Throughout their career, Syberia have established a singular identity within the instrumental post-metal landscape, using music as a space for reflection, tension and emotion without relying on the written word. After a deeply political album like “Statement on Death”, the Catalan band return with “Quan tot s’apagui”, a darker, more introspective and symbolic work that confronts the collapse of the world, both external and internal, with an unsettling sense of serenity.
Conceived entirely in Catalan and steeped in denser post-metal and black metal influences, this new record represents a decisive step in Syberia’s sonic and conceptual evolution. We spoke with the band about identity, language, creative freedom and the ways in which instrumental music can translate trauma, emptiness and uncertainty in a world under constant strain.
M.I. - After the release of “Statement on Death” in 2022, “Quan tot s’apagui” feels like a significant step forward in both intensity and emotional depth. At this stage in Syberia’s trajectory, what do you think has changed the most in the band’s identity?
We don’t think our identity has changed that much. We do feel that our music has shifted toward darker passages compared to previous albums, but that’s probably due to the musical influences we had at the time of writing. Perhaps it’s a more introspective and emotional record because of the themes we wanted to explore. Still, we never wanted to stop being who we’ve always been musically.
M.I. – “Statement on Death” focused on very specific and real cases of violence and injustice, while “Quan tot s’apagui” explores the end of the world and the passage into nothingness in a much more symbolic way. Was this move toward abstraction a conscious artistic decision?
Absolutely. Unlike previous occasions, we already had a preconceived idea of what we wanted the central theme of the album to be. Normally this comes together halfway through the writing process. This time, however, we were very clear from the beginning that we wanted to make a darker album that would symbolize the passage toward the end of days.
M.I. - When you released the previous album, you were very explicit in addressing police violence and racial injustice through instrumental music, which sparked debate about the limits of wordless narrative. Looking back, do you think instrumental post-metal can truly convey a specific political message, or has your perspective evolved since then?
We believe instrumental music can carry a political charge, but not in a literal or closed sense. It doesn’t work like a slogan or an unambiguous message, but rather as an emotional space where certain tensions, forms of violence, or collective states can be felt rather than explained. At that moment, it felt honest to address those issues through music—not to provide answers, but to provoke a reaction or a sense of discomfort.
Over time, our perspective hasn’t changed. This time, we simply didn’t want to make a political record like the previous one. Still, we believe that instrumental rock (whether post-rock, post-metal, or whatever you want to call it) can be political precisely because it doesn’t impose a fixed narrative. It leaves room for each listener to project their own experience, context, and reading of the world. In that sense, the absence of words isn’t a limitation, but a different—and perhaps more open—form of discourse.
M.I. - The title “Quan tot s’apagui” roughly translates as “When Everything Goes Dark” or “When Everything Fades Out.” What does this phrase represent for you on a personal and artistic level, and how does it encapsulate the emotional and conceptual essence of the album?
Quan tot s’apagui is a portrait of the end of days and the passage into an eternal pause. It doesn’t speak of sudden destruction, but of a slow fading, almost serene, in which time loses its meaning and everything remains suspended. The album moves within that space: when life comes to a halt, noise disappears, and music becomes the last way of accompanying that transition.
M.I. – “Quan tot s’apagui” has been described as your darkest and most introspective album to date. What personal or collective experiences pushed Syberia toward this deeper exploration of collapse, emptiness, and devastation? The album symbolically explores the end of the world and a passage into nothingness. Should this “end” be understood as something social and global, or more as an internal and emotional extinction?
“Quan tot s’apagui” comes from looking at the world as it is right now: a planet wearing itself out, full of imbalances and silences that announce an uncertain future. It’s not a fictional apocalyptic story, but rather an observation of how we’re leaving things for those who come after us.
The album reflects that sense of collapse and emptiness, but it also serves as a space to accept it, feel it, and in a way, process it. It’s our way of translating into music the uncertainty, fragility, and devastation we perceive both globally and personally.
M.I. - For the first time, the album is conceived entirely in Catalan. Even as an instrumental band, how important was this decision in reinforcing your identity and shaping the emotional intent of the music?
The decision to label everything in Catalan, and even to add a voice in that language at the end of the album, comes from the fact that we’d never done it before. We could talk about identity, but generally we’ve always tended to do things in English… and we thought, why not do it in Catalan, since it’s the language we speak? Bands like Kvelertak have been able to tour the world singing in Norwegian. And that’s how it happened.
M.I. - This album leans more heavily into post-metal and black metal influences, expanding your sound into harsher and more ferocious territory while preserving your melodic sensitivity. Was this sonic shift planned from the start, or did it emerge naturally during the writing process?
As we said before, that idea was completely deliberate. We wanted to make a darker album and also lowered our tunings. On the previous record, Manel joined us—an extremely experienced black metal drummer. We really like this style, not the old-school version but the more modern one that blends different approaches. Between that and our musical influences, we try to create our own mix, always aiming to do things we haven’t done before. We had an absolute blast writing it, and we love how the final result turned out.
M.I. - Without lyrics, all narrative and emotion must be conveyed through texture, dynamics, and repetition. How do you approach translating abstract ideas like extinction, mourning, or transcendence into musical form?
We never really think about it that way. The ideas we come up with between albums get stored away. When it’s time to compose, we bring them back and assemble them until the song feels complete. It’s only at the very end that we think about titles and sequencing, to make the listening experience as logical and dynamic as possible. In other words, the narrative aspect comes last.
M.I. - After working with Metal Blade Records on “Statement on Death”, you’re now releasing “Quan tot s’apagui” through Moment of Collapse Records and Silent Pendulum. Did this change of label context affect your creative freedom or the overall vision of the album?
Not at all. We’re very proud and grateful to have been part of the Metal Blade Records roster. It was an important period for us and allowed us to grow a lot. We can honestly say that we’ve always had total freedom when it comes to creative decisions. Neither they nor now Moment of Collapse and Silent Pendulum have imposed any conditions on our artistic freedom.
We’ve always been able to do whatever we felt like doing, and they’ve always trusted us when it comes to our musical ideas. That trust is essential for being able to explore our sound and carry out projects like “Quan tot s’apagui” exactly as we imagine them.
M.I. – With “Quan tot s’apagui” marking such a bold step in terms of identity, language, and intensity, do you see this album as a turning point for Syberia, or simply as one chapter in a longer, evolving narrative?
We don’t know what the future will bring. We usually think about compositions and themes when the time comes. Right now, what matters is getting out and playing as many shows as possible. After a year and a half without doing so, we’re dying to get back on stage!
For Portuguese version, click here
Listen to Syberia, on Spotify
Questions by Sónia Fonseca
