Interview - Phantom Star: The Rise of the Cosmic Heavy Metal

 

By: Caco Garcia

Versão em Português 

Formed in 2024 in Curitiba (PR - Brazil), Phantom Star emerged with a well-defined proposal, bringing together experienced musicians who already had contact and friendships, and all this resulted in a natural personality and cohesion, reflected in the acclaimed debut album, released on June 20, 2026.

We talked with Matheus Luciano (vocals), who told us more about the great reception of Phantom Star's work, details about the album, and perspectives and expectations going forward. Check it out!

RtM: Phantom Star was born in 2024, but brings together musicians with a long history in Metal. How did this collective experience allow the band to emerge with such a solid identity right from the debut album?

Matheus Luciano: Phantom Star was born with a very well-defined direction. From the first meetings, we had absolute clarity about the sound we wanted to make and the goals we aimed to achieve as Heavy Metal musicians. There was no time wasted looking for a direction; the proposal was conscious from the first rehearsal. 

Added to that, the human factor made all the difference: we've been great friends for many years. This brotherhood and mutual respect create a natural harmony that goes far beyond technique. When you combine an artistic vision aligned with years of friendship and complicity, the synergy in the studio and on stage happens almost instinctively.

This chemistry between the members was the fuel that allowed the band to emerge with the solidity and maturity of a long-established group.

RtM: The debut presents a Heavy Metal that  yourselves define by epic, cosmic, and cinematic elements. How did this concept emerge, and what was the starting point for building this identity?

ML: This concept was born extremely naturally from the fusion of our passions not only in music, but also in the field of literature, cinema, and the arts in general. We've always been fascinated by bands that don't just focus on sound, but bring a theatrical and conceptual dimension—whether in aesthetics, stage presence, or the dramatic construction of their compositions.

For us, Heavy Metal has always been an immersive art. Combining the weight of the riffs with an epic narrative and a striking visual identity was an organic evolution of this shared taste. We wanted the listener to feel this theatricality from the very first second: in the atmosphere of the keyboards, the tempo changes, the lyrics, and even the album art. It's this richness of artistic references that gives Phantom Star its dramatic, cosmic, and cinematic aura.

RtM: It's possible to perceive influences from bands like Virgin Steele, King Diamond, Savatage, Queensrÿche, and Crimson Glory, but the result sounds quite original. How did you refine and balance the homage to these references with the search for your own sound?

ML: We are deeply honored by the mention of some of our greatest idols and direct influences. I believe the great secret to balancing homage with originality lies in how each member filters their references to express themselves authentically.

We know exactly the territory we're treading on — the universe of classic and traditional Heavy Metal — so we never need to adhere to rigid rules or worry about following ready-made formulas to "prove" that we are metal.

The priority has always been to use this baggage to build sincere arrangements with our own signature, without the intention of sounding like a dated copy or like bands that only repeat the past.

We treat these influences as a foundation, not as a limitation.

RtM: The lyrics touch on themes such as the Inquisition, mythology, fantasy, and other narratives. What else inspires the songwriting process: books, films, history, RPGs, fantasy literature?

ML: We consume a lot of these media in our daily lives. Books, games, RPGs, comic books, fantasy literature, and cinema have always been part of our routine and end up flowing naturally into the songwriting process. These are very rich sources for creating stories, metaphors, and scenarios that blend well with the weight of the music.

At the same time, we don't live isolated in a fantasy bubble. Everyday issues, personal experiences, and views on the world around us—including social and political aspects—also enter the equation. After all, as independent musicians in Brazil, it's inevitable to be impacted by the reality in which we live.

Using themes like the Inquisition or fantastical narratives is usually our way of talking about very current things, like fanaticism and the search for freedom. In the end, inspiration comes from everything we read, play, watch, and experience.

RtM: The vocal interpretation is quite striking due to its theatrical character, while the keyboards reinforce the entire cinematic atmosphere of the songs. From the beginning, did you have this concern about making each song sound like a small soundtrack?

ML: Absolutely. My interpretation aims to bring a unique dramatic weight, because I try not only to sing, but to truly interpret and bring each narrative to life, which imprints a very strong personality on the compositions.

The addition of keyboards, in fact, happened some time later in the band's formation, precisely to reinforce this intention. We felt we needed an element that would amplify this "storyteller" atmosphere that we love so much in Heavy Metal. The keyboard came to fill that space, creating the layers, the tension, and that cinematic atmosphere that makes each song function as a way to bring the listener into the lyrics.

RtM: The visual art of Phantom Star is also impressive, from the cover art to the identity in the promotional materials. How important is the visual concept to complement the band's musical experience?

ML: For us, visual art is simply indispensable. When we think of great references in Heavy Metal, Classic Rock, and Progressive Rock—with Iron Maiden perhaps being the most obvious and brilliant example—we realize that the visual concept has always been one of the fundamental pillars in building a band's identity.

We've always seen the cover art, illustrations, and all promotional material as a direct extension of our music, and not just as "packaging." Striking artwork prepares the listener for the album's atmosphere even before the first riff.

RtM: The title track "Phantom Star" seems to synthesize everything the band represents musically. Do you also see it as the song that best translates the essence of the group?

ML: Yes, definitely. Because it carries the band's own name, it was conceived to be a true declaration of intent and a synthesis of our work from the most epic point of view.

The title track translates very well the conceptual theme and, above all, the visual identity that we sought to bring to this first album. Musically, it delivers the perfect balance of our sound: it manages to navigate the most progressive, atmospheric, and elaborate nuances without ever abandoning the weight and energy of traditional Heavy Metal.

RtM: “I’Am the Storm” and “Witch Hunt” have been two that stand out in the public's preference.

ML: “I’m the Storm” and “Witch Hunt” have truly become fundamental pillars for us, and we believe that choosing them as singles was a very good decision!

RtM: Well, I'd like you to comment a little more on these two tracks, the inspirations, and how they were refined until the final version.

ML: “I’m the Storm,” besides a very catchy riff and a lot of melody, carries a message of sovereignty and the recovery of pride in our native peoples. It's a strong critique of the destruction and disrespect towards our nation.

The idea for the lyrics already existed well before certain unbelievable political events that we've seen recently in the country; It wasn't planned to release it at this specific moment, but the current context and the electoral scenario ended up making the message even more vivid and urgent.

A striking fact was that Lucas Shred joined on keyboards shortly after the release of this track, which allowed us to rework its dynamics and layers live with the very atmospheric keyboard that turned out incredible.

RtM: It really seems like it was conceived for this current moment. That's a very interesting perspective. And "Witch Hunt"?

ML: "Witch Hunt" explores a darker side, using the historical theme of witch hunts as a clear metaphor for fanaticism, persecution, and intolerance. We sought to bring this discussion directly to the present day, drawing an urgent parallel with the sad reality of femicide and violence against women—cases in which women continue to be persecuted, judged, and silenced, often simply for the way they dress or position themselves.

Musically, it has a more measured pace, long guitar solos, and very dramatic and theatrical vocal interpretations, drawing directly from masters like King Diamond and Mercyful Fate. The polishing in the studio was extremely quick, flowing with contributions and ideas from all the members. It works so well and transmits such a strong energy that it naturally became the opening track for our shows.

RtM: Complementing this topic, do you use these tracks that end up gaining more prominence with the public as a parameter for, perhaps, future directions? And it's interesting that many times bands bet that this or that song would be better received, and often that doesn't happen, and some unexpected highlights emerge.

ML: Absolutely. The audience's response is always a valuable barometer, but we believe that the direction for future compositions should come naturally.

The case of "Phantom Star" is the perfect example of this: being a long, technical track full of tempo changes, we didn't imagine it would gain such appeal.

The live performance was so immediate and became one of the album's highlights among fans. This kind of surprise is incredible because it shows that Heavy Metal listeners value complexity and depth when they are delivered with authenticity.

We see this debut album as a solid root that we have just planted. It established the foundations of Phantom Star's sound. For the next work, the idea is not simply to "copy the formula" of the most listened-to tracks, but rather to take all this positive reception and accumulated maturity to deepen and expand these ideas with even more weight, refinement, and identity.

RtM: Releasing such a naturally consistent debut, which has been receiving such a great reception, creates expectations for the future. Is there any direction you would like to explore in future works, or is there still much of this universe created in the first album to be developed?

ML: The public's response to our debut album gives us incredible energy to take the next steps. We feel that we have lit an important flame, but there is still a whole universe of this initial essence to be explored and expanded.
One of our biggest goals and dreams from the beginning is to create a 100% conceptual album — and that may be much closer to happening than you imagine. 

Our main references are masterpieces of the genre such as Abigail (King Diamond), Operation: Mindcrime (Queensrÿche) and Seventh Son of a Seventh Son (Iron Maiden).

We want this evolution to happen organically, but the focus is clear: the next chapter of Phantom Star will be designed to deliver a truly captivating, dark and terrifying story, where music and narrative merge in a transcendental way.

RtM: The album has also sparked interest from labels abroad, with releases on vinyl and cassette. Tell us more about these releases and if there are possibilities and contacts from the European continent or other markets.

ML: We are extremely happy with this response. Brazil is currently experiencing a fantastic moment for traditional Heavy Metal, thanks to the consistent work of bands we greatly admire, such as Trovão, Creatures, Hellway Train, Electric Poison, Facing Fear, Blades of Steel, and others. This strong scene is causing the European and international markets to look at metal made here with great respect and attention.

Classic Metal's distribution is excellent outside the country and has been fundamental in getting our music to new territories. We managed to close a partnership with the North American label Frequency Junction for an extremely limited vinyl edition, and also with the Bolivian label Maniac Forces for a beautiful cassette tape version.

RtM: That's great! A very significant return from this debut.

ML: Yes, and in addition to the direct feedback we're getting from Europe through our Bandcamp, we need to highlight the role of the NWOTHM Full Albums channel. They are giants in the task of showcasing classic Heavy Metal on a global stage, and we have a lot to thank Anderson and his team for this support. Ultimately, it's a very rich and vibrant movement, and we see enormous potential for the growth of this scene both abroad and in Brazil.

RtM: I heard from a source that you'll be participating in a horror short film, with music on the soundtrack and also acting. That's really cool! What can you tell us about this project?

ML: Yes, it's true! We were invited by a film collective from PUC and I think that, at the moment they called us, they didn't even imagine how much our sound and our entire visual concept had to do with the film's story. It was a perfect match!

Some members acted directly in the short film, and it was an incredibly fun experience — and exhausting too, because filming requires a huge amount of dedication — but it was worth every second. In addition to acting, we will also be responsible for the film's soundtrack, with our compositions accompanying the scenes in addition to the soundtrack itself, which is being composed especially for the film.

It's a project that unites Heavy Metal and horror cinema. The recordings were incredible, and we'll be releasing more news and details about the launch soon!

RtM: Well, thank you very much for the interview, and finally, for those who don't yet know Phantom Star, what is the main message you would like the audience to take away after listening to the entire album for the first time?

ML: I would like the audience to feel that Heavy Metal continues to be vibrant, sincere, and full of energy to tell memorable stories. More than just listening to a sequence of tracks, our intention is that the complete listening experience be an immersive journey—that transports the person into our universe, makes them think about themes of our real world, and awakens that flame of Metal that has always captivated us.

Phantom Star are:

• Matheus Luciano – Vocals

• Lucas Licheski – Guitar

• Maurício “The Fox” – Guitar

• Ricke Nunes – Bass

• Maurício “Muh” Vastrinche – Drums

• Lucas Shred – Keyboards & backing vocals

Instagram 

Phantom Star: Heavy Metal Clássico, Cósmico e Cinematográfico

 

Por: Caco Garcia 

Quando ouvimos um álbum de um artista, há muito mais envolvido além das emoções que a música nos causa, pois ali está o resultado de muita dedicação, inspiração, horas compondo, se aperfeiçoando, lapidando cada música, e não há como sabermos 100% tudo o que esse resultado final representa para o artista, só ele realmente sabe.

Mas uma coisa eu tenho certeza, todos os corações e mentes envolvidos no Phantom Star estão orgulhosos deste debut. 

Desde a parte visual, tanto no palco como no material promocional, nas artes de singles e do álbum, com vapa pintada a mão pelo artista Giovanne Bernardino, nota-se todo o cuidado e profissionalismo da banda, que somados ao talento, feeling e coração, não tem erro.

O Phantom Star buscou inspiração em nomes que transportam o ouvinte para atmosferas épicas e teatrais, e podemos citar Virgin Steele, King Diamond/Mercyful Fate, Crimson Glory, Savatage, Queensryche e Grave Digger, e forjou uma sonoridade com personalidade, nos conduzindo por narrativas inspiradas em histórias de ficção e temas épicos e fantásticos, envoltas em peso, melodia e climas atmosféricos e cinematográficos.

Após três singles que foram apresentando um pouco da identidade desta banda curitibana, formada em 2024 por músicos experientes da cena Metal, dia 20 de julho o full-lenght de estreia finalmente estará disponível nas plataformas e em versão física pela Classic Metal Records.

O debut auto intitulado abre com "Witch Hunt", o single mais recente, e já apresenta as características do Phantom Star, com uma narrativa épica que trata sobre a inquisição, iniciando com um teclado que já anuncia esse clima épico e sombrio. 

É Heavy Metal vigoroso, de cozinha pulsante, melodias e riffs marcantes da dupla de guitarras, sempre amparadas pelas linhas dramáticas do teclado.

Os vocais são carregados de teatralidade, e explodem em um refrão com coros retumbantes (naquele estilo que o Accept consolidou), e os solos encaixam perfeitos, com melodia e toques dramáticos.

"Edge of the Knife" inicia com riffs marcantes, com seu andamento mais frenético, traz um clima intenso, de instrumental intrincado e melodioso, imprimindo aquele clima de filme de terror e suspense. Os vocais trazem dramaticidade no estilo do mestre King. A sequência, com "I Am the Storm", traz um clima épico, com peso e melodia, linhas de teclado que trazem profundidade. 

E a esta altura já estamos envoltos no Heavy Metal "cósmico", épico r cinematográfico do Phantom Star, e percebemos a valorização do trabalho instrumental, com guitarras, que novamente trazem um trabalho magistral, com riffs marcantes, solos que valorizam a melodia e a atmosfera da música. 

Os vocais, sempre buscando interpretar cada história. Os refrãos são fortes e memoráveis, e a cozinha imprime peso e técnica em doses precisas.

O breve interlúdio instrumental "Time" dá a introdução para a balada épica e de nuances progressivas "Chalice of Lies", naquele estilo que vai crescendo no refrão, destacando novamente o trabalho das guitarras, que é um elemento importantíssimo no Heavy Metal, e nota-se o cuidado e criatividade que a banda teve em melodias, riffs e solos da dupla de guitarras, mas claro, o instrumental como um todo está muito bem trabalhado.

Logo em seguida temos "Orpheus Quest", que inicia com um solo melodioso e tradicionais riff galopantes, tendo várias mudanças de tempo e atmosferas.  Matheus aqui se utiliza de vocais mais agressivos e graves, assim como em "Witch Hunt", que por vezes me lembram Chris Botehdal, O instrumental é intrincado, onde os teclados se destacam e reforçam a textura épica e progressiva da canção.

O álbum parece que só cresce a cada faixa, e "Touch of Course" surge como uma tempestade de riffs e melodias, trazendo peso e apuro técnico no instrumental, com várias mudanças de andamento. Matheus novamente mostrando várias nuances vocais, com suas interpretações que dão aquele ar teatral.

Incrível como se pode notar as inspirações que a banda cita, mas eles conseguiram juntar tudo isso e imprimir a sua personalidade, e na faixa "Phantom Star", que fecha o álbum, é provavelmente a tradução perfeita da sonoridade da banda, com seu Metal Cósmico, cinematográfico e Progressivo.

Carregada de peso, melodias marcantes e atmosferas densas, ela tem diversas mudanças de climas, partindo de trechos velozes e mais pesados a nuances mais "viajantes" e progressivas. Matheus mescla novamente linhas agressivas, limpas e melódicas. O refrão é épico e marcante.  Música para colocar no repeat!

Satisfatório ouvir  trabalhos excelentes como este, vários lançamentos muito bons este ano no Metal Nacional, e o Phantom Star certamente agradará os fãs de Heavy Metal feito com classe, músicas marcantes, atmosferas cativantes e cinematográficas. 

E se você se identificou com as inspirações do sexteto citadas no início desta matéria, assim como eu você vai amar este álbum.

******* ENGLISH VERSION BELOW****

Phantom Star: Classic, Cosmic, and Cinematic Heavy Metal

When we listen to an artist's album, there's much more to it than just the emotions the music evokes. It's the result of immense dedication, inspiration, hours spent composing, perfecting, and polishing each song. We can't know 100% what that final result represents to the artist; only they truly know.

But one thing I'm sure of is that all the hearts and minds involved in Phantom Star are proud of this debut. From the visual aspect, both on stage and in the promotional material, in the artwork for the singles and the album, with hand-painted vases by the artist Giovanne Bernardino, you can see all the care and professionalism of the band, which, combined with talent, feeling, and heart, is a sure thing.

Phantom Star found inspiration from names that transported the listener to epic and theatrical atmospheres, such as Virgin Steele, King Diamond/Mercyful Fate, Savatage, Queensryche, and Grave Digger, forging a sound with personality, leading us through narratives inspired by fictional stories and epic and fantastical themes, enveloped in heaviness, melody, and atmospheric and cinematic moods.

After three singles that showcased a bit of the identity of this Curitiba-based band, formed in 2024 by experienced musicians from the Metal scene, their debut full-length album will finally be available on streaming platforms and in physical format via Classic Metal Records on July 20th.

The self-titled debut opens with "Witch Hunt," the most recent single, and already presents Phantom Star's characteristics, with an epic narrative about the Inquisition, beginning with a keyboard that immediately announces this epic and dark atmosphere.

It's vigorous Heavy Metal, with a pulsating rhythm section, memorable melodies and riffs from the guitar duo, always supported by dramatic keyboard lines.

The vocals are full of theatricality, exploding into a chorus with resounding choruses (in the style that Accept consolidated), and the solos fit perfectly, with melody and dramatic touches.

"Edge of the Knife" begins with striking riffs, its more frenetic tempo creates an intense atmosphere, with intricate and melodic instrumentation, imprinting that horror and suspense film feel. The vocals bring drama in the style of the master King. The sequence, with "I Am the Storm", brings an epic atmosphere, with weight and melody, keyboard lines that bring depth.

And by this point we're already immersed in the "cosmic," epic, and cinematic Heavy Metal of Phantom Star, and we perceive the emphasis on instrumental work, with guitars that once again deliver masterful performances, featuring memorable riffs and solos that enhance the melody and atmosphere of the music. The vocals always strive to interpret each story. The choruses are strong and memorable, and the rhythm section delivers weight and technique in precise doses.

The brief instrumental interlude "Time" introduces the epic and progressive ballad "Chalice of Lies," a style that builds in the chorus, again highlighting the guitar work, a crucial element in Heavy Metal. The care and creativity the band put into the melodies, riffs, and solos of the guitar duo is noticeable, but of course, the instrumental work as a whole is very well crafted.

Immediately following is "Orpheus Quest," which begins with a melodious solo and traditional galloping riffs, featuring several tempo changes and atmospheres. Matheus uses more aggressive and deep vocals here, as in "Witch Hunt," which sometimes reminds me of Chris Botehdal. The instrumental is intricate, where the keyboards stand out and reinforce the epic and progressive texture of the song.

The album seems to grow with each track, and "Touch of Course" emerges as a storm of riffs and melodies, bringing weight and technical refinement to the instrumental, with several tempo changes. Matheus again shows various vocal nuances, with his interpretations that give it that theatrical air.

It's incredible how you can notice the inspirations the band cites, but they manage to bring it all together and imprint their personality, and the track "Phantom Star," which closes the album, is probably the perfect translation of the band's sound, with their Cosmic, cinematic and Progressive Metal.

Loaded with weight, striking melodies, and dense atmospheres, it has several mood changes, ranging from fast and heavier sections to more "trippy" and progressive nuances. Matheus once again blends aggressive, clean, and melodic lines. The chorus is epic and memorable. A song to put on repeat!

It's satisfying to hear excellent work like this, with many great releases this year in Brazilian Metal, and Phantom Star will certainly please fans of classy Heavy Metal, memorable songs, captivating and cinematic atmospheres.

And if you're committed to the inspirations mentioned at the beginning of this article, just like me, you'll love this album.

Tracklist:
Witch Hunt
Edge of the Knife
I Am the Storm
Time
Chalice of Lies
Orpheus Quest
Touch of a Curse
Phantom Star

Phantom Star Instagram 

Spotify 

Witch Ripper: Pulp Fiction Regado à Stoner/Sludge

 

Essa é uma banda relativamente recente de 2012 e vem trazendo uma sonoridade bem eclética e incorporando inúmeros estilos, facilmente transitando entre as músicas.

A proposta do quarteto de Seattle é instigante, e tem como propósito prestar homenagem às histórias de ficção científica " pulp" do passado. 

Mesmo que esse novo trabalho tenha um ar livre de amarras, estamos diante da continuação do seu segundo álbum completo,  "The Flight after the Fall" ( 2023), de um universo que tem uma ampliação do seu potencial.

Analisando cada composição teremos um álbum que não é linear e sim cada faixa carrega consigo sua própria autonomia,  a qual no final se costura em uma obra com bastante autenticidade.

Destaco algumas músicas que mais me chamaram a atenção. 

A música " Symmetry of the Hourglass" tem em seus pontos fortes uma bateria com pegada e vocais que te desafiam com sua brutalidade e variações, que vão de algo mais melódico à um timbre rasgado e mais brutal.

Outra música que é bem trabalhada é a " Proxima Centauri", que é bem emocional ao mesmo tempo que também carrega elementos mais brutais.

Já a "The Spiral Eye", que fecha o álbum, é um dos momentos que te remetem para vários sentidos, já que de um lado existem partes profundamente viajantes e em outros momentos sua vórtice de se vira para um progressive stoner/sludge e Sci-fi" rock/metal.

É recomendado aos fãs de bandas, como citado nos releases, geralmente situados no amplo universo sonoro de nomes como MASTODON, BARONESS e HIGH ON FIRE, mas também canaliza a grandiosidade do rock de Queen e David Bowie, assim como o prog moderno de Coheed and Cambria e Muse.

Então se essas citadas estão entre as suas preferências, você deveria experimentar ouvir o Witch Ripper.

Texto: Fernanda Luísa

Edição/Revisão: Caco Garcia

Fotos: Divulgação 

Tracklist:

1.Odyssey in Retrograde 00:50 

 2.The Portal 06:35 

3.Symmetry of the Hourglass 07:09 

4.Echoes and Dust 05:57 

5.The Clock Queen 08:33 

7.The Spiral Eye 08:52

Selo: Magnetic Eye Records 

Assessoria: All Noir

Interview - Fernando Ribeiro (Moonspell)

 

The greatest exponent of Metal in Portugal, Moonspell, completes 30 years of career. Since its inception, the band has shown that it would surprise with each album, always looking for new challenges, and step by step it has been conquering fans across continents. (Versão em português aqui)

The band is already on a tour to celebrate these 30 years, passing through Latin America, including Brazil, where they will present songs from their career, and from the last two and praised albums, "1755" and "Hermitage". We took the opportunity to talk with the iconic vocalist Fernando Ribeiro, who, with his usual chivalry, gave us the interview that you can read below.

RtM: "Hermitage" can already be considered a milestone for the band's career, and I believe that you also believe in that, because you realized this daring idea of playing the album in its entirety, and still in the Mira D'aire grotto.

Fernando Ribeiro: Thank you! Above all, Hermitage will always be a special record, due to the context in which it was recorded and released, and to a certain “confirmation” of several things that constitute the literary concept of the record.

RtM: Talk a little more about how this incredible idea of doing this concert and the choice of location came about.

FR: As we knew that this album, due to the pandemic, would not be supported by a promotion tour, we decided, from the outset, to document it live, complete and in its entirety, so that some justice could be done to the album.

The Mira D’Aire Caves are a natural “monument” that is part of the Portuguese imagination. During the pandemic, I visited it again with my son and niece and, as it were, joined the dots.

The natural scenery and the lighting, it looked like a geological work by Bosch or Caravaggio and I thought it was a great idea to bring music about hermits there... First, we did the photo shoot, then the video for Common Prayers and finally the live event.

RtM: And how was the preparation in terms of first obtaining authorization to perform at Mira D'aire? for I believe that there must be several cares and restrictions. And, of course, there was the preparation and care for sound capture, acoustics, image capture, everything must have been a very different experience.

FR: Yes. It had to be a silent event, that is, people listened to Moonspell through headphones, with a sound mix specially prepared for the fans.

Then there were the issues of permits (Portugal is very bureaucratic), electricity, problems with claustrophobia in the public, covid tests, social masks, and all the lighting and sound equipment that had to be thought out in the smallest detail because it was a small space , different and limited.

 

RtM: Moonspell never allowed itself to stagnate or limit itself musically, and "Hermitage" surprises after the wonderful and complex "1755", bringing a more progressive sound, sometimes cleaner and darker. Comment on what inspired the lyrical theme and sound of "Hermitage".

FR: I don't know if it's restlessness or simply the fact that we are never truly satisfied with what we do, at least I am never. In the case of Hermitage, the sound was inspired by progressive which has been a very clear influence on Metal and Moonspell, especially since records like "Wildhoney" by Tiamat.

In my case, I received a bag from my uncle with all of Pink Floyd's discography from the 70's and that ended up influencing me too.

The literary concept is related to the solitude to which the world is facing, the lack of communication and empathy between people, which leads many people to isolate themselves from the world for reasons different from the classic hermit saints, and in this counterpoint, the disco.

There was talk of social distancing, but without being enacted by law or a health emergency.

We are like hermits to ourselves and to each other.

RtM: Still on the sound of "Hermitage", I felt a lot of influence from the progressive of the 70s, even later with the release of "From Down Below", I also remembered that Pink Floyd did a show in Wembley the year after the release of "Dark Side of The Moon", playing the disc in its entirety. I would like you to comment on the influence of these classics and name some of your favorites.

FR: Well, as I mentioned before, I inherited the entire Pink Floyd discography on vinyl! I listened to a lot of things like Relics, I love the Set the Control to the Heart of the Sun theme, but also Piper at the Gates of Dawn and of course "Dark Side of the Moon" which is a masterpiece.

I also really like Emerson Lake and Palmer, for example, or post rock like Apse, A Perfect Circle or more metal stuff like Katatonia that makes great music.

RtM: "Hermitage" also features the new drummer Hugo Ribeiro. And regarding Hugo, how was his contact and adaptation so far, and what did he bring back to add to the band's sound?

FR: Hugo is the most talented and complete drummer that ever played in the band and we canevolve a lot in the complexity of the rhythmic parts and this confidence allowed us to have more imagination and go further. I think Hugo still has a lot to give to Moonspell and it's just getting started! And I think he started off on the right foot, as his performance at the Hermitage is excellent.

 

RtM: Mike Gaspar ended up leaving the band after all these years. What was it like to deal with this process of change? Of course, we understand that changes are part of it, but when it involves an original member, it can be a little more difficult.

FR: Very difficult. Personally, Mike was not only Moonspell's drummer, but also my best friend and I even considered not continuing without him. It was one of the toughest decisions of my life, but we had, in fact, reached a point that we could not resolve. I wish Mike and Seventh Storm, his new band, created in his image, all the best of luck.

RtM: About "1755", I consider it not only a milestone for world of Metal, but a complex work, rich in history and with a unique atmosphere. Full of epic and thought-provoking nuances. Taking emotion to high peaks. If possible, I would like you to comment on the importance of It for you and about the creative idea for such a powerful and thought-provoking album.

FR: It was a spur of the moment thing, although the ideas are rooted in my student background. The record was also born from the absence of a musical work that contemplated this event and all its social, political, artistic and philosophical consequences.

I explained the concept to my partners and they immediately understood that the sound would have to be big and epic, almost symphonic, and that it would have to be sung entirely in Portuguese.

For us it was very important, as it brought together two of Moonspell's passions: History of Portugal and Heavy Metal. And we really want to make another record in Portuguese, as soon as we find a theme.

 

RtM: As artists and a consolidated band, I believe that from the beginning you sought to bring something innovative, challenge yourself and still feel the commitment to bring messages and ideas to make your audience reflect, interpret, instigating curiosity.

I would like you to comment on this, and if you understand that every artist has to have this duty and also be careful to convey a message to their fans, because musicians/artists are a potential opinion maker.

FR: Each artist does what he wants and there is no judgment. There are several paths that can be followed and for me, I don't see why one path should be more legitimate than another. Whether you want to quote Feuerbach or have a giant rubber duck onstage, our mission is to entertain.

Nowadays with all the splits, crises and depression that exist, a musician who can make people think about something else and focus on the show and not on the problems they have, is an act of immense generosity and empathy.

Personally, I like the poetic, philosophical and intellectual part of Metal. I like to know that the Maiden theme "The Evil that men Do" is a Shakespearean quote. And I follow this path. But if another musician wants to make the audience pretend they're on a Viking ship, rowing, who am I to say it has to be my way and not his? There is room for everything and everyone.

 

RtM: Moonspell's discography is very strong and diversified. Because at each launch we have the characteristic elements, however, with different syntheses. You listen, you know it's Moonspell, but in a fresh and different way. How is the creative process in general for the band?

FR: We are a zeitgeist band, i.e., what is happening in the world, in our lives, what enters or is retrieved in our libraries and clubs and by the dissatisfaction with what we do and the enthusiasm in discovering new melodies and, who knows , add new Moonspell themes to people's daily lives.

If we had stopped at the first records, or repeated the formulas, we wouldn't have given the world themes like Nocturna, Scorpion Flower, Breathe or the whole of 1755.

 

RtM: You recently had to cancel your European tour due to the financial crisis that some countries are going through. In Brazil and South America in general, it wouldn't be so different, because crises come, the rulers neglect and the people unfortunately pay the price. In the view of those of you who have already traveled the world, what could be done to contain these mass crises that happen?

FR: The European tour has taken place. The US tour was canceled due to lack of transport and the UK tour didn't sell enough tickets in London, which was bizarre as London has always been one of the most important cities for Moonspell. What can be done? Absolutely nothing.

We just have to rely on the generosity of the fans and depend on the depth of their love for the music, and in our case for them to decide to spend their hard earned money and experience Moonspell. The world chose capitalism and liberalism, without rules, there is no balance, no basis for experimenting with regulation, so the burden will always be on top of the fans and bands and those who still invest in this kind of deal with people rather than numbers or algorithms.

In our case, Moonspell opted to lower conditions, fees/payments to the band, production, merch prices, so that we can still play for our fans. We are always working to give them the best.

RtM: Thank you for your time and for answering this interview, may the tour in Latin America be very successful, we will be there at Opinião in Porto Alegre, if the universe wants it that way. And finally, could you tell us something about what fans can expect from the next album?

FR: Very grateful for the opportunity. And for the votes! See you in Porto Alegre for a big night, under the spell.

We will work on a new album, without rushing, something simpler, less prog, returning to the most emblematic songs, something more intelligible at first listen and with the concept around the power of books and words. It will come out in 2024, or, in the worst case, in 2025.

Interview by: Carlos Garcia and Renato Sanson

Thanks: Erick Tedesco - Tedesco Mídia

IDL Entertainment

Visit: Moonspell.com

Entrevista - Fernando Ribeiro (Moonspell)

 

O maior expoente do Metal de Portugal, o Moonspell, completa 30 anos de carreira. A banda desde seu início mostrou que iria surpreender a cada álbum, buscando sempre novos desafios, e passo a passo foi conquistando fãs pelos continentes. (English Version Clic Here)

A banda está já em uma tour para comemorar esses 30 anos, passando pela América Latina, inclusive Brasil, tendo uma data em terras gaúchas no dia 07/04, onde apresentará músicas de destaque de sua carreira, e dos dois últimos e elogiados álbuns, "1755" e "Hermitage". 

Aproveitamos a ocasião para conversar com o icônico vocalista Fernando Ribeiro, que com seu habitual cavalheirismo nos concedeu a entrevista que vocês conferem a seguir.

RtM: "Hermitage" já pode ser considerado um marco para a carreira da banda, e creio que vocês também acreditam nisso, pois realizaram essa ousada Ideia de tocar o álbum na íntegra, e ainda na gruta Mira D'aire.
Fernando Ribeiro: Obrigado! Acima de tudo, o Hermitage será sempre um disco especial, devido ao contexto em que foi gravado e lançado, e a uma certa “confirmação” de várias coisas que constituem o conceito literário do disco.

RtM: Fale um pouco mais sobre como surgiu essa incrível ideia de fazer esse concerto e a escolha do local.

FR: Como sabíamos que este disco, devido à pandemia, não iria ser apoiado por uma turnê de promoção, decidimos, desde logo, documentá-lo ao vivo, completo e na íntegra para que assim se fizesse alguma justiça ao disco.

As Grutas de Mira D’Aire, são um “monumento” natural que faz parte do imaginário dos Portugueses. Durante a pandemia, tornei a visitar o sítio com o meu filho e sobrinha e, como que juntei os pontos.

O cenário natural e a iluminação, parecia uma obra geológica de Bosch ou Caravaggio e achei uma ótima ideia levar ali música sobre eremitas... Primeiro, fizemos sessão de fotos, depois o vídeo para o Common Prayers e finalmente o evento ao vivo.

 
RtM: E como foi a preparação na questão de, primeiramente conseguir autorização para realizar o show na Mira D'aire? pois acredito que devem haver vários cuidados e restrições. E, claro, teve a preparação e cuidados para captação de som, a acústica, a captação  de imagens, tudo deve ter sido uma experiência bem diferente.
FR: Sim. Teve de ser um silent event, isto é, as pessoas escutavam os Moonspell através de headphones, com uma mistura sonora especialmente preparada para os fãs.

Depois, havia as questões das autorizações (Portugal é muito burocrático), eletricidade, problemas de claustrofobia do público, testes de covid, máscaras sociais, e todo o aparato de luzes e som que teve de ser pensado ao menor detalhe porque era um espaço pequeno, diferente e limitado.  
 

RtM: O Moonspell jamais se permitiu estagnar ou se limitar musicalmente, e "Hermitage" surpreende depois do maravilhoso e complexo  "1755", trazendo uma sonoridade mais progressiva, por vezes mais limpa e soturna. Comente a respeito do que inspirou a temática das letras e a sonoridade de "Hermitage".
FR: Não sei se é inquietude ou simplesmente o fato de que nunca estamos verdadeiramente satisfeitos com o que fazemos, pelo menos eu, nunca estou. No caso do Hermitage, a sonoridade foi inspirada pelo progressivo que tem sido uma influência muita clara ao Metal e ao Moonspell, especialmente, desde discos como o "Wildhoney" do Tiamat.

No meu caso eu recebi uma sacola do meu tio com TODA a discografia do Pink Floyd dos anos 70 e isso acabou por me influenciar também.

O conceito literário prende-se com a solidão à qual o mundo está voltado, a falta de comunicação e empatia entre as pessoas, que leva muita gente a isolar-se do mundo por razões diversas dos santos clássicos eremitas, e nesse contraponto se fez o disco. Falava-se de distanciamento social, mas sem ser decretado por lei ou por emergência sanitária.

Somos como que eremitas de nós mesmos e uns dos outros.

RtM: Ainda sobre a sonoridade de "Hermitage", eu senti bastante influência do progressivo dos anos 70, inclusive depois com o lançamento do "From Down Below",  lembrei também que o Pink Floyd fez um show em Wembley no ano seguinte ao lançamento do "Dark Side of The Moon", tocando o disco na íntegra. Gostaria que você comentasse a respeito da influência desses clássicos e citasse alguns de seus favoritos. 
FR: Bem, como me referi antes, herdei toda a discografia do Pink Floyd em vinil! Escutei muito coisas como Relics, adoro o tema Set the Control to the Heart of the Sun, mas também Piper at the Gates of Dawn e claro o "Dark Side of the Moon" que é uma obra-mestra.

Também gosto muito de Emerson Lake e Palmer, por exemplo, ou post rock como Apse, A Perfect Circle ou coisas mais metaleiras como Katatonia que fazem grande música.

 
RtM: "Hermitage" também apresenta o novo baterista Hugo Ribeiro.  E referente a Hugo, como foi o contato e adaptação dele até o momento, e o que ele trouxe de novo para acrescentar à sonoridade da banda?
FR: O Hugo é o baterista mais talentoso e completo que já tocou na banda e podemos evoluir muito na complexidade das partes rítmicas e essa segurança nos permitiu ter mais imaginação e ir mais longe. Penso que o Hugo ainda tem muito para dar ao Moonspell e apenas está começando! E creio que começou com o pé direito, já que a sua performance no Hermitage é excelente.
 

RtM: Mike Gaspar acabou deixando a banda depois de todos esses anos. Como foi lidar com esse processo de mudança? Claro, entendemos que mudanças fazem parte, mas quando envolve um membro original, pode ser um pouco mais difícil. 
FR: Muito difícil. Pessoalmente, o Mike era não só o baterista de Moonspell, mas também o meu melhor amigo e cheguei a equacionar não continuar sem ele. Foi das decisões mais duras da minha vida, mas tínhamos, de fato, chegado a um ponto que não podíamos resolver. Desejo toda a sorte ao Mike e aos Seventh Storm, a sua nova banda, criada à sua imagem.

RtM: Sobre o "1755", considero não só um marco para o Metal mundial, mas um trabalho complexo, rico em história e com um clima único. Cheio de nuances épicas e instigantes. Levando a emoção a picos altíssimos. Gostaria que se possível comentassem sobre a importância e ideia criativa para um álbum tão poderoso e instigante.
FR: Foi uma coisa do momento, embora as ideias radiquem no meu passado de estudante. O disco nasce também da ausência de uma obra musical que contemplasse esse evento e todas as suas consequências sociais, políticas, artísticas e filosóficas.

Expliquei o conceito aos meus parceiros e eles entenderam logo que o som teria de ser grande e épico, quase sinfónico, e que teria de ser cantado integralmente em Português. (N. do R.: O disco conta a história do terremoto, seguido por um tsunami, que devastou Lisboa no primeiro dia de novembro do ano de 1755.)

Para nós foi muito importante, pois juntou duas paixões do Moonspell: História de Portugal e Heavy Metal. E queremos muito fazer outro disco em Português, assim que se encontre um tema.

 

RtM: Como artistas e banda consolidada, creio que desde o início vocês buscaram trazer algo inovador, se desafiar e ainda sentirem o compromisso de trazer mensagens e ideias para fazerem o seu público refletir, interpretar, instigando a curiosidade. Gostaria que vocês comentassem a respeito, e se vocês entendem que todo artista, tem que ter esse dever e também o cuidado de levar uma mensagem aos seus fãs, pois é um potencial formador de opinião. 
FR: Cada artista faz o que quer e não há que haver julgamento. Existem diversos caminhos que se podem percorrer e para mim, não vejo porque um caminho deva ser mais legítimo que outro. Se quiser citar Feuerbach ou apresentar um pato de borracha gigante no palco, a nossa missão é entreter.

Hoje em dia com toda cisão, crise e depressão que existe, um músico que consiga com que a pessoa esteja a pensar noutra coisa e focada no show e não nos problemas que tem, é um ato de imensa generosidade e empatia.

Pessoalmente, gosto da parte poética, filosófica e intelectual do Metal. Gosto de saber que o tema de Maiden "The Evil that men Do" é uma citação shakespeariana. E sigo esse caminho. Mas se outro músico quiser colocar o público fingir que está num barco viking, remando, quem sou eu para dizer que deve ser do meu modo e não do dele? Há espaço para tudo e para todos.
 

RtM: A discografia do Moonspell se mostra muito forte e diversificada. Pois a cada lançamento temos os elementos característicos, porém, com sínteses diferentes. Você escuta, sabe que é o Moonspell, mas de uma maneira renovada e diferente. Como é o processo criativo de um modo geral da banda?
FR: Somos uma banda de zeitgeist, i.e., o que está acontecendo no mundo, nas nossa vidas, o que entra ou é recuperado nas nossas biblioteca e discotecas e pela insatisfação com o que fazemos e o entusiasmo em descobrir novas melodias e, quem sabe, adicionar novos temas do Moonspell ao quotidiano das pessoas. Se tivéssemos parado nos primeiros discos, ou repetido as fórmulas, não teríamos dado ao mundo temas como Nocturna, Scorpion Flower, Breathe ou todo o 1755.
 

RtM: Vocês recentemente tiveram que cancelar a turnê europeia pela crise financeira que alguns países vêm passando. No Brasil e América do Sul em geral, não seria tão diferente, pois as crises chegam, os governantes negligenciam e o povo paga o preço infelizmente. Na visão de vocês que já rodaram o mundo, o que poderia ser feito para conter essas crises em massa que acontecem?

FR: A turnê Europeia foi realizada. A turnê dos EUA foi cancelada por falta de transporte e a do Reino Unido não vendeu bilhetes suficientes em Londres, o que foi bizarro, pois Londres sempre foi uma das cidades mais importantes para Moonspell. O que pode ser feito? Absolutamente nada. 

Temos apenas de contar com a generosidade dos fãs e depender da profundidade do seu amor pela música, e, no nosso caso para que decidam gastar o seu duramente ganho dinheiro e viver uma experiência com o Moonspell. O mundo escolheu o capitalismo e o liberalismo, sem regras, não há equilíbrio, nem base para que se experimente regular, por isso a carga será sempre em cima dos fãs e das bandas e de quem ainda investe neste tipo de negócio com pessoas, em vez de números ou algoritmos.

No nosso caso, os Moonspell optaram por baixar condições, cachês/pagamentos à banda,produção, preços de merch, para que consigamos ainda tocar para os nossos fãs. Estamos sempre a trabalhar para lhes dar o melhor.

RtM: Obrigado pelo seu tempo e por nos responder esta entrevista, que a tour pela América Latina seja muito bem sucedida, estaremos lá no Opinião em Porto Alegre, se assim o universo quiser. E para finalizar poderia nos adiantar alguma coisa do que os fãs podem esperar do próximo álbum?

FR: Muito grato pela oportunidade. E pelos votos! Vemos-nos em Porto Alegre para uma grande noite, sob o feitiço.

Iremos trabalhar num novo disco, sem pressas, algo mais simples, menos prog, regresso às canções mais emblemáticas, algo mais inteligível à primeira escuta e com o conceito à volta do poder dos livros e das palavras. Sairá em 2024, ou, no pior dos casos, em 2025.

Entrevista por: Carlos Garcia e Renato Sanson

Agradecimentos: Erick Tedesco - Tedesco Mídia

IDL Entertainment

Moonspell.com