"Not Midnight Yet" shows a broader approach to songwriting while staying firmly rooted in speed metal, thrash metal and traditional heavy metal. As a band, what were the main goals when you started working on this album?
This was a solo album in some way, not really different from how the other Phantom material has been recorded since I have always been the songwriter and I had also recorded both guitars and bass for the past records, but this time it was a more personal album, I isolated myself to record it, everything was captured in my grandparents (R.I.P) house, which is empty and abandoned right now so it was used as a studio, the other bandmembers went on xmas holidays and also I had some problems with the drummer after last year’s European tour, so I just went for it on my own. The main goal was just to expand the sound with some ideas that had been circling in my head since months ago, and to express myself, this is a very personal record and some of the lyrics have very personal stuff combined or camouflaged in between vampire and horror stories.
Phantom has become known for combining old school metal values with a desire to push forward. How do you balance tradition and progression without losing the identity that defines the band?
I think it’s a matter of being authentic and true to yourself, we are not really trying to please anyone but ourselves, and I think it’s reflected in our music, of course we try new things and we play with what we can do musically because that’s just fun and interesting to do, but the essence it’s still raw and still like a punch to the face. It’s a salad with a lot of ingredients but that in the end still feels cohesive.
Looking back at your earlier releases and comparing them to "Not Midnight Yet", where do you think Phantom has grown the most as musicians and songwriters?
Well, we have been learning on the run, for example, we didn’t know anything about recording whenever we started, and two albums and an EP later we know a bit better, and it has helped in making both better songs and also having a better production, knowing what we want and how to communicate it, forging a sound of our own, writing songs with different dynamics and textures, etc.
The underground metal scene is constantly changing, with trends coming and going every year. In 2026, what do you think real heavy metal needs in order to remain dangerous, relevant and exciting?
Trends fade out with time and whoever is authentic and has its values and ideas well rooted and aligned will prevail, heavy metal is a way of life, not just something you do as a hobby or in the weekends, not just something you dress up as for a tiktok video. If you know, you know. I think this genre cleanses or purges itself every now and then, there’s decades and cycles and you see who still goes on and survives and remains dangerous and exciting, and who fades out like trends.
This album contains a wider range of dynamics and arrangements than your previous work. Did the writing process evolve naturally, or was there a conscious effort to challenge yourselves?
It felt like a natural evolution, the ideas had been in my head for a while it just took me a bit to get in the studio again because of touring and other shows etc etc, but it was all stuff I wanted to try out since some time ago.
"I’m pretty certain that metal will never die, and whoever says otherwise… well, you’re dumb as hell."
How does the raw, chaotic energy of the Mexican scene fuel your songwriting compared to the classic European or American speed metal influences that shaped your early days?
I wouldn’t say the Mexican scene has influenced us at all sound-wise, if that’s what you mean? We haven’t really looked up to or took any inspiration from any Mexican bands, but we do live here and well, we have a scene going on here, so what has had an impact on us it’s the lifestyle and anecdotes from what goes on in the scene.
Looking at the current state of modern metal, the scene is overcrowded with overprocessed, fake-sounding bands that rely on digital tricks. How crucial is it for you to keep your recording process grounded in real, physical performances where every riff is like a punch to the jaw?
It’s the 21st century, I agree to some extent with how technology can be a double edged blade, for example, I think stuff like bad omens, sleep token, deathcore bands or that kind of trending music it’s the most artificial, plastic, boring, soul-less and NON-METAL thing ever, with autotune and weird pop singing, extremely polished production, songs that are just a long boring 0-0-0 triggered djent breakdowns with drums that sound more like farts. But also there’s tools that just make it easier for starting musicians to get going, especially if you don’t have the money to buy good gear but want to have a quality sound, for example, I do not have the money to buy and use a bunch of Marshalls and pedals, so I just use one pedal that I can configure to sound like a classic Marshall amp and achieve the tone I want for my music, and save a lot of money, and I can also use it to record! That’s great, and in the end it’s also a matter of intention, we’re playing old school metal, from the songwriting alone you can tell this is something with completely different roots than all that other modern stuff I mentioned before.
Phantom's music combines speed, aggression and atmosphere. When writing new material, what element usually comes first for the band: the riffs, the energy, the atmosphere or the overall song structure?
It all starts with the Riffs, we make riff based music, it’s the first thing that gets done and everything else comes afterwards
Many younger bands are discovering classic speed and thrash metal for the first time. Why do you think these styles continue to attract new generations of metalheads around the world?
I think it is because it feels like something honest, dangerous, and that still feels strong to this day. I’m pretty certain that metal will never die, and whoever says otherwise… well, you’re dumb as hell. I really dislike when these new bands say “reviving thrash metal” “bringing back this or that”, because metal has always been alive and well in it’s true home, the underground, which is filled with tons of bands doing stuff and creating amazing music, whoever says that is blind and deaf to see, or has been looking in the wrong direction.
Having High Roller Records push your back catalog to the global metal masses was a massive statement. When you went back into Nehtron Studios with Héctor "Northen" Ibarra for this third assault, did you feel a stronger urge to weaponize your sound now that the whole world is finally watching?
Of course this is a huge window of opportunity to show the world what we got, so we are really motivated, we have always had a drive and anger and hunger, but everything that’s going on recently just makes us want to push further and taking things to the extreme and the next level.
You chose to send the new material over to Germany to be mastered by Patrick W. Engel at Temple Of Disharmony once again. When dealing with a classic heavy metal authority like him, what specific sonic elements did you insist on keeping raw and unpolished to ensure the final master sounds dangerous?
Patrick is a genius and we didn’t even really need to tell him anything, we trust him and we knew he would do an excellent job at making the album sound neat but still keeping the raw energy. He knew what to do and he delivered, as usual.
With metal becoming more global than ever through streaming and social media, what has surprised you the most about the response Phantom receives from fans outside Mexico?
That people really connect with our music, specially for a band that deals with mostly dark-fantasy topics, it’s really interesting when people have told us how this music it’s an escape or something like that for them, I appreciate that a lot and I’m glad I can help someone go on with their lives and maybe improve their day in some way.
After the release of "Not Midnight Yet", what do you want people to say about Phantom when the album has had time to sink in and take its place in your discography?
Well, I think that’s what’s interesting. We will see what happens and what the metalmaniaxhave to say. In the end something that matters the most for me, is just releasing the album, it’s just something I felt I needed to get out.
Now that "Not Midnight Yet" is ready to hit the streets on CD, and vinyl, the fans are demanding blood on the stage. What can the global metal underground expect from your live rituals as you take these twelve new tracks on the road to tear venues apart?
We’ll tear you to pieces!! Expect total speed, total aggression and absolutely no mercy. We are coming to a town near you this summer in Europe! Beware.
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