Susane Hécate

MIASTHENIA

Since years in the past, the capital of Brazil revealed names that practice unusual (and excellent) ways into Metal genres. And the veteran MIASTHENIA is always one relevant name since the days they came with “XVI”, telling histories and old tales about Pre-Colombian civilizations of America. And with “Espíritos Rupestres”, the band gives another step ahead, using a central concept for the lyrics, and showing a new lineup. Then, we had the opportunity to talk with the band to known about the past, the present and future ambitions.

By "Metal Mark" Garcia

• December 2, 2024

Summoning the old spirits under the spells of the Shaman Witch

interview at

Well, I’d like to thank you on Metal Temple’s behalf for this interview. The first question is simple: what happened with the band between “Antípodas” (released back in 2017) and the release of “Espíritos Rupestres”? And why you took 7 years between the two releases?

MIASTHENIA: The interval between “Antípodas” and “Espíritos Rupestres” was marked by several internal and external transformations. During this period, the band underwent significant lineup changes, which led us to rethink and rebuild our artistic and conceptual directions. It was also a moment of personal and collective maturation, in which we explored new ways of connecting to the ancestral themes that have always been the core of MIASTHENIA.

Seven years may seem like a long time, but for us, every moment was necessary. In addition to working on releases such as “XVI/Batalha Ritual” and “Trágicos Encantos Primordiais”, we also took the opportunity to expand our research into pre-Columbian cultures, explore new musical elements and dive deeply into the creative process that culminated in “Espíritos Rupestres”. The album is not just a sequel to “Antipodas”, but an evolution that reflects everything we learned and experienced in this interval.

In the time between the two full-lengths, MIASTHENIA released “XVI/Batalha Ritual” (of your two first full-lengths) on 2017, the collaborative “Sinfonia Ritual” (with members of MIASTHENIA and IFALL) on 2019, and “Trágicos Encantos Primordiais: Demos 1995 - 1996” (the Demo Tapes of the band) on 2020. The question is: what are the driving reasons for such releases?

MIASTHENIA: Each release from this time had a unique goal, but they all converge on the idea of preserving and expanding MIASTHENIA’s legacy. With “XVI/Batalha Ritual”, we wanted to revisit our initial works from a new perspective, modernizing the production while preserving its original essence. This was important to reaffirm our roots and introduce our early work to a new generation of listeners.

“Sinfonia Ritual” was an opportunity to explore collaboration with other artists, integrating outside perspectives into our music. Working with members of IFALL allowed us to experiment with sonic textures that broadened our creative range.

“Trágicos Encantos Primordiais” is a historical record that celebrates the beginning of our journey. Bringing these demos together was like revisiting our young and rebellious spirit, a way of honoring who we were and how we got here.

V. Digger (the band’s former drummer) left the band after “Antípodas” was out, and on “Espíritos Rupestres”, MIASTHENIA became again a quartet (as it was on the past) with the coming of Aletea to the bass guitar, and Lith to the drums. How did you get in touch with both of them, and how they came to the band? And we can assume that they did an important role on the writing of the songs?

MIASTHENIA: The coming of Aletea and Lith into MIASTHENIA was a milestone of renovation. We know Aletea through her reputation as a versatile, classically trained musician with a style that blends technique and emotion. She brought a new dimension to the bass lines, adding nuances that expanded the depth of the compositions.

Lith was recommended by nearby musicians, and her energetic and technical approach to drums immediately connected with the band’s spirit. Both not only participated in the recordings of “Espíritos Rupestres”, but also contributed significantly to the composition process. Elements such as backing vocals, acoustic guitars and rhythmic variations directly reflect his creative contributions.

Let’s speak about “Espíritos Rupestres”. The first thing that calls the attention is that, once more, you worked with Caio Duarte (former DYNAHEAD member and today on IFALL), as happens since the days of “Supremacia Ancestral”. Can we assume that you were looking not only someone to keep MIASTHENIA’s music as it is, but could bring a fresh vision to help the band lay the new elements on the music? And how was to work with him, now that he lives on London? Any difficulties due this fact?

MIASTHENIA: Working with Caio Duarte is always an enriching experience. He uniquely understands the essence of MIASTHENIA, but also brings a refreshing perspective that challenges our own ideas. Since “Supremacia Ancestral”, his contribution has been essential to catch our sound insight with fidelity and innovation.

Even with the distance - he currently lives in London - we are able to maintain fluid communication thanks to internet technology. This remote collaboration, rather than being a barrier, became an opportunity to explore new production approaches. The result is a sound that preserves our roots, but opens up to contemporary horizons.

Looking back to you past works, how would you compare “Espíritos Rupestres” with your older releases?

MIASTHENIA: “Espíritos Rupestres” is both a continuity and an evolution. While previous works such as “Antípodas” and “Supremacia Ancestral” focused on specific historical and cultural narratives, this album takes a more introspective and spiritual approach. The lyrics are deeply poetic, inspired by a poem I wrote, and the compositions explore a wider range of textures and dynamics.

Musically, there is a more refined balance between aggression and melancholy, with acoustic influences and more complex arrangements. In essence, “Espíritos Rupestres” is a reflection of the band’s maturity and our increasingly deeper connection with the ancestral cultures that inspire our art.

An interesting fact about “Espíritos Rupestres” lays on the lyrics: it’s based on a poem that Hécate wrote. Then can you tell us about how this idea came to you? And what is in the center of the concept, and who is the Shaman Witch as a historical person?

MIASTHENIA: The inspiration for the poem that originated “Espíritos Rupestres” came from an internal need to connect the contemporary with the ancestor. The Witch Shaman, the central character, is a figure who represents the union of the sacred and the profane, a woman who transcends temporal limitations and becomes a link between the material and the spiritual world. It symbolizes resistance against the forces that try to erase ancient wisdom, and also the transformation that occurs when someone reconciles with their own ancestral spirit.

The album’s lyrics are a way to remember these forgotten traditions and to resist the forces that seek to destroy what is sacred. The concept goes beyond a simple representation of the figure of a witch, it is also a manifesto against the destruction of native and ancestral cultures.

Once more, an album of the band is released by Mutilation Productions. It seems that you have a good relation with the label (and no one question the integrity to Tullula as a label owner), is it? And please, tell us about the presentation of the album, once is in a Digibook format.

MIASTHENIA: The relationship with Mutilation Productions is a solid partnership based on mutual trust. Tullula has been a key figure in preserving our artistic integrity, and his vision shares a commitment to the authenticity and depth of underground music. The choice of the Digibook format for “Espíritos Rupestres” was a deliberate decision to make the album a complete experience. Digibook allows the listener to engage with not only the music, but also the visual art, lyrics, and overall concept of the album. It is an invitation to a deeper immersion on the concept.

Speaking about the graphic aspects, the artwork of the cover was painted by Tatiana Quintanilha, and it seems that she did it entirely handmade, a hard thing to see today due the computational technologies. How did you get in touch with her? And how the art’s idea was born? And can we assume that hear art fits on your ideas for the album? And once more you had Slanderer on the layout, so the layout is fully in parallel with what you thought?

MIASTHENIA: Tatiana Quintanilha’s art was a perfect meeting between the spirit of our music and the exceptional talent of a manual artist. Getting to know her was an almost spiritual process, where her sensitivity and understanding of the album’s theme aligned naturally with what we wanted to express visually. Tatiana, with her ability to create completely handmade works, brought an authenticity that connects directly with the album’s ancestral concept.

The collaboration with Slanderer on the layout was essential to ensure that every visual aspect of the graphic project was in harmony with the ideas we wanted to express. The art and layout together created a visual narrative that deviates from digital modernity to something more organic and intuitive, like the music of “Espíritos Rupestres”.

Back on 11/20/2024, you released a video for “Bruxa Xamã”. Why this song was chosen? And how was the experience of recording at Aicon in Brasília? And why Syndicate Studios was chosen for the production of it? And it seems a bit simpler when we think about some of your previous videos?

MIASTHENIA: “Bruxa Xamã” (Note: it means “Shaman Witch” on English) was chosen because she is the pulsing heart of “Espíritos Rupestres”. The song catches the essence of the album - a fusion of the ancient and the modern, the spiritual and the earthly. The recordings at Aicon Studios in Brasília were an intense and transformative experience, as we managed to capture the raw energy of the song with high-quality production, while preserving its ritualistic soul.

We chose to record at Syndicate Studios because we wanted a production environment that understood the visceral nature of the music. The simplicity of the video reflects the central idea of the album: simplicity is a reflection of the sacred, and by putting it in evidence, we show how the essential can be more powerful than the overload of modern elements.

If Black Metal isn’t a political Metal genre, behind the lyrics of the band seems to be not only a darkened and morbid approach on the pre-Colombian culture, but a recovering of such precious cultures, a manifest against the destruction of pagan cultures of the past, especially on Brazil (as was shown at the beginning of 2023, the former fascist president emboldened wildcat miners on the lands of the Yanomani people for four years, provoking a growth of 331% on death by famine on the Yanomani people, a true genocide), and a resistance and call-to-arms for ceasing the eradication of native cultures of America. Am I right, or do you have another point of view about such fact? And as the lyrics are written on Brazilian Portuguese, don’t you think it’ll be hard for fans from other countries to understand the true meaning of them?

MIASTHENIA: MIASTHENIA’s music has always been a form of cultural resistance. Our lyrics are politically charged, but not in the conventional sense of partisans’ engagement. They are a protest against the destruction of indigenous cultures and a demonstration against the loss of ancestral wisdom. Brazil, especially, is being devastated by policies that encourage the destruction of indigenous territories and the uncontrolled exploitation of land. This is something we need to denounce and resist. Although the Portuguese language limits our direct communication with an international audience, we believe that music, with its riffs and atmospheres, transcends this barrier.

And what about shows? As the album is on the stores, it means some shows are coming this way. And are there contacts for future tours out of Brazil?

MIASTHENIA: Yes, we are planning intense and energetic gigs to bring “Espíritos Rupestres” to new audiences. We are in contact with several international promoters and festivals to take our music beyond the borders of Brazil, especially in Europe and Latin America. Each show will be an opportunity to share the album’s message and energy with those who share our beliefs and artistic vision.

Well, that’s it. Once more, I thank you for this interview, and please, leave your message for your fans and readers of Metal Temple.

MIASTHENIA: I would like to thank greatly you to our fans and Metal Temple’s readers. May cultural resistance, music and ancestral voices guide us. Never allow forgetfulness to erase what is sacred. Follow your journey with courage and wisdom, as the fight to preserve our history and identity will never cease.

Website: https://www.miasthenia.com/
Facebook: https://www.facebook.com/miasthenia
Instagram: https://www.instagram.com/miasthenia_band/
Bandcamp: https://miasthenia.bandcamp.com/
Youtube: @Miastheniaband