Shane’s new EP APHOTIC | LIMINAL | NIHIL dives deep into cosmic introspection, blending crushing heaviness with ethereal soundscapes. We caught up with him to explore its creation and meaning.
1.
Shane, congratulations on your upcoming EP APHOTIC | LIMINAL | NIHIL. Can you
tell us what inspired the concept behind this cosmic and introspective release?
Thank you! I set out to create something dark but not hopeless—blending ominous
textures with major chords to create contrast. It’s about exploring our
existence, the pull between light and dark thoughts we all wrestle with.
2. The track “LIMINAL” explores the fleeting nature of humanity in the vast
emptiness of space. What draws you to these existential and cosmic themes?
I’ve always been fascinated by space—how huge and unknowable it is. It puts
everything in perspective, which can be comforting or terrifying, depending on
the moment. “LIMINAL” captures that duality: the awe and fear of realizing how
small we really are.
3. You took full creative control on this project—handling all instruments,
vocals, recording, mixing, and mastering. What drove that DIY approach?
I love learning new instruments and techniques, and jumping between them keeps
my ideas fresh. Sticking to just one role can make me feel stuck. This EP
helped me focus and avoid getting lost in the endless rabbit holes that come
with doing everything yourself.
4. Shoegaze and blackgaze aren’t genres typically tied to metal bassists.
What led you to this sound?
Honestly, I didn’t plan it. I started with a concept and just followed where
the songs led. I never try to stick to just one metal subgenre—or even just
metal. If a sound fits the emotion I’m going for, I’m in.
5. There’s a real balance between the crushing weight of metal and ethereal
soundscapes in your music. How do you create that tension?
It all starts with bass for me—it’s my home base. I used electric bass for
punch and upright bowed bass for atmosphere. That mix ties the rhythm and the
ambience together, giving the songs both weight and space to breathe.
6. How does APHOTIC | LIMINAL | NIHIL differ from your earlier solo work
like The Hollowing Abyss or The Solitude of Discovery?
This time, I focused more on mood than technical skill. I wanted the vibe to
drive everything. The playing isn’t overly complex, but finding the right tones
and emotional feel was the real challenge—and the most rewarding part!
7. You’ve been part of bands like Kamikabe, Ys, and even Jeff Loomis’ Plains
of Oblivion. How did those experiences shape your solo voice?
Working with other amazing bands and musicians taught me to stay open and step
out of my comfort zone. Early on, I stuck to what I knew. Now I embrace the
discomfort of trying something new, because that’s usually where the best ideas
come from.
8. From a technical standpoint, what gear or techniques helped shape the
EP’s massive, cosmic sound?
I kept things simple but intentional. I used Neural DSP plugins for layered
guitar tones and a Darkglass Exponent 500 for two distinct electric bass
sounds. Upright bass was mic’d raw for a natural touch. I added synths to fill
the space and used reverb and delay sparingly to keep things cosmic but clear.
Less gear, more breathing room—that made all the difference.
9. Is APHOTIC | LIMINAL | NIHIL a personal statement, a philosophical one,
or both? What do you hope listeners take away?
Definitely more philosophical. I love when people interpret it in their own
way. My biggest hope is that listeners actually listen—fully tune in—and maybe
walk away reflecting on the lyrics or atmosphere. If I can break through
everyday background noise, I’ve done my job.
10. The EP is divided into three parts—APHOTIC, LIMINAL, and NIHIL. What’s
the story behind that structure?
Each track is a chapter in one journey. I’ve had the idea for a three-part EP
for years, where each song stands on its own but also completes a larger arc.
It was a way to keep the concept focused and intentional, not just a random
collection of songs.
11. What’s your release plan after April 25? Any live shows, videos, or
physical editions in the works?
I’d love to do a short vinyl run—there’s something special about holding the
music. I would also like to do more visual content. Filming the “LIMINAL”
visualizer in Norway was such a cool experience, and I’d love to build on that.
As for live shows, I’d need a bit of help to make it interesting. One person on
stage can only do so much!
12. Looking ahead, what kind of opportunities are you hoping to
explore—collaborations, soundtrack work, label support?
All of the above! I’ve really enjoyed collaborating with others on sound and
vibe, not just technical skill. Soundtrack work also intrigues me as it feels
like a natural next step. And I’ve worked with great labels in the past, so I’m
always open to the right partnership!
Shane Lentz (@shanelentz) • Instagram photos and videos
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