dark On Fire‘ as their first contact with Edenbridge:
What should that person feel about you, even before understanding what the songs are about?
Sabine:
“That is truly a very special question – my compliments. And it’s not that easy to answer, because I’ve never consciously thought about it before. For us, it’s crucial that the music touches us first before it can reach anyone else. If we get goosebumps ourselves while playing, singing, or listening, we assume that this energy will transfer in one way or another. How exactly it affects others is, of course, beyond our control. All the more beautiful it would be if people find access to themselves again through it, feel inspired and empowered to walk their own path – even in challenging times – perhaps off the beaten track. I think that’s exactly what we stand for. And if someone feels emotionally met by our music, ideally they can use it as a kind of portal.”
Sabine & Lanvall:
“Thank you very much for these truly exceptional questions! We wish you a good and joyful New Year 2026”
More than 25 years into their journey, Edenbridge continue to follow their own path – guided not by trends, but by depth, contrast, and awareness.
‘Set The Dark On Fire‘ is less a statement of reinvention than a focused expression of everything the band stands for:
transformation over escalation, emotion over spectacle, and music as a space where opposites can coexist.
An album – and a conversation – that invites listeners not only to hear, but to reflect.
by Fok ‘bs’

track-list:
The Ghostship Diaries
Cosmic Embrace
Where the Wild Things Are
Tears of the Prophets
Our Place Among the Stars
Set the Dark on Fire
Bonded by the Light
Divine Dawn Reveal
Lighthouse

Edenbridge are:
Lanvall – guitars, bass, keyboards, piano, bouzouki, bağlama, mandolin, pipa, percussion, hammered dulcimer
Sabine Edelsbacher – vocals
Johannes Jungreithmeier – drums
Steven Hall – bass
Sven Sevens – guitars

With ‘Set The Dark On Fire‘, Austrian symphonic metal mainstays Edenbridge open a new chapter that is both faster and more emotionally charged than anything they’ve done before.
The album, set for release on January 16th, 2026 via Steamhammer, shows a band that refuses to ignore the darkness of the present – but just as clearly refuses to be consumed by it.
The title track, already released as a first single, immediately sets the tone.
It’s one of the most up-tempo songs in Edenbridge’s catalog, driven by urgency and confidence.
While darker moods shape the atmosphere, the song avoids despair.
Instead, it channels intensity into momentum, underlining the band’s belief that transformation is more powerful than escalation.
Musically, the track hints at a rawer, more aggressive approach across the album, without sacrificing melody or emotional depth.
Throughout ‘Set The Dark On Fire‘, Edenbridge lean into contrasts.
Heavier, more grounded riffs meet expansive symphonic elements, while moments of force give way to introspective calm.
The band describe fire as a central image running through the album – not as destruction, but as a catalyst.
Sparks are meant to be felt, not feared, and that idea is reflected in songs that feel both urgent and uplifting.
Lyrically, the focus turns inward.
Rather than reacting blindly to external chaos, Edenbridge explore themes of inner development, awareness and personal responsibility.
Vocalist Sabine Edelsbacher emphasizes the importance of stepping back when the world feels overwhelming – returning to an inner center before moving forward again.
From that still point, insight and inspiration emerge, allowing growth instead of collapse.
These ideas are mirrored in the music itself.
Softer passages offer space for reflection, while powerful sections arrive with full expressive force.
Edelsbacher’s vocal performance carries this dynamic beautifully, shifting from serenity to strength with natural authority.
The result is an album that feels deeply human, rooted in emotion rather than abstraction.
‘Set The Dark On Fire‘ presents Edenbridge not as commentators shouting from the sidelines, but as observers searching for meaning beneath the surface.
In uncertain times, the band choose clarity over noise, transformation over destruction – and invite the listener to do the same.

discography (part II):

With their 12th studio album, ‘Set The Dark On Fire‘, and their return to the Steamhammer label, Edenbridge explores new soundscapes without abandoning their tried-and-tested trademarks.
This is primarily due to a significantly heavier basic sound, which harmonizes perfectly with the lyrical and visual direction of the Austrian quintet around singer Sabine Edelsbacher and composer/guitarist/keyboardist Lanvall.
The songs are characterized by harmonic and structural diversity.
Powerful riffs and expansive guitar solos meet opulent, symphonic orchestral arrangements and unusual string instruments rarely used in metal, such as the dulcimer, swarmandal, monochord, and electric sitar.
Sabine Edelsbacher’s warm, distinctive timbre lends the compositions a high level of recognition.
The opener ‘The Ghostship Diaries‘ captivates with its multi-layered chorus and a heavy, doomy finale.
The ballad, ‘Bonded By The Light‘ unfolds cinematic grandeur and would also shine as the title track for a certain British secret agent.
‘Lighthouse‘ including the intro ‘Divine Dawn Reveal‘ exudes an oriental flair, while the pounding mid-tempo track ‘Our Place Among The Stars‘ surprises with a gospel-like finale.
The album’s centerpiece is the 13-minute, four-part long track ‘Spark Of The Everflame‘ which impressively summarizes the entire spectrum of the Edenbridge sound.
The debut single ‘Cosmic Embrace’ captivates with its enormous hit count and skillfully ramps up the tempo in its orchestral middle section.
The accompanying video captivates with impressive imagery:
The labyrinth symbolizes the path to inner contemplation.
The energy gathered thereby culminates in blazing fire – a metaphor for transformation and the uplifting connection with solar energy.
Image and sound merge into an emotional wave that deeply touches the listener/viewer.
New EDENBRIDGE album ‘Set The Dark On Fire’ to be released on January the 16th, 2026.