Soundscapism Inc.’s new album, A Sea of Floating Mirrors, invites listeners into a world where poetry and atmosphere collide, floating between heavy rock, post-rock, and progressive textures. Featuring powerful riffs, memorable melodies, and intricate electronic layers, the album showcases the artist’s sonic evolution and instinctive approach to composition, drawing inspiration from dreams, travels, and reflections on the world around him.

By Sandra Pinto

In this interview, we explore the album’s conception, the creative process behind its tracks, the influences that shaped it, and how each song was crafted to form a cohesive and emotional journey—without a single word being sung.

“A Sea of Floating Mirrors” is a very poetic title. What was the inspiration behind it?
Well thank you for the observation. I guess it is and it probably has to do with the at times dreamy or poetic way I look at life in all its layers & dimensions. A kind of escapism, if you will. In this case, it came from a dream; I woke up and the image was (still) there. With time, it made sense to name the album after it and elaborate a loose concept around it. You can interpret as you wish – and I’m all for that – but one way to approach it is to imagine yourself floating through life, while all this chaos, violence & noise around us takes place – as if an ocean of mirrors reflecting the sky above while they wander off into infinity. I’m also very instinctive when it comes to titles and ideas, often sticking to the first one as the best and more sincere, like a pure manifestation of the ID.

How would you describe the sonic evolution of this album compared to your previous works?
ASOFM is definitely heavier, more “rock” and more compact & song-based. While there always were catchy melodies and a couple of more (heavy) rock-oriented tracks, in fact increasingly along the career, this is probably as heavy as it’s ever going to get. I will keep the big guitars and drums, but want to make things even bigger in general, in the future, using several musical aspects and facades. Somehow it was the first time I could get that kind of distorted rhythm guitar sound and this turned me on to the pounding riffs I always played but did not necessarily publish. Of course, the ambient and electronic aspects are still there; they are just more mixed up and scattered. And there is only one pure ambient-electronic track (Steamcity) and also an acoustic song (Glimpse of the Infinite), both quite unique in their one way.

Are there specific themes or concepts that tie the songs on this album together?
I wouldn’t necessarily say so. But as usual, there is a general allround concept/s, which in this case was sticking to the 10 songs over a large period of time, allowing them to develop and take form – also arrangement-wise. I never wanted to let the album become too long or overwrought and there was a clarity behind this idea. And the album was pretty much written and constructed in chronological order, which allows for more coherence. Lyricwise there are also strains of thoughts which always come up as recurring themes & leitmotifs.

How did the songwriting process for this album begin? Any song with a special story behind it?
It all began a little over 2 years ago, with the song “Rust & Sawdust”. The pounding, 5/4 riff paved way for what ended up being a more intense and heavier album. As for other individual tracks, I can mention that “Exploding in Slow Mo” was probably the only one who developed from a small jam in the studio after playing it to bassist Manuel Costa. “Steamcity” stemmed from an older idea I once created that I always knew I’d use one day, employing a wonderfully left-field glitchy guitar pedal. Whereas epic closer “Lipstick Smiles on Death Masks” kept growing and expanding once that infectious second half melody appeared… I think that is indeed one special song, sailing through different emotions and states of mind, without ever losing the melodicism, pathos & memorable hooks.

You blend Heavy Rock, Progressive, and Post-Rock/Metal. How do you balance these different styles in your music?
That´s a very good question I couldn’t answer myself. It‘s always a bugger coming up with suitable terms to describe SInc’s music. My musical vocabulary and tastes are wide-reaching and the music can be intimate, melancholy, deep and atmospheric; on the other hand also darker and hard-hitting, impactful and memorable. I’ve often read the terms progressive or experimental, but I’m not even sure whether to use them, since Dream Theater this is not. Guess on this new album I’m more comfortable with heavy rock than metal. I never intentionally aim to sound progressive, but I do enjoy some of those bands and my melodies are somewhat particular, so maybe that‘s why. Then there’s all the  post-rock/ambient touches and also many electronic aspects throughout. I’ll use anything that feels right and that the song asks of me, regardless of genre barriers. I’d much rather leave those categorizations to the listeners and press.

Did any member bring unexpected influences to this album?
This was probably one of the more “solo” albums I made, for a number of reasons. Manuel couldn’t be as involved as he has at times, but he still interpreted the bass lines with the usual flair, bringing in his own smooth touch; I also got him to sing backing vocals in 2 tracks, which turned up surprisingly well, talented motherfucker he is. Also session-drummer Xinês should be mentioned here; we have a kind of story and this closes that circle, it was the first time we had the opportunity of working together and he’s obviously a beast of a drummer. He can out-metal many but on this he shows enough restraint, class, groove, ghost-notes and tasty fills. It is a joy to hear all the details and for me as a producer as well, to have mixed it. I also hung out with Marius at the studio and his vocals turned out perfect for the standout track “Come Hell and High Water”, also the very last one I penned and a monster groover.

How has the journey of Soundscapism Inc. been from the formation of the band until now?
It´s been a long one! Around a decade now. I’ve been able to work with talented guests and also to express many different musical ideas and I’m very glad for that. Looking forward to the future and always trying to outdo myself and keep producing & developing the particular melodies and atmospheres I’m known for, way back since the Arcane Wisdom & Vertigo Stepseras.

Which current bands or artists do you admire most and have influenced this work?
I couldn’t really tell you a specific name which has influenced the album. A band I’ve been following in the past years is VOLA, so maybe them? Also Bad Omens and one Bring Me The Horizon album from 2015 are still of interest to me. Kiasmos as well, as I enjoy moody electronic music, with substance. Otherwise I really haven’t been listening to tons of new stuff. Usually I do check when some of the classic fave bands put out a new release, but I have to admit most of them tend to disappoint me at this point. Acts like Katatonia, Opeth, Porcupine Tree, 65DOS, Devin Townsend, Sigur Rós were quintessential but have sadly lost me musically since many years. Also worth mentioning as influences are my travels to Southeast Asia (and contact with the locals and buddhism, natures & sounds) which have changed me in a personal way – as well as the books I constantly read.

The lyric video for “Lightbringers & Rainmakers” has a very distinctive aesthetic. What was the idea behind it?
It was a pretty simple idea, based on the cover artwork, to share the advance single and its lyrics. If I’d have the budget – as I even discussed with my videomaker – the video for that song would have to involve a huge crowd all wildly dancing in the face of the apocalypse, confetti flying and everyone celebrating their last moments on this scorched Earth of ours.

How do you choose which song will be the lead single?
That’s not always easy. In this case, easily 4-5 songs could be singles. But Lightbringers & Rainmakers was probably the most obvious one. And I also like how it ends up in this touching, atmospheric outro, which remains a big part of the SInc. sound.

Are there plans for tours or live shows to present this album?
As a solo-project, with musicians scattered around the globe, that’s a tall order to make happen. So no, not at the moment. I actually work partially at a venue, where the people happen to be fans of my music and have offered the main stage, but it’s hardly something you can pull off solo, singer-songwriter style. Too many layers (smiles)

Can you reveal any upcoming projects, like collaborations or musical experiments?
Nothing specific at the moment. My main project right now, other than album promotion, is finishing up the renewal of my studio setup, which has granted me further tools to enhance the scope of the music. Enhanced sounds, new libraries and plugins, new hardware, etc. Widening scoop and quality. Already recorded some really inspiring new ideas and plan to spend the year around that, letting creativity flow and coming up with something grand and epic, with more orchestrations, synths, atmospherics and general impact.