Paris-based experimental post-metal, avant-garde and doom outfit Bank Myna have recently dropped their second full-length, EIMURIA, on April 25 via Medication Time Records, Araki Records, and Stellar Frequencies. The five-track album follows 2021’s Volaverunt and marks a shift toward a denser, more immediate sound. Inspired in part by the lives and work of Alejandra Pizarnik and Camille Claudel, EIMURIA focuses on themes of rupture, transformation, and identity loss.
The band describes the record as combining “lightness and absolute darkness,” shaped by obsidian-edged post-rock, doom, and slowcore with mystical inflections. Recorded live in July 2024 at Vetter Studio with long-time collaborator Mathieu Gaud—known for his work with Electrical Audio in Chicago and Mikrokosm in Lyon—the sessions aimed to capture an atmosphere of intimacy and immediacy. Mastering was completed by Harris Newman at Grey Market in Montreal, with cover art by Italian experimental photographer Ramona Zordini.
Bassist Daniel Machon describes the album’s cohesion in simple terms: “We kind of consider that all the songs of the album are part of the same lineage and not like separate things or tracks.” This framing is apparent in the sequencing and sonic palette of the album, which moves from slow, layered soundscapes to oppressive intensity.
The first single, “Burn All The Edges,” released in February, is a harsh, visceral piece built on repetition and confrontation. Vocalist Maud Harribey says the track “evokes a slow, repressed anger gaining power.” It’s also the most aggressive cut on the album. “It felt like a renewal after Volaverunt. We were aiming to create something more direct and more incisive,” she says. Drummer Constantin du Closel recalls the initial riffs and conversations around them referencing influences like Jesper Kyd and ISIS. Fabien Delmas adds, “To listen to really loudly, with huge speakers!!”
The video for “Burn All The Edges,” directed by Paul Nizan, avoids narrative convention in favor of experimental abstraction. Inspired by Stan Brakhage, the video juxtaposes organic, almost microscopic imagery with blurred, gothic footage of a Parisian church. The result reflects the song’s internal struggle—claustrophobic, fiery, and impossible to cleanly resolve.
According to the band, EIMURIA as a whole recounts a deeply personal process of breaking and reformation. The slow-burning opener “No Ocean Of Thoughts” was built as a kind of mirror for the rest of the record. Maud recalls the track’s early vocal line looping in her head for months. Fabien added lap steel loops, Dani bowed the bass using a short bow designed to reach the lowest string, and Constantin laid down loose percussion. “What I played was completely improvised during the recording session, a spontaneous gesture that set the tone for the album,” Dani says.
On “The Shadowed Body,” Maud explores themes of dissociation and societal roles. She references Pizarnik’s Extracción de la piedra de locura and the medieval idea of the “stone of madness” to explain the lyrical frame. Constantin describes the drum work as minimal and atmospheric, with a tempo drop near the end that adds weight to the climax. Dani used xylophone mallets on his bass to create a resonant, percussive feel: “I adapted the idea to my own style and tried to integrate it into the track’s dark and introspective atmosphere.”
“The Other Faceless Me” leans further into the ritualistic. Maud says the song deals with fragmentation and irreversible change: “An event so strong that you can’t really go back to your previous self.” The band recorded the song live while separated in different rooms. Maud remembers it as “an otherworldly, mystical experience.” Dani’s bowed bass lines blend into the track’s slow pace, while Constantin added bells and a gong, aiming to evoke a church-like ambiance. Fabien emphasizes their attention to sonic detail here: “Even if it could seem pointless sometimes, we’re convinced that really specific details can make the music more powerful or more ‘real’ ultimately.”
The closing track, “L’Implorante,” is the longest and most delayed in the writing process, even though it was one of the first ideas developed. “We were stuck for a very long time on it. At one point, we even thought it wouldn’t make it to the album,” Maud says. “However, it is now definitely my favorite track on EIMURIA.” The title references Camille Claudel’s sculpture of the same name. Constantin describes the outro as post-apocalyptic: “I always had the images of someone drowning old pictures on this section, like trying to forget memories.”
Throughout the album, the band continues to experiment with free structures, extreme dynamics, and raw production choices. The result is less a collection of songs than a single, unfolding gesture—one that feels lived-in, intimate, and volatile. EIMURIA insists on tracing the crack. As Maud notes, it’s about “a process of personal transformation, interspersed with brutal ruptures.”
Check out the full, first hand track by track analysis offered by the band below.
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The current line-up of Bank Myna features Fabien Delmas on guitar, Maud Harribey handling vocals, violin, and keyboards, Constantin du Closel on drums and percussions, and Daniel Machon on bass. EIMURIA was released on April 25, 2025 via Medication Time Records, Araki Records, and Stellar Frequencies.
No Ocean Of Thoughts
Fabien Delmas (guitars, lap-steel): The opening track is often a difficult one to do, we tried to create an immersive soundscape with few textures, something you can dive in easily and that echoes the rest of the album, like a reflection of it. Because we kind of consider that all the songs of the album are part of the same lineage and not like separate things or tracks.
Maud Harribey (vocals, violin, keyboard): It is built as the introduction to the album’s aesthetics and themes. The first three powerful chords are like a statement about what’s to come: a slow, built-up tension and hazy, thick atmospheres. I had the vocal lines stuck in my head for many many months before I offered the others band members to jam on it. Fabien added some sick lap steel loops on it, Dani some misty bass lines (he plays with a bow on this one) and Constantin some mysterious percussions.
Daniel Machon (bass): For this introduction, I experimented with the bass using a violin bow but not a regular one. I had been searching for a long time for a way to bow the lowest string on the bass, since using a standard-length bow made it nearly impossible. Eventually, I found a very short bow that allowed me to reach the low string and produce a deep, droning sound. What I played was completely improvised during the recording session, a spontaneous gesture that set the tone for the album.
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The Shadowed Body
Maud: this track is about dissociation somehow, about how you can have a social mask but be completely different underneath. It is also about feeling like an outsider, feeling like you don’t belong anywhere. Of course, the lyrics are quite personal but I believe this is quite a universal theme at some point. The track was also inspired by the poetess Alejandra Pizarnik and her book « Extracción de la piedra de locura ». In the Middle Ages, people whose thinking differed from the norm, such as those with creative minds, like artists, were often considered as mad or unstable. There was even a belief that a “stone of madness” was lodged in their brain, and that it could be removed through a procedure called trepanation (it is terrifying, yes!).
Constantin du Closel (drums, percussions): On this track, we quickly tried to create a dark and gloomy mood around voice and guitar who share the leadership for more than half of the song. Drums were written with a minimalistic approach, more as a set of percussions than a drum kit. Tempo was quite a game changer as it is quite regular for the majority of the track but gets way lower at the end. It gives more depth and intensity on the climax, where lyrics of “No Ocean Of Thoughts” come back.
Fabien: I think this track is at the crossroad of our many inspirations at the moment. It travels through different atmospheres we really like, from ambient dark moments to distorted and overwhelming doom. The final part of the song gives me the sensation of the upwelling of something dark.
Dani: On this track, I used a very different technique: I played the bass with mallets, the kind used for xylophones. I struck both the strings and the body to create a percussive, resonant texture. I discovered this approach frim a friend of the band, whose project is called Frise Lumière, and it fascinated me. I adapted the idea to my own style and tried to integrate it into the track’s dark and introspective atmosphere.
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The Other Faceless Me
Maud : this track explores the themes of a fragmented identity, about a brutal rupture that completely changes your nature, an event so strong that you can’t really go back to your previous self. To build its musicality, we played on textures and hypnotic rhythms to create a sort of ritual. We also wanted to have a very nuanced approach since it is quite a sensitive track. I remember the recording session of this one quite vividly. It was recorded live, even the free sections, but we couldn’t see each other as we were in different rooms.. however I could « feel » everyone with my ears, I could feel their presence. It was an otherworldly, mystical experience!
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Dani: This track was recorded live, with each of us isolated in different rooms, yet deeply connected through sound. The vocals and guitar followed a free and expressive structure, and I added a bowed bass part using a full-length violin bow. It was a delicate process. The long, sustained notes helped support the song’s mystical and intimate quality, it felt like weaving my sound into a ritual!
Constantin: The quietest song of Eimuria. To create this ritualistic atmosphere, we used a gong and played tiny bells cymbals, it almost sounded like those used in churches. We removed the muffles of the bass drum to evoke a primitive drum sound. All recorded live and played very softly.
Fabien: I think this is the track on which we focus the most on musical details, specificity and nuances. Even if it could seem pointless sometimes, we’re convinced that really specific details can make the music more powerful or more “real” ultimately.
During the recording session, the challenge was also to create conditions where magic could happen without our usual visual interactions…find a way to access the magic whatever the circumstances are in a way…
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Burn All The Edges
Maud : here is the bold one of the album! It’s definitely the heaviest and the most aggressive out of the five tracks. It was the first track we wrote for the album. It felt like a renewal after VOLAVERUNT. We were aiming to create something more direct and more incisive. The lyrics evoke a slow, repressed anger gaining power.
Constantin: I remember our bassist Dani talking about the fundamental concept of the first riffs. There are some ideas coming from various influences, from Jesper Kyd to ISIS.
Fabien: To listen to really loudly, with huge speakers!!
L’Implorante
Maud: It’s the longest track on the album… but it was the last one we finished, just a couple of days before we went to the recording studio. The violin line in the intro was the first thing we wrote from this new record but it was the slowest song in the making! We were stuck for a very long time on it. At one point, we even thought it wouldn’t make it to the album. However, it is now definitely my favorite track on EIMURIA! So glad we finished it this way! The title was borrowed from a magnificent Camille Claudel’s sculpture that I adore. The lyrics pay homage to her life and her art.
Constantin: This track had a lot of different faces before we got that version. The very first drum beat comes from a lineary drum phrase and was adapted for bass drum, tom and shaker. For the last part of the song, the drum goes again with a percussive approach with the use of mallets, it gives an “under the water” vibe, a deaf sound after the blow, almost a post-apocalyptic landscape with the bass and guitar drones. I always had the images of someone drowning old pictures on this section, like trying to forget memories.
