General Band Questions:
Sight of Emptiness has been a prominent name in the Costa Rican metal scene. Can you tell us about the band’s journey and how you’ve reached this point in your career?
Discipline, self-criticism, and passion have been key in earning our place in the Costa Rican metal scene. The journey has been quite a ride—like a roller coaster—filled with all kinds of stories, experiences, and emotions.
How has the metal scene in Costa Rica evolved over the years, and how have you contributed to its growth?
Back in the ‘00s, the scene was still taking shape, especially in terms of the newer subgenres (beyond heavy metal itself). I really enjoyed that period—playing in bars, attending those 12-hour mixed festivals featuring everything from punk to black metal. I think we contributed significantly when Desolation Whispers took the band to Bloodstock. That moment pushed people to start seeing things through a more professional lens, and in a way, we helped set that standard. After that, we also began producing a lot of video content, which further strengthened our presence and the way people perceived the scene.
What was the inspiration behind starting Sight of Emptiness, and how did you all come together as a band?
Speaking from my perspective, when I joined the band (Gavriel), my inspiration was driven by innovation—introducing new ways to create riffs, perform live, and incorporate new instruments and elements into our music. Later, I realized that the band had started with a similar vision as well, so it was only natural that we would be drawn to each other.
About the Album Above the Noise:
Your new album Above the Noise is making waves. What was the creative process like for this album, and how did you approach it differently than your previous work?
Eduardo and Andrés had just finished a long process of reflection and conversations with the last permanent members of the band. It marked the closing of a chapter while, at the same time, they had ideas, riffs, and even full songs that I had left behind. Then they reached out to me to help them break through a creative block. They had great song ideas and riffs but didn’t know how to put the pieces together. Since I was coming in with fresh ears, it was easier for me to have a panoramic view of everything they had and what was needed. I started creating choruses, bridges, new riffs, and incorporating synths to help shape Above the Noise into the concept we were aiming for. Some of the tracks were actually complete songs I had previously recorded as proposals, which ended up fitting perfectly into the album. Of course, this entire process involved deep conversations—existential questions about the band’s purpose and why this album needed to exist.
“Above the Noise” has a powerful title. Can you explain what the title means to you as a band and how it ties into the themes of the album?
The title represents the overwhelming noise we experience daily—where purpose is lost among an infinite stream of soulless messages bombarding our eyes and ears. The key question is: How the hell can anyone rise above this noise if we can’t even discern which way is up or down? Every song on the album has its way of reflecting our personal struggles with these ideas and what it truly means to be Above the Noise, because, for example, in the song Hikikomori, there’s a line that says: “yet, the quest for freedom is another simulated affair…”—which suggests that even the idea of escaping the noise could itself be just more noise. It’s like a dream inside a dream, or a matrix within another matrix. These are pretty unsettling ideas (at least for me) to fully grasp. And honestly, the album is made up more of questions than answers…
What were the key influences and inspirations behind the sound and style of this new album?
Sci-fi philosophy played a major role. Works like Ghost in the Shell, The Matrix, Blade Runner, and Planet of the Apes have always raised existential questions—ones humanity will never escape. Sonically, we let the concept guide us rather than the genre itself. For instance, ‘90s trip-hop has been triggering a deep, dark nostalgia in me, so incorporating certain rhythms and textures made perfect sense. The title track, Above the Noise, takes us into dark ambient soundscapes—I remember feeling like I was inside Quake or Unreal Tournament while composing it.
Were there any particular challenges or breakthroughs you faced while recording Above the Noise?
The biggest challenge was bringing together all these scattered ideas, giving them a framework, and defining a clear direction. Like a puzzle.
If you had to pick one track from the album that truly defines the band’s current sound and direction, which one would it be and why?
Above the Noise would be the track that best defines our sound today. It’s aggressive and modern, transcending labels like death metal, metalcore or whatever.
Lyrics and Themes:
The lyrics on Above the Noise seem to tackle deep, introspective themes. What are some of the core messages or themes you wanted to convey through the album’s lyrics?
The album’s concept is tightly interconnected—its lyrics question our own existence and reality. No matter how much we try to bury these doubts with technology or scientific explanations, something deep inside us will always pull us back to questioning why we do what we do and why we are here. And ideas that are already becoming a reality—like selling a person’s time to ease someone else’s loneliness or paying for AI-driven sexual interactions through messaging—are themes you can find woven into the lyrics, either metaphorically or as fragments that capture the same experience across different eras and situations. The key element is always the symbolism.
Are there any personal experiences or events that influenced the writing of this album?
I think everyone in the band shares a certain level of dissatisfaction with reality—not in terms of politics, social justice, or economics, but rather an overwhelming need to discover what’s real or at least feel like we’re part of it. Our late-night existential thoughts shaped this album basically (haha).
Band Dynamics:
Sight of Emptiness has had a great run in Costa Rica, but how do you approach maintaining strong chemistry and collaboration within the band? How do you ensure everyone’s voice is heard in the creative process?
We have a strong dynamic because we’ve developed a good sense of self-awareness. We know how to separate desire from reality—there were times when wishful thinking blinded us from taking effective next steps. Maybe this maturity, this ability to not get caught up in unnecessary details while preserving each member’s essence, is what makes the band work so well. Creatively, we’ve learned what each of us excels at and when it’s best to hold back. Direct and honest communication has been essential too, the freedom to say “Fuck you!!” and then laugh together over coffee—because we know exactly where we stand with each other.
Has the band’s lineup changed over the years, and if so, how has that affected your sound or approach to music?
In the beginning, the band had a clear metalcore/melodic death metal foundation and setup. Over the years, however, we’ve undergone major changes. Eduardo’s voice has also evolved over time, adapting not only to the natural changes that come with the years but also to fit the concept of each album. Our sound has naturally evolved—not just due to lineup shifts but also because of new members’ visions and the different stages in our lives.
For example, Gavriel in 2012, introduced distorted synth sounds that added a new dimension to our music. Then Andrés brought incredible versatility on guitar, with more refined and well-thought-out solos. In 2020, Gavriel flipped everything upside down again—this time incorporating clean vocals, fully electronic tracks, and even a nocturne on piano. A wild mix, but somehow, none of us mind, because at the end of the day, we all exist under the same shared concept that unites us.
Impact of Metal and Future Goals:
What role do you think metal music plays in the cultural landscape of Costa Rica, and how do you see the genre’s influence growing worldwide?
This is an interesting question because now, I’m exposed to TikTok and newer metal audiences. I’ve noticed that nu-metal has sparked a renewed interest in metal among younger generations. It feels like a phase many people go through. On a global scale, the resurgence of ‘90s grunge and metal is undeniable—artists like Miley Cyrus, Lady Gaga, and Willow Smith have embraced rock/grunge/metal influences lately. Gojira made history and expanded the genre’s reach. Right now, it’s an exciting moment to define what comes next.
Looking ahead, what’s next for Sight of Emptiness? Are there any big plans for tours, music videos, or special collaborations?
All of the above! We’re already working on what’s next, and we’re excited to keep pushing forward
Fun and Personal Questions:
If you could collaborate with any other band or artist, living or dead, who would it be and why?
David Bowie. His Blackstar album made me see the deep connection between an artist and death in a way I hadn’t before.
Metal is known for its passionate fans. How does the band connect with its fans, and what has been your most memorable fan interaction to date?
Lately, we’ve been trying to be more real in our social media presence—less pretending, more authenticity. A memorable moment? The incredible support we received when opening for Megadeth.
Lastly, when you’re not making music, what are your favorite ways to unwind and spend time together as a band?
One of our band traditions is discovering new local asian—style restaurants (we love Asian food and spicy dishes). Last time we got together, Eduardo introduced us to an incredible seafood rice soup—it kept us talking for hours. Also, we went to see Gojira when they played in Costa Rica, which was an unforgettable audio visual experience.