Blending the weight and energy of modern rock with Latin American roots and a reflective message, Consequence of Energy emerges as one of the most promising bands of the moment. Formed by experienced musicians from the Chilean scene, the group is preparing the release of their debut album, "We Are One," scheduled for late 2025 or early 2026, and is already presenting the single "Freedom," produced by major names in the music industry. In this exclusive interview, guitarist Diego Sagredo spoke about the band's formation, the conception of "Freedom," the creative process, influences, the importance of the message, and the next steps to bring their music to the world.

Marcelo Vieira

How did Consequence of Energy come together as a band? Was there a particular moment or vision that sparked the creation of the project?

Most of us had been part of the Chilean rock scene for years — crossing paths at shows, festivals, and studios. About two years ago, Mike and I began meeting at Los Lobos Records in Pichilemu, initially just to explore some musical ideas. One night, we sketched out the seed of what would become our first song, and Rodrigo recorded a rough demo of it. That sparked something. Amaru joined soon after on drums, and then Pedro on bass, both bringing their own energy and creative voice. We worked together on a more developed demo — one that we never released, but sent directly to Garth Richardson. That was the start of the pre-production for our debut album We Are One, and now we're finally sharing the songs born from that creative journey.

"Freedom" is a powerful debut, both musically and lyrically. How did the song come about — from its earliest ideas to the final arrangement and lyrics?

"Freedom" began late at night at Los Lobos Records with just a guitar and a feeling. I played around with a simple progression and a groove that felt urgent yet hopeful, and Mike started improvising vocal lines. The chorus came almost instantly — a melody and phrase that captured the whole spirit of the song. From there, we built the track step by step: adding a driving rhythm section, textured synth layers, and heavier guitar riffs that gave the song its punch. Lyrically, it evolved into a reflection on breaking personal and collective chains, written in a way that felt intimate but universal.

On this track, you played guitar, synths, and other elements. What was your personal creative process like? Was there something specific you were trying to express through the guitar parts?

The guitar parts are built around contrasts. In the verses, I wanted them to feel tense and almost restrained — like holding back a storm. In the choruses, they open up, releasing that built-up energy. With the synths, I wanted to create a cinematic layer that could bridge the aggressive and melodic moments, almost like breathing space in the middle of the chaos. It was about expressing the push and pull between confinement and release.

The song blends modern heavy rock with Latin energy and a politically charged message. How did you arrive at this particular sound and identity? What were the main musical influences in shaping it?

It's the result of blending our Latin American roots with a wide range of influences — from Tool, Rage Against the Machine, and Deftones to Audioslave and Nine Inch Nails. The Latin energy isn't just in rhythm; it's in the emotional delivery and urgency. We didn't want to mimic any one sound. Instead, we fused the intensity of modern heavy rock with the warmth, grit, and passion that come from where we're from.

The music video for "Freedom" has the feel of a massive live performance. Can you tell us more about the concept and production behind it? Was it a real show or created for the video?

There are actually two videos for "Freedom." One was captured live at Surf Festival, where we performed the song in front of a massive audience — it's raw, sweaty, and full of that unfiltered connection between band and crowd. The second is the official video, filmed at Los Lobos Records. For that one, we worked with VJ Mitosis, who created immersive projection mapping that visually narrates the song's concept. It merges performance with art, using light and imagery to reflect the themes of freedom and inner awakening.

"Freedom" is not a protest song, but a mirror. Could you expand on that idea? What kind of reflection are you hoping to provoke in listeners?

We didn't want to write a song that simply points at problems from the outside. "Freedom" is about looking inward first. The mirror metaphor comes from the idea that real change begins when you face yourself — your fears, your limitations, your patterns. The song is an invitation to ask, "What do I need to free myself from?" rather than waiting for someone else to do it for you.

You worked with a world-class team on this single — Garth Richardson, Dave Schiffman, and Howie Weinberg. What was that experience like, and what did each of them bring to the final sound?

Garth pushed us to capture the most authentic performances possible, without chasing perfection at the expense of emotion. Dave brought a balance between clarity and weight in the mix, making sure every layer — from the kick drum to the synth textures — had its space. Howie's mastering gave it that final cohesion and power, making it hit hard without losing dynamics. Being in the room (or on calls) with them felt like collaborating with mentors as much as producers.

"Freedom" is the first preview of the upcoming album "We Are One", expected in late 2025 or early 2026. What can fans expect in terms of sound and themes?

The album is a journey through contrasts — moments of raw heaviness and moments of delicate atmosphere. It comes loaded with tribal drums, shamanic chants, ceremonial flutes, and other organic elements that add depth and ritual energy to our sound. These merge with the heavy, spacious rock textures we're crafting, creating a sonic landscape that feels both primal and futuristic. Lyrically, it dives into themes of unity, personal transformation, and the duality of human nature. Musically, fans can expect riffs that hit hard, grooves that move, and layers of sound that reveal something new with every listen.

Consequence of Energy brings a philosophical and critical perspective that isn't always common in modern hard rock. How important is this thoughtful approach to the band's identity?

It's at the heart of what we do. Our music is a vehicle, but the ideas — the questions we raise, the perspectives we share — are the fuel. We Are One is a conceptual album that narrates life itself: from awakening to facing death, passing through moments of love, struggle, and transformation. It's our way of translating human experience — with all its beauty and pain — into a cohesive sonic journey. We want to write songs that people can feel in their bodies and carry in their minds long after the music stops.

What is it like to be a rock band from Chile aiming for an international presence? Do you feel there's a unique energy or message in Latin American heavy music today?

Latin America has a special kind of intensity. Coming from Chile, we've lived through social and political realities that shape how we see the world. That seeps into our music — not always as direct messages, but as a certain fire in the performance. There's a hunger here to be heard and to contribute to the global rock conversation.

You've partnered with Los Lobos Records and AWAL for distribution, aiming at a global reach. Are there plans for touring or live performances outside Chile in the near future?

Absolutely. We're planning shows across South America, North America, and Europe, along with festival appearances. Live performance is where our music comes fully alive, and we want to bring that experience to as many people as possible.

Finally, looking ahead: beyond the album release, what else is coming up for Consequence of Energy? Any new singles, music videos, collaborations, or other surprises in the works?

We have more singles lined up, each with its own visual concept, as well as collaborations with artists from different mediums. Our goal is to make Consequence of Energy more than just a band — we want it to be a full artistic experience, combining music, visuals, and live energy into something immersive.

True black metal is Satanic and intended for the harnessing of dark energy. It has been this way since the genre's second wave roots, which were steeped in Theistic Satanism. For Australia's Pestilential Shadows, the creation of black metal is an art beholden to the occult and various esoteric studies; to share knowledge and wisdom among their coven in order to grow as artists and individuals. Much like the tape trading and print zine days, only done with ideas, philosophies and literature. Having been birthed onto the scene back in '03, Pestilential Shadows are veterans to the circuit but don't expect any kind of early 90's Funeral Winds demo - or Darkthrone - "A Blaze In The Northern Sky" revelry: no dry buzz and no recorded in an abandoned basement vibes, only crisp and dynamic, contemporary black metal - aggressive and dark - crafted with malice intended. The world of Satanism is vast as it spans over a countless variety of ideological facets. Definitely not one size fits all. I interview Satanic black metal bands as a way to not only promote Left Hand BM, but to also learn a bit each time about the bewildering world of the occult. During my latest interview, Balam of Pestilential Shadows gives us some insight from his perspective into the sphere of Satanism/Luciferianism along with a bit of knowledge about their latest "Devil's Hammer" LP. Let us prepare a ritual's circle now for a discussion with one of the Australian scene's visionaries.

Jeger

Pestilential Shadows started back in '03 and you've been quite busy as your discography proves. How did the band start and what were your intentions going in?

I had been playing in a local black metal band, Secratain, since 1997. When that band had run its course and members left, I formed PS with Azgorh from Drowning The Light. We had the same outlook and goals of producing serious black metal dedicated to the dark arts, death and plague.

Satanism is more than just a common theme in your music; it appears to be a genuine lifestyle. When and how would you say your journey toward Satanism began?

Well, growing up I was always drawn to the occult and the darker side of things. In the early 90s at school whilst some kids got into grunge and metal, I always thought it wasn't extreme enough and ventured first into doom and old school death metal. Around '94, I found black metal and it spoke to me unlike anything else. These people were living and breathing it. I pretty much gave up listening to anything else and immersed myself in black metal and the occult.

Your latest LP, "Devil's Hammer" is a weapon of an album: released via Northern Silence. What inspired it?

There was a line up shift with 3 members being replaced, mostly because of the extreme distances they lived and no real desire to sacrifice their lifestyles in order to push the band 100%. The two new members (Mourn & Krvna Vatra) immediately started working with me on new material and from what I thought may have been a hopeless exercise turned into a focused and driven entity. I had also been busy writing music and lyrics during the pandemic lockdowns so I had time to restructure the focus of the band.

What was the songwriting/recording process like for the new material and what did you do differently than your previous "Revenant" LP?

Writing and recording "Revenant" was difficult, seeing as the band members lived so far away. It took a long time to gather material from them to be a part of the album. Because the current line up lives so close, it was much easier to write and bounce ideas off each other. Then we all booked a week off work, went to the studio with all our ideas and recorded the album. It was a much better way to work with each other directly in order to greatly improve the ideas and dynamics.

What are your plans as far as live rituals in support of the new album?

We have been playing some shows in Australia to promote "Devil's Hammer" and we have some more booked soon to end the year. Krvna Vatra has since left the band to focus on his music in Krvna, so we now have a new guitarist, Drekavac, and have been writing new material for album number eight. With the new lineup we hope to tour Europe next year, so going through the process now talking to the right people to help us make it happen.

I've interviewed bands whose members are practitioners in Dragon Rouge, so I'm familiar with that particular order. However, I've just been made aware of Ordo Ater Anguis and know nothing about it aside from the fact that it's an order consisting of Australian black metal bands/artists and that Pestilential Shadows are a part of it. Is OAA a magickal order or something else entirely?

It started with a small group of individuals dedicated to the finding and practice of occult knowledge, sharing occult books and practices. It connects like minded individuals to trade musical ideas and talents; bands sharing members for new ideas and goals.

I've received a number of varied answers to this question from different artists. From your perspective, what are the differences between Satanism and Devil worship?

Satanism casts a large net of different genres and sub-genres of philosophy. It can range from housewives interested in dark magic all the way to Grand Masters of Satanic orders, so it can vary greatly. Devil Worship is more focused on a single entity or dark force; more investment into ritual & study, and less about casual Satanism (Lavey practices).

The flip side to the coin of Satan is Lucifer. It's said that one cannot navigate the Satanic darkness without the light of Lucifer. Do you find much truth in this?

I understand the Luciferian angle of this but don't necessarily follow it. Navigating the pure darkness of dread and suffering of the human mind and the holy negative aspect of the Satan 'opposite of God (Yahweh)' need no angelic light to guide it. What happens when we die? Do we see light or are guided by a figure of light to then be against it? Only the existential dread and darkness of a Satan is pure. And the destruction of God's children (humankind) has no light bringer behind it.

How do you feel about mainstream black metal bands who use Satanic images and incorporate Satanic themes into their music as a means to fit in and sell records?

It's an edgy selling point for a lot of bands and it appeals to heavy metal fans rather than true black metal people. When do these bands literally go out of their way to cause suffering to people? Or have deep ideas and philosophies that are not just looking evil? I think people who embrace themselves in true Satanic ideas, occult practices, negative studies and thoughts can tell the difference a mile away between real conviction and heavy metal cosplay.

PS got their start during the onset of social media and streaming platforms. How do you feel these advances in technology have impacted the scene? Is the underground even underground anymore?

I guess you could say that the internet mostly put an end to a lot of print zines and tape trading in the western world, but also opened the potential to contact like-minded people from around the world to find new bands from obscure places. It's a double edged sword. Now, bands feel the need to use it as a political platform or a showing of pointless things behind the scenes. Where has the darkness and mystery gone?

Is there anything you wish you would've done differently during the start of your musical journey?

I don't think there would be any changes - the message and conviction has always stayed the same and has led us to the path we are on now.

Do you have a message for your followers?

Black metal is not about fun and games: it is dangerous, it is about conviction and a life path - hand in hand with darkness and evil. Thank you for the interview and hope to see you in 2025!