With GLORIÆ, Inhuman return with what they describe as their most mature, intense and ambitious album to date. Born from a profoundly different creative process, marked by the pandemic, by the band’s internal reinvention and by a more solitary and introspective writing process, the new record dives into the contrasts of human existence: glory and failure, light and darkness, hope and ruin. Amid lineup changes, personal challenges and a renewed desire for artistic evolution, GLORIÆ reflects not only a musical chapter, but an emotional portrait of what Inhuman are today. In conversation with Metal Imperium, Pedro Garcia guides us behind the scenes of this striking work and reveals how the band found a new direction without losing its identity.
M.I. – “GLORIÆ” is described as your most mature and daring album to date. What makes it so special and different from the previous ones?
I believe that the whole process in which it was created and recorded ended up setting it apart from all the previous ones. When developing the previous works, we had the habit of working on ideas as a band and in the rehearsal room. With GLORIÆ everything was different: João Pedro Correia (guitarist) began recording ideas alone still during the pandemic and would send me what he was creating. Those ideas started to become skeletons of songs and I started writing the lyrics. We ended up working alone and exchanging ideas about what was emerging. I think it became clear early on that this new material would be more ambitious than anything we had done before. On the other hand, the charm of reuniting the band’s classic lineup suffered considerable wear during the recording process of our previous album, CONTRA, and we became aware that we would have to make changes in the band if we wanted this new work to develop and become a reality. Thus, the band went through some lineup changes during the period in which we played a few shows promoting CONTRA. We ended up being alone (João Pedro and I) at the time we felt we should schedule the recordings, and only the prompt help of our producer, Daniel Cardoso, who offered to handle the drum and keyboard recordings, allowed this album to become a reality. It is also a more intense album; it deals with profound subjects, the journey of human life, success, glory, failure, misfortune, and the hope we must preserve. Musically, I think we managed to do in a more mature way what we’ve always tried to do since the beginning: combine melody and aggressiveness, light and shadow.
M.I. – The concept of “Glory” and its absence is central to this work. What led you to choose this theme, and how does it reflect your personal and collective journey as a band?
I don’t think we chose the theme. The theme ended up revealing itself. It sounds strange, but we don’t really choose the themes we address. Events end up shaping our creation, and once again, that’s what happened, from episodes in private life to events on a global scale. When I write about something, it doesn’t happen when it is supposedly necessary, but rather when something compels me to do so. Sometimes the music is practically ready, I try to force the writing and I’m not satisfied with the result. I learned that it’s better to wait and let events make the writing happen. I can give an example from this album: the week the invasion of Ukraine happened, I completed two lyrics. Others take longer, they need time to prove their relevance. We ended up choosing the album’s title only after it was recorded and after reflecting on what it really was about. What exactly did that group of songs mean? Was there a common denominator? What was the connection between each of the themes? Those were some of the reflections we had to make. Answering the second part of the question, I usually say that an album is a portrait of who we are at a given moment. These ten songs are a bit of us and of the vision we had of the world during the composition and writing period. I’ll add that the collective during this period was reduced to two people, and that led to greater intensity in everything… and I think that’s very evident on the album.
M.I. – The writing period was challenging. Can you share a bit about those challenges and how they influenced the final result?
At the time, we considered it a major challenge to work in a way we had never tried before. All previous albums came from individual ideas that were then worked on and tested together, in the rehearsal room, with a full band. This time the music was all composed by our guitarist, João Pedro Correia, who began recording ideas and the structures started taking shape. We exchanged ideas, and the songs began to come to life. It ended up being a more solitary job and, of course, that influenced the sound of GLORIÆ. The band at that time was reduced to two members and that became a motivating and unifying factor.
M.I. – You worked again with Daniel Cardoso on the production. What did he bring to the sound of GLORIÆ and to your creative approach?
After the excellent experience we had with CONTRA and Daniel’s precious contribution, we didn’t even consider working with anyone else on this album. In fact, this album exists because Daniel offered to collaborate on the drum and keyboard recordings, without that help it wouldn’t have been feasible. For us, it was fantastic to count on the collaboration of a musician of such quality. In terms of production, the suggestions he gave us allowed our ideas to reach another level. Sometimes we have an idea of a path but aren’t very sure of the best way to reach it, and that’s where the role of a producer is essential. In terms of sound, we managed to achieve a darker and more powerful tone, perfect for that group of songs.
M.I. – The album’s visual aesthetic is more minimalist. Why this choice, and how does it relate to the music and the concept?
After we defined the album title, we began imagining what the cover could look like and had a concrete idea: to avoid the typical metal stereotypes. We thought of a photo, considered some paintings, and we realised that the concept of glory, or the lack of it, which is the album’s theme, can be interpreted in countless ways; we saw several, but any one of them would be, in a way, reductive for what we wanted to convey. We found the lettering strong, something used in the past by artists of other genres, but very rarely in metal. Additionally, the cover symbolises presence and absence, and the absence of striking graphic elements invites reflection and individual interpretation of the concept.
M.I. – Is there a track you consider the emotional core of the record? Which one and why?
Perhaps “To Reign In Captivity,” that’s how we felt the moment it was finished in the studio. In fact, when I recorded the chorus vocals, even inside the booth I felt something special there, something that moved me. The music itself carries a strong weight from the start and grows as it progresses, letting you feel several emotions, from solitude, the need for glory, revolt, anguish. It’s a special song.
M.I. – “Absent Glory” opens the album with a strong emotional charge. Why this choice for the opening track?
We arranged the final track order together with Daniel. It’s important to have an opinion more impartial than our own. We consider it a good choice to start the journey, and there’s nothing like beginning with a striking title like “Absent Glory.”
M.I. – “Conspiratio” and “Seed of Ancient Hate” seem to explore darker themes. How do you approach lyric writing when dealing with such dense emotions?
When I started listening to the first files João Pedro sent me, I understood that these songs needed strong lyrical themes. I began writing the lyrics for “Conspiratio,” centred on political conspiracy and the lies we are sometimes made to believe. During the week Russia invaded Ukraine, I was deeply affected by that event and started imagining the suffering of those people; I finished the lyrics for “Conspiratio” and wrote “Seed Of Ancient Hate.”.
M.I. – “Do Fim dos Dias” stands out for being sung in Portuguese. How did that decision come about, and what impact do you think it has on the album’s narrative?
On the previous album CONTRA, we felt that the lyrics in Portuguese worked very well; they have an additional strength, at least for us Portuguese. Interestingly, that experience with Portuguese songs was widely praised in reviews from foreign countries. The language ends up marking an identity and that always enriches artistic creation. On GLORIÆ, I thought about repeating the formula, but only the music for “Do Fim Dos Dias” inspired me to write in Portuguese. Once again, we think it’s a very strong track, also loaded with emotion.
M.I. – Which track surprised you the most during the recording process, whether through its evolution or by gaining unexpected meaning?
Perhaps the already mentioned “To Reign In Captivity,” or “The Dreariest One,” which also became a very strong song, with strong Doom influences.
M.I. – Do you feel Inhuman’s sound has evolved with this record? In which directions would you like to continue growing?
I think CONTRA was very well received by critics and the public, but so far GLORIÆ has had an even greater reception. I think it’s unanimous that the band has evolved a lot. I think we do better something we’ve always done: combine heaviness and melody, light and darkness. We are more mature, but I think we keep our essence. It’s still too early to know which directions we will follow in a future work. We never plan what we’re going to do next; it is usually inspiration that guides us. I think we can only give one guarantee, based on what has always happened with our albums: we will not repeat ourselves.
M.I. – Your style crosses gothic metal with modern approaches. How do you balance tradition with innovation?
We’ve always mixed various styles in our music. I think we have a Gothic Metal base and we incorporate other styles. In relation to modern approaches, we think that returning to releasing music only makes sense if we make something relevant and current. That’s what we try to do.
M.I. – Throughout your career, how has your approach to composition and performance changed?
We’ve tried to improve in both areas and we believe we have. In composition, we learned that sometimes less is more; above all, we seek to have good ideas and connect them coherently. In terms of performance, we try to be more precise and consistent.
M.I. – You were set to present GLORIÆ live at the first edition of Alma Mater Nights. What can we expect from this special concert?
Unfortunately, the concert ended up being cancelled, but we’ve already played at Rockfest PM in Portimão and we will perform soon at the legendary Bafo de Baco in Loulé.
M.I. – How is it to share the stage with Glasya in this event dedicated entirely to Portuguese metal?
We hope to share a stage with Glasya soon; it’s a wish of both bands.
M.I. – What does it mean for you to play at an event organised by Alma Mater Records, a label that values Portuguese metal so highly?
We hope to play at a future Alma Mater Records event soon, and for us it has been an honour to have our works released by a label with experienced people who understand our music.
M.I. – How do you see the evolution of the metal scene in Portugal in recent years? Do you feel there is now more space and recognition for Portuguese bands on the international landscape?
Portuguese bands have evolved greatly in quality over the last 30 years. Bands are producing increasingly better music and the quality of execution has taken a huge leap. On the other hand, the offering has grown so much that the impact is not what one would hope, dozens of bands go completely unnoticed, many of them with excellent quality. The difficulties in achieving success abroad remain evident, because the foreign market is also increasingly competitive.
M.I. – After such an intense album like GLORIÆ, what inspires you at the moment? What comes next for Inhuman in 2026? Are you already thinking of new sounds, collaborations or tours?
At the moment we are focused on promoting GLORIÆ as much as possible. The reactions abroad have been fantastic, so we aim to take our music as far as possible. At present, and I think always, we are inspired by everything we hear, see and by global events and events in our own lives. Everything can influence us. We would like to have some collaborations in the future, but we’ve never focused much on that, so let’s see what happens.
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Questions by Sónia Fonseca
