From studio roots to a powerful full band, Sins of Shadows blends classic heavy metal with modern edge, exploring philosophy, evolution, and intensity in their journey toward The Last Frontier.
1. Sins
of Shadows has evolved from a studio project into a fully realized band—how has
that journey shaped your creative identity over the years?
The project
began in the early 2010s. I hadn’t been in a band for a while, and seeing the
advancements in home recording, I realized it was possible to start a studio
project where I could handle all the instruments myself (except for the
vocals). That’s pretty much how it started; I also wanted to explore a more
traditional Heavy Metal sound, as my previous bands were more focused on
Extreme Metal, and I had quite a few compositions ready to go. It took me some
time to find the right vocalist, but once Elena joined, the project truly took
off!
2. Your
sound blends classic heavy metal with modern intensity. How do bands like Iron
Maiden and Megadeth continue to influence your songwriting today?
Well, Iron
Maiden is inevitably a massive influence. They’re the band that made me fall in
love with Heavy Metal when I was young, and I still listen to them today. In
fact, I appreciate every era of the band—whether it’s Di'Anno, Dickinson,
Bayley, or the more recent years. I think their melodic passages have deeply
influenced the way we approach our own music.
As for
Megadeth, it’s a bit different. I completely drifted away from the band after
the 2000s, but I’m a huge fan of the Marty Friedman era—which includes, of
course, one of the greatest metal albums of all time: Rust in Peace!
What I take from these bands is that balance between technical precision and
memorable melodies that stays with you.
3. Looking
back at your early EPs Be and Today’s the Day,
what do you feel has changed the most in your musical approach since then?
The songs
on those first two EPs might have simpler structures compared to our more
recent work. I’ve spent a lot of time working on my guitar playing, and I
believe the rhythm parts and solos are much more sophisticated now—and, above
all, better executed. Finally, I handled the mixing myself on those two EPs,
and I have to admit it wasn’t exactly a huge success! Sébastien has been taking
care of the entire production since then, and he is far more talented than I am
in that area. He truly brought a level of professionalism to the sound that was
simply beyond my reach at the time.
4. Imperium explored
philosophical themes inspired by Spinoza and Frédéric Lordon—what drew you to
these ideas, and how did they shape the album?
When I was
writing the lyrics for this album, I had been deeply impressed by a book by
Frédéric Lordon, specifically titled Imperium. The idea wasn’t
necessarily to create a "concept album" in the traditional sense, but
rather to orient all the songs toward a central theme: "The power of the
multitude." It explores how individuals come together around collective forces
and common affects. These philosophical ideas served as a creative compass,
giving the album a cohesive atmosphere and a stronger intellectual backbone.
5. Your
upcoming album The Last Frontier is described as heavier and
more direct. What inspired this shift in direction?
Once again,
it wasn't necessarily a conscious decision. Between the two albums, we had
already released two singles, "Awake" and "Forever Free,"
which were more direct with more classic structures. It was also a period where
I was listening to less Progressive music and more "accessible"
genres like AOR. I imagine that influenced me a bit—even though I’ll admit the
final album is a far cry from AOR! Additionally, Rodolphe, who handles the
drums, is heavily influenced by Extreme Metal like Death and Black Metal. I
think his playing is a major reason why the album sounds much heavier and more
intense.
6. With
Tasos Lazaris joining on vocals for the new album, how has his presence
impacted the band’s sound and dynamic?
Tasos acted
as a session vocalist for this record. He came into the process once all the
music had been recorded, and the vocal melodies and lyrics were already
written, so I’d say his direct influence on the songwriting was limited.
However, he breathed incredible energy into those vocals—I must say I was
deeply impressed by what he brought to the table. In my opinion, he’s someone
you’ll be hearing a lot more of in the coming years. On top of that, he’s also
an accomplished guitarist in his own right.
7. You’ve
collaborated with guest vocalists like Eric Casteglia and Henning Basse—what do
these collaborations bring to your music?
Eric also
acted as a session singer for Imperium. Regarding Henning, once the
song "Forever Free" was written, I was looking for a vocalist with a
Power Metal range that would fit the track. I reached out to Henning, thinking
it was just a pipe dream, but he actually liked the song! He sent me his tracks
very quickly, and it was truly an extraordinary experience to work with a Power
Metal legend like him.
8. The
twin-guitar harmonies in your music evoke a strong sense of classic metal
nostalgia. How important is that element in defining your signature sound?
It’s
fundamental. Obviously, it’s a trademark of Iron Maiden, but I’ve always been
drawn to harmonized guitars—whether it’s in Thin Lizzy or in more recent bands
that aren't strictly Heavy Metal, like Audrey Horne. It wasn't necessarily a
prominent feature on our previous albums, but we tried to incorporate more of
it this time around, and I feel it fits the spirit of the album perfectly. I
think it’s a direction we’ll definitely continue to explore in the future.
9. As a
self-produced band, what are the biggest challenges and advantages of
maintaining full creative control over your releases?
First of
all, anyone who has ever been in a band knows that internal relationships can
be difficult; people don't always want the same things or want to move in the
same direction. Handling the artistic side exclusively simplifies things
immensely in that regard! I can go exactly where I want without having to make
compromises, which is a huge advantage. We have a way of working that suits
everyone: Sébastien handles the entire production—from the guitar tone to the
mastering—and I don't interfere with his role. The same goes for Rodolphe
regarding the rhythms.
However,
there are also several downsides. You have less perspective on your own music,
and it’s always interesting to blend different musical universes. Also, being
part of a collective adventure can be more motivating. Finally, the fact that
we don’t tour makes our presence in the scene somewhat erratic, which makes the
promotion more challenging.
10. With The
Last Frontier on the horizon, what can fans expect in terms of themes,
atmosphere, and overall evolution compared to your previous work?
We aimed to
make the album quite heavy and direct, but with a slightly melancholic
atmosphere. There are many instrumental passages that required a lot of work,
and we’re very pleased with how they turned out. We also focused heavily on the
overall cohesion; several songs were removed or replaced to keep the flow
consistent. The album runs just under 40 minutes, so it can be listened to in
one sitting—very much in the spirit of 80s records. I also believe there’s been
a massive leap forward in terms of production. Sébastien did an incredible job
on that front.
Post a Comment