“The Last Frontier” sounds like a step forward in terms of intensity and focus. What pushed you in that direction this time?
Our previous album,” Imperium”, leaned towards a more progressive direction, but looking back, I felt some tracks were a bit drawn out. Between the two albums, we decided to release two singles, "Awake" and "Forever Free," which were pure heavy/power metal. I think that approach worked really well, which gave us the idea to go for something more direct with this new record. I also believe that Tasos's vocals make the album sound much more intense compared to our previous releases.
Compared to “Imperium”, this album feels more immediate and less conceptual. Was that a conscious decision during writing?
Yes, as I mentioned, we wanted to offer shorter tracks while still keeping some real instrumental sections. It was also a period where I was listening to less progressive metal; I started listening to more direct stuff, 80s heavy metal bands or even AOR groups from the same era, which have simpler structures. I think that definitely influenced us.
You’ve brought Tasos Lazaris in on vocals for this record. How did the collective songwriting process shift with a new voice in the mix, and how did that influence the "sharper and more dynamic" direction you were aiming for?
To be honest, I originally had the idea of offering the vocals to a female singer. I even had someone very specific in mind, but unfortunately, it didn't work out. We then started looking for someone who could bring something new; at one point, we even tried out a more extreme vocal style, but it didn't fit. Eventually, I came across some of Tasos's demos and we thought it could be a good match. I believe the first song he worked on was "The Void," and we were completely blown away. From that moment on, it was obvious that Tasos had to handle the entire album, and honestly, we have no regrets. The album's music and vocal melodies were already completely composed before Tasos arrived, but he managed to breathe his own personality into every track.
With the music industry currently obsessed with AI and "shiny pop bangers," you guys have stuck to a very organic, guitar-driven sound. Do you think that Sins Of Shadows is part of a necessary "push back" against the digitalization of music?
Yes, that perfectly matches the spirit we wanted to breathe into the album, a bit of a nostalgic feel. We tried to keep the guitar takes to a minimum to maintain a "live" feel, even if it meant leaving in a few imperfections here and there. Sebastien, who plays bass, handled the entire production from A to Z, from the guitar tones to the final mastering, and he did an incredible job. I feel that his work stands out from today's standard productions, which are certainly very clean and pleasant to listen to, but sometimes lack a bit of soul and character.
Nicolas, you handled all the music and lyrics, when you present these ideas to the rest of the band, how much does the final product on "The Last Frontier" evolves from your original vision through the band's input?
Well, over time, we’ve learned to each manage very specific departments. Seb handles the production side, as I mentioned. Rodolphe has carte blanche when it comes to the drums and the rhythm section, and I take care of the lyrics and the music. Of course, we are all free to give our input on what the others are doing, but in practice, it seems to work pretty well this way. Plus, it saves us a lot of headaches.
Your sound is often compared to the NWOBHM greats like Iron Maiden and Saxon. In 2026, with the genre constantly splintering into sub-genres, why do you think that classic, melodic heavy metal sound still resonates so strongly with fans?
First of all, I believe that in terms of pure songwriting and track effectiveness, NWOBHM albums are still remarkable even today. Maybe it's my age, but when I listen to bands from that era, I always find something interesting to take away. Some people think it's a bit cliché, but I don't see it that way at all. It’s a period in music history that produced an impressive number of classics. The second point goes back to the previous question: I think there’s a form of standardization, at least in terms of production, in modern metal. Everything is played perfectly, nothing is out of place, the kick drum almost always has the same sound... It creates a huge contrast with the 80s productions, which were a bit more "roots" and perhaps more "authentic."
The album is described as having a "renewed sense of urgency." Was there a specific moment or event during the writing process that made the band feel like you needed to turn up the heat and be more direct this time around?
Actually, I started composing very quickly after “Imperium”, but then not being able to find a singer discouraged me a bit. I was even thinking of just releasing the two singles and putting the band on the back burner for a while. But eventually, after talking it over, Seb and Rod were up for another round, and the rest of the album was written quite fast. We even had way more tracks, but several were scrapped because they didn't fit the spirit of the album. Also, we decided on a shorter format, less than 40 minutes of music, so that the album could be listened to in one go without getting tired.
From the "Sins Of Shadows" EP in 2014 to "The Last Frontier" today, the lineup and sound have evolved significantly. Looking back as a band, what do you consider the most defining turning point in your career so far ?
Well, I’d say that meeting Seb was a major turning point. Without him, I wouldn’t have been able to achieve a proper sound on our albums. He also helped me tremendously by teaching me how to record guitars cleanly. It’s very easy to work with him; he also handles the logistics, including pressing, distribution, and so on... On top of that, he is very busy with his own solo project, Esquys, which has just released an excellent album featuring many prestigious guests.
You guys are entirely self-produced. In an era where many bands are struggling with streaming fraud and shrinking revenues, how important is that total independence to the survival and creative freedom of Sins Of Shadows?
Well, we are primarily a studio band and, as you know, revenue from streaming and CD sales is mostly symbolic. So, not having to spend a fortune on production is already a huge asset! There are still unavoidable costs, like promotion. We would need a massive leap forward to finally break even, but this way, we manage to keep expenses low and survive. At the end of the day, it's all about passion.
"I originally had the idea of offering the vocals to a female singer. I even had someone very specific in mind, but unfortunately, it didn't work out."
Your sound blends classic heavy metal roots with more progressive and aggressive elements. How do you keep that balance without losing identity?
For this album, I really wanted to go for a pure heavy metal record with relatively simple structures, but I still find it hard to just do the same thing over and over. I like to weave in instrumental passages, albums like “Powerslave” or “Somewhere In Time” by "you-know-who"are definitely models for me in that regard. Then you have Rodolphe on drums, who is much more influenced by extreme bands. Actually, I was in a thrash/death metal band with him back in my youth. All of this creates a melting pot that defines the album.
"The Last Frontier" is a bold title. Does the band view this album as a "final boundary" you’ve crossed in your sound, or is it more of a gateway to a completely new territory for your fourth record?
Only time will tell! We chose this title for several reasons. First of all, I think it’s very beautiful! Secondly, the title track was the very first one written for the album. And then there’s the fact that it’s a little nod to Maiden's “The Final Frontier” (no, I’m absolutely not obsessed with that band!). The title track is based on Howard Fast’s beautiful book, which depicts the fate of the Cheyenne people as they defied the American army to return to their homeland.
With "The Last Frontier" finally out, what does the rest of 2026 look like for Sins Of Shadows? Are there plans to take these twin-guitar harmonies across the borders of France and into the rest of Europe and the world?
No, not in the immediate future. First, we need to see how the album is received, and we’ll see where we go from there... To be honest, I have no idea yet. We’re taking it one step at a time and focusing on the feedback for now.
If you had to pick one track from the new album that perfectly summarizes the "spirit" of the band in 2026 to a brand-new listener, which one would it be and why?
My personal favorite is “The End Of The Road.” It captures that pure heavy metal spirit with an epic feel, and it features a long instrumental section that I’m quite proud of! I also really love Tasos’s vocals on this one.
Looking ahead, where do you want to take Sins Of Shadows next after “The Last Frontier”?
My absolute dream would be to go on tour, but that requires a perfect set of circumstances for everything to fall into place. We already have a few ideas for what's next, but we’re going to wait and see what the reactions to this album are first. Thank you for this interview and for these very interesting questions!
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