By Lily O’Delia
In the smog-choked sprawl of Los Angeles, where DIY scenes often flicker and fade, Faetooth has managed to build something remarkably permanent. Since coining the term “Fairy Doom” in 2019, the trio—Jenna, Ari, and Rah—have weathered skepticism to become architects of a sound that is as ethereal as it is bone-crushing. Their music feels like a walk through a dark thicket: beautiful, atmospheric, and occasionally dangerous.
Fresh off a grueling 32-date winter run through the UK and Europe—where they played venues so cold the air bit at 28°F—the band is currently reflecting on the “auditory collage” of their creative process and the deep, communal bond that keeps them sane in the back of a touring van. Following their recent spring trek across United States, I caught up with the band to discuss their fateful beginning, the myth of Lilith, and why they’ll never compromise on their DIY roots.
What were the circumstances that led to Faetooth forming?
Jenna: We’re all from Los Angeles and were all involved in our local DIY scene. Ari and I had been friends for a bit and had even previously attempted to start a project. Rah was playing in another band. But pretty much we all existed in the same scene until fate brought us into our friend (and former member) Ash’s garage for our first couple of jam sessions that ultimately led to the birth of Faetooth.
Your debut,Remnants of the Vessel, felt like an exploration of what we carry; the physical and spiritual containers of the self. Labyrinthine, however, shifts the geography to a maze. Was there a specific moment or realization where the ‘Vessel’ felt too small, and you realized the next chapter needed to be this sprawling, complex internal map?
Faetooth: I think there was definitely more of an intention to explore more of the personal versus some of the mythology that is on ROTV. Maybe more of a strive to truly allow ourselves to pour our inner demons and dreams into the art. There is still tons of myth and metaphor in Labyrinthine.
You just finished a grueling 32-date run across Europe and the UK; your largest headline tour to date. What’s the tour been like?
Faetooth: EU/UK tour with Coltaine was incredible. It was great being able to tour with such great friends and to see both familiar and new faces. It was filled with a lot of firsts as well, such as our first time in freezing cold weather, which had us playing inside a 28 degrees Fahrenheit venue. It may have been a lot of shows but once you get into the groove after defeating the jet lag, they go by quickly when you are having fun.
You’ve described your fans as a mix of wizards, baddies, and “one random guy.” European metal crowds can be notoriously “attentive” (sometimes standing perfectly still in a trance). How did that energy differ from the “baddies, wizards, chaos” you usually see in the States?
Faetooth: This was our second headlining EU/UK tour, so we knew what to expect. The energy and crowds were pretty similar, but yes a bit more in a trance. We never really have mosh pits or anything intense like that in general.
Songs like “White Noise” are rooted in raw, diary-entry style lyrics. Is it difficult to revisit those heavy emotional states on tour, or does the performance feel like a release?
Ari: We were actually just discussing this in the van. While there’s always catharsis while performing, there are nights I almost float away while performing “White Noise.” The lyrics are intense and intimate, and it would be a challenge not to have my memories and feelings arise, especially in the quiet verses. Some nights I sit with that, and other nights I let it all go (especially when people are singing it too!)
You’ve tied “Death of Day” to the queer and trans experience through the myth of Lilith. Did you have any specific interactions with fans that reinforced why that message is so vital right now?
Faetooth: Yes. We have had folks come up to us and tell us how much our music has meant to them, either in their transition or just navigating life existing as a queer/trans person. It means so much to us; it simultaneously reinforces the reasons why we are a touring band and make music. Tour can be grueling but those small interactions really can remind you of the importance of fostering community and safe spaces for our fans, especially our LGBTQ ones.
Faetooth coined the term “Fairy Doom.” Now that other bands are starting to be described with that label, do you feel like “protective parents” of the genre, or are you happy to see the map you built being explored by others?
Faetooth: In 2019 when we initially labeled ourselves “Fairy-Doom” we met a lot of skepticism and pushback. It’s not just a genre, it’s also meant to evoke feeling. It’s pretty cool to see how it’s sparked others to be creative as well and explore.
What does the creative process look like for the band?
Faetooth: It is a group effort. It starts with riffs or lyrics and then we bounce off of each other’s ideas. It’s an auditory collage, either through jamming or simply just hitting record on a demo and seeing what comes out.
This was your longest stretch of time together as a trio in a high-pressure environment. How has your internal communication evolved now that you’ve survived the 2026 winter run and the subsequent US tour dates?
Faetooth: I think we’re pretty great at communicating our needs and feelings with each other now. We’re also pretty good at addressing conflict that can happen naturally while being cooped up together in a van for a long time. Sometimes it is good to take time for yourself and go on a walk. Or sometimes you need that hour after soundcheck to eat dinner together to feel human and bond. Touring truly creates a unique bond that is unlike any other. I think we’ve mastered it.
Looking back on your recent American tour, what is one DIY habit that you refuse to give up, no matter how big Faetooth gets?
Faetooth: Live music will always be for the fans and for the community. Their safety and comfort will be above everything. We will always try our best to play venues that align with our personal and political beliefs. If we learn that something is wack about the venue, we won’t play. We want our femme and queer fans to be safe and comfortable, as there is no excuse or space for intolerance at our shows.
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