Anna Olchawa is the spirit behind Ols, a project that carves out its own space in the world of dark, emotionally charged music. Neither confined by genre nor tradition, her sound unfolds like a landscape that is unpredictable, immersive, and entirely her own.

In this interview, we dive into her latest album Poświaty, how her music has transformed over time, and her perspective on navigating the heavy music world as a woman.

Reuel

Hello Anna! I’m delighted to chat with you. How are you doing?

Anna

I’m doing great, thank you. Summer is here, the days are long, and the sunlight makes me feel alive. I always feel more energized and creatively charged during this time of year, even though most of my music ends up being created in autumn or winter. Summer is when the ideas are born, when inspiration is gathered—it’s the season for sowing the seeds that will later be harvested in autumn.

Reuel

Beautiful! First, congratulations on releasing your new album, Poświaty. How are you feeling about the way it was received by your fans?

Anna

Thank you! Honestly, I kind of missed the initial wave of reactions because the release date got delayed and ended up coinciding with the start of my vacation. I was abroad for over two weeks with very limited internet access, so I wasn’t really checking messages or following what was being said. It was only after returning to Poland that I began catching up with comments and feedback.
Overall, the response has been really positive. I’ve received a lot of heartfelt messages from listeners, and I know the new album brought in some fresh ears as well. The reviews have been kind, especially those highlighting how this album explores new musical territory—which was precisely my goal. I’m glad people are picking up on that.

Anna

As always, what touches me the most are the private messages. When people share their emotional reactions to my music, or tell me how it connected with them on a personal level—that’s what keeps me going. It gives me the motivation and energy to keep creating.

Reuel

The hardest part I faced while writing the review for your album is the section where I list similar artists, because Ols is really one of a kind. How would you describe your music to someone who has never heard it before?

Anna

That’s my biggest challenge too! Since the beginning of this project, I’ve struggled to find a clear reference point. Reviewers have tried comparing me to all sorts of different artists, but it rarely feels accurate. My inspirations come from a wide range of sources—from singer-songwriters to neofolk and black metal. Another challenge is that even when I’m inspired by, say, black metal, I’ll interpret it using instruments typically associated with folk or neofolk. That’s where things get confusing—people hear something that sounds like a metal riff played on a flute and don’t quite know what to make of it.

Anna

I think you did pretty well comparing me to Chelsea Wolfe, Myrkur, and Emma Ruth Rundle. If you think about it, they don’t have all that much in common musically, except that they’re women making dark, emotionally charged music. Maybe that’s where I fit too—into this loosely defined “dark music women” category, broad and varied enough to encompass what I do. I’ve started calling my style patchwork darkness – a nod to the eclectic inspirations behind it. When writing Poświaty, I drew directly from Agalloch, Katatonia, Nest, Solefald, Pearl Jam, Foo Fighters, Current 93, Of the Wand and the Moon, Johnny Cash, Sólstafir, Cult of Luna… and yet Ols doesn’t really sound like any of them. I take impressions, moods, sonic textures – and blend them into something uniquely mine.

Reuel

This is your fifth studio album. Looking back at your earlier releases, what do you feel has changed the most in your music, your experience, and the way you see things now?

Anna

I’ve definitely grown—not just in terms of technical skills, though those have improved too—but most importantly in self-confidence. At the beginning, I was shy, full of doubt, and afraid of failure. I didn’t fully believe in myself. Now, I feel like I’ve matured as an artist. I have a clearer vision of what I want to express, and I allow myself to be more open and vulnerable. My music has become more honest and authentic—more me. Of course, I still care about how people receive it, but with every album, that concern fades a little. I make music first and foremost for myself, out of a deep personal need. Sonically, my music has also evolved. It’s bolder, more experimental, unafraid to mix genres. I use more instruments now, realizing I don’t need to be a virtuoso to record a simple part. If I know a few notes on something and it feels right, I’ll use it. I also make more spontaneous decisions in the studio and have learned the value of leaving space in the arrangements—letting the listener breathe. Compared to my debut—which, let’s be honest, was a rather naive attempt to create something original based on folk motifs and vocal harmonies—my current work is much more refined. The pure folk elements are now more like seasoning, adding a unique flavor to music that’s otherwise not traditionally folk at all.

Reuel

I don’t speak Polish, yet I deeply enjoyed Poświaty. When you’re creating music, do you intentionally shape it to resonate with listeners who don’t understand the language, or does that connection happen naturally?

Anna

I’ve never really thought about it that way. I write in Polish because it’s my native language – the one I think and feel in. It’s the language I can use to express my emotions most precisely. Ols was always intended as a deeply personal project, so writing in English – even if it might have helped reach a broader audience – was never an option. That said, I always provide English translations in the album booklets and on Bandcamp, so non-Polish speakers can engage more deeply if they wish. But I do believe that even without understanding the lyrics, people can feel the music. As I said, Ols is very personal – I pour my whole heart into it. I try to tell my stories openly and invite listeners into my world. You can hear the emotions in the music itself. That’s the beauty of music: it’s a universal language that can connect people across cultures and languages on a profound emotional level.

Reuel

Can you tell us a little about your musical background? What musicians had the most influence on you growing up and inspired you to become an artist yourself?

Anna

I’m not sure any specific artist inspired me to become an artist – I feel like I was born that way. I’ve always been creative. Since early childhood, I sang, played instruments, wrote poetry and stories, and even painted (though that was never my favorite). For a long time, I saw myself more as a writer than a musician, I even had a poetry book published. I always loved singing, but I’m not classically trained, so I assumed I wasn’t “good enough” to pursue it seriously. I’d record multi-vocal covers of songs I liked, just for fun, with no thought of ever sharing them. I was very self-critical and shy about everything I created. But then my—then boyfriend, now husband—heard some of my recordings. He was amazed and pushed me to do something with them. I didn’t believe in myself, but he did. He encouraged me so persistently that I eventually agreed to record some material in a studio. That’s how it all began.

Anna

Even now, I don’t really think of myself as a musician or a vocalist. I still prefer the word artist – someone with a creative mind, vivid imagination, and a need to express something. You don’t necessarily need technical skills to be an artist -it’s more about how you see and feel the world. As for musicians who shaped me, the first two names will always be Agalloch and Katatonia. Then I would say Wardruna, Opeth, Of the Wand and the Moon that I also already mentioned (apart from Warduna) listing direct inspirations for Poświaty. Of course there are many more, but if I were to mention just a few, it would be them. In my teenage years, I was also drawn deeply to Celtic music, which still holds a special place in my heart. You can probably hear that influence in some of Ols’ songs.

Reuel

How do you feel about the representation of women in heavy music today, and what do you think can be done to promote more inclusivity and support for female musicians?

Anna

That’s a great but complex question and one that deserves an honest, unfiltered answer. I’ve been part of the metal community for years, and I do see progress – it might be slow, but it’s happening. Of course, it varies by region. The metal scene is male-dominated almost everywhere, but in some places – especially in Western Europe – the change is more visible. There, women-fronted bands are being booked for major festivals not just as novelties or eye candy, but as serious headliners. It’s refreshing to see more bands fronted by women being treated with the same respect as their male peers. It’s becoming more common to read comments that focus on the music, the performance, rather than someone’s appearance. That should be the norm, but given the culture we live in, it still feels like progress.

Anna

Unfortunately, experiences in Eastern Europe often snap me back to reality. Every time a woman performs here — and God forbid she shows even a little skin — some men lose all sense of decency and turn into absolute monsters. Nobody talks about the music. Nobody talks about the performance. What they comment on is her body. Every. Single. Time. And honestly, I don’t even know who disgusts me more — the ones calling her ugly, fat, old, or “unf*ckable”… or the ones who think they’re defending her by chiming in to say, “No, actually I would f*ck her, she’s hot.” Both are equally revolting. I’m so sick of this never-ending beauty contest, where every woman on stage is reduced to her appearance, judged by her perceived sexual value instead of her art.

Anna

What can be done? There’s no instant solution. We need to raise the next generation of boys differently — teach them to see women as human beings, not meat. And we need more angry women. Women who will keep pushing, creating, performing, taking up space, even when everything around them tries to tear them down. But more than anything, we need sisterhood. We’ve been conditioned to believe there’s only room for a few women in this man-made hierarchy – and so we’re taught to compete, to tear each other down to claim that one seat at the table. But that’s a lie. Successful women can create space for others. They can lift each other up and help break the system. Yes, it takes a lot of unlearning. It takes deep inner work to dismantle everything we were taught. But I have to believe it’s possible — because otherwise, what’s left?

Reuel

Thank you for your honest and empowering answer! And thank you for your time, Anna, and for this interview! Is there anything else you’d like to conclude this interview with?

Anna

Thank you for the insightful questions — and to everyone who read this interview all the way through, I truly appreciate your time and attention. I invite you to explore my new album, Poświaty (Afterglows). It’s a tapestry of sound woven from contrasting threads — raw emotion, shifting genres, shadows and light. It’s personal, honest, and sometimes unsettling. If you’re someone who feels deeply, there’s a good chance you’ll find something in it that speaks to you. Step into my world for a while — and perhaps you’ll feel at home enough to linger.