French progressive death metal outfit Sadraen returns with Voided by Design, a powerful EP exploring humanity’s darkest chapters. In this interview, the band discusses its themes, songwriting process, influences, and evolving artistic vision.
1.
Voided by Design feels like a very focused and conceptual release. What pushed
you to explore humanity’s darkest actions as the central theme of this EP?
We've
always wanted to explore this kind of theme: catastrophic scenarios, portraying
the horrors of the present or those yet to come. Since there are only four
tracks, the subjects are much more distinct from one another this time, yet
they all come together under a single banner: the atrocities committed by
mankind.
2. Each
track tackles a specific historical or existential atrocity. How did you
approach translating such heavy subjects into music without losing emotional
authenticity?
We usually
work the other way around. The music inspires the lyrics rather than the lyrics
inspiring the music. I find it difficult to write authentic lyrics without
having an equally authentic musical foundation. So it's really the music—its
weight and intensity—that inspires me to explore serious and impactful
subjects.
3.
“Korosu” opens the EP with the theme of atomic destruction. Why did you choose
to begin the record with this particular moment in human history?
Because
it's arguably humanity's darkest moment. Beyond the horrors of the two World
Wars—which are also depicted on the EP through Disposable Flesh—it's,
in my opinion, the moment when humanity proved that it could erase part of its
own species in an instant. Without resorting to clichés, if someone asked me,
"What is Death Metal about?" I'd answer, "Death." The
atomic bomb is very Death Metal.
4. Your
sound blends progressive death metal with modern metalcore elements. How do you
balance technical complexity with maintaining raw intensity and impact?
The goal
isn't to make the same kind of Death Metal you hear from bands like Death,
Grave, or Vader—bands we absolutely love—but whose sound is more old-school
than what we enjoy listening to today. We listen to a lot of contemporary
music, including metalcore, and we're also influenced by modern production
techniques. We draw inspiration from both worlds to achieve our sound, although
we primarily focus on riffs before thinking about production. Sometimes we find
an incredible sample that perfectly fits the theme—like the synth in the intro
of Silent Pyre. Other times, we prefer to focus purely on the
guitar tone and let the instruments speak for themselves rather than relying on
production.
5.
You’ve often been compared to Gojira. How do you view that comparison, and
where do you consciously diverge from that influence?
Yes, we
hear that comparison quite often, and it's perfectly understandable since
Gojira is a major influence on all of us. They literally created a branch of
Metal that deeply resonated with us when we were teenagers: Death Metal that's
appreciated not only for its violence and speed, but also for its meaning,
musicality, and groove. That's where you'll find a lot of Gojira in Sadraen.
We'll never make soulless, relentless Death Metal, but we'll never make
meditation music either—something overly melodic or filled with electronic
samples.
6.
“Blooming Hell” reflects environmental destruction. Do you see your music as a
form of commentary or even warning about current global issues?
Not
particularly. The goal isn't to deliver a straightforward message like
"protect the Earth" or "save the planet." It's more
subjective than that. When I write lyrics, I always imagine the worst-case
scenario, and the primary intention isn't to warn people but to depict what
could happen if we continue living in the excess and comfort of recent decades.
The idea is for each listener to build their own interpretation when
discovering the lyrics.
7.
“Disposable Flesh” is described as the most direct track on the EP. Did you
intentionally strip back some of the progressive elements to match the
brutality of its theme?
The
original riff was much more progressive, and the chords were as well. As we
developed the song, we simplified it significantly, keeping only the heaviness
of the verses and the speed of the choruses and bridge because it fit the
lyrics and theme better. I think it's probably the track that best represents
our intention on this EP: getting straight to the point in the songwriting and
conveying raw emotions.
8.
“Silent Pyre” closes the EP on a slower, heavier note. What made you decide to
end the record with this atmosphere rather than something more explosive?
It was
difficult to choose between the outro of Disposable Flesh, which is
very atmospheric, and the ending of Silent Pyre, which is much more
cutting and intense. In the end, for this EP format, we preferred to finish on
a more brutal note and emphasize the contemplative side of the final moments of
the project—something we've never really done on previous releases.
9.
Looking back at Orphan Lord and your earlier work, how has your songwriting and
identity evolved leading into Voided by Design?
In terms of
the writing itself, I've stayed true to a formula based on highly graphic
descriptions of the scenarios and scenes that our compositions inspire me to
imagine. For Voided by Design, I tried to draw from a wider range
of ideas. On Korosu and Disposable Flesh, the
imagery is very graphic and grounded in reality, whereas Blooming Hell and Silent
Pyre lean more toward Biblical mythology and symbolism.
10.
Sadraen has built a reputation for being both “brutal and architectural.” When
writing together, what does your creative process look like as a band to
achieve that balance?
We've
stayed true to the approach we've had from the beginning: Adrien and Antoine
start by coming up with guitar riffs, then we structure everything together as
a band. Compared to the early days, we all now have the equipment to record
demos at home, which allows us to move much faster and spread out the
songwriting process instead of relying solely on group sessions. It also helps
us filter ideas more efficiently, focus on what's truly worth developing, and
take the time to bring those ideas to their full potential.
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