Dear Readers we have the pleasure to offer you in this article an interview with a Brazilian band that offers a blend of Experimental Progressive Rock, with a new album just released. We welcome Pedro and Gabriel D’Incao of Atomic Time.
Hi, it‘s a pleasure to have you among our pages, how are you?
“Weâre doing great! Itâs a huge pleasure to share a bit of our work and have this conversation with Progressive Rock Journal. Thanks for having us!“
The band formed recently, how did the project come about and what is the meaning of the band name Atomic Time?
“The project started in 2017 when Gabriel DâIncao and I began experimenting with different sounds, blending analog synthesizers with progressive and alternative rock elements. From the beginning, Roger Lopes was on vocals, shaping our identity as a band. Over time, we refined our sound, balancing structured compositions with improvisation and sonic experimentation.
As for the name Atomic Time, it carries multiple interpretations. The central idea is time itselfânot just as a concept, but as something fragmented, unstable, and ever-changing. We live in an era where time feels more explosive and fractured, where everything moves rapidly and simultaneously loses continuity. The name reflects this paradox: the precision
of atomic clocks versus the chaotic way we perceive time today. However, we also like to leave room for interpretationâeveryone can find their own meaning in it.“
You play Progressive Rock contaminated by Experimental, how did your passion for these sounds come about?
“Yes, this was a big shift from the first album to the second. Subsounds has a much more experimental approach. I think that comes mainly from Gabriel, our keyboardist, who is deeply involved in sound design and sonic exploration. I also found myself diving into that processâboth in sound design and by exploring new ways to shape the guitar tones.
The biggest influence behind this experimentation comes from the more abstract and atmospheric side of progressive rock. Bands like early Pink Floyd, King Crimson, and more recently, Radiohead, have played a big role in shaping our sound. We also draw inspiration from the textural work of Brian Eno and Jon Hopkins, which has influenced how we approach layering and sonic depth in this album.
I believe this experimental mindset is the true essence of progressive rock. When we think about prog, we often focus on the classicsâYes, Genesis, Pink Floyd, King Crimsonâbut sometimes we forget that what made these bands progressive in the first place was their willingness to experiment. For a band to truly embrace progressive rock today, itâs not just about replicating those sounds but about continuing that spirit of explorationâwhether through classical influences, jazz elements, or completely new sonic landscapes. Thatâs what we aimed for with Subsounds.“
The new album âSubsoundsâ was released on March 21, 2025, how would you describe this work?
“I believe this album is, first and foremost, a conceptual work. We wanted to explore what lies beneathâboth in terms of emotions and subconscious layers that often remain unspoken. The themes revolve around these hidden aspects of human experience, the feelings that exist below the surface, shaping the sonic and lyrical identity of the album.
We also worked with this idea on a musical level, using textures, sound design, and atmospheric elements to evoke the subconscious. The album was carefully crafted to create an immersive journey, where each track contributes to a broader narrative.
Compared to our first album, Subsounds embraces a more experimental and immersive approach, blending progressive rock, ambient soundscapes, and electronic elements. Tracks like âVioletaâs Dreamâ and âDigital Comaâ reflect this, evolving organically through different sonic landscapes. The recording process was also crucial to this vision, with
pianos tracked at Master Chord Studio in London, additional synth layers at RAK Studios,
and final mastering at Abbey Road.“
More than just a collection of songs, Subsounds is an experience meant to be absorbed as a whole, designed to pull the listener into its world and reveal something new with each listen.“
Five epic tracks between 12 and 23 minutes long, how did the creation of this work come about?
“Yes, Subsounds consists of five long-form tracks, ranging from 12 to 23 minutes, and that was a very intentional choice. The idea was to give each piece the space it needed to evolve naturally, without worrying about traditional song structures or time constraints.
When we started working on our first album, we were often too concerned with timeâwhether a track was getting too long, too short, or if it needed another section to fit a certain structure. We werenât always letting the music flow in a natural and spontaneous way.
With Subsounds, that changed completely. We let the compositions breathe and followed the music wherever it wanted to go. If a section felt like it needed to expand, we didnât limit it. If a transition led to an unexpected place, we embraced it. Sometimes that meant adding three or four extra minutes to a song, but we werenât worried about that anymore. We were completely relaxed in terms of structure, allowing each piece to develop on its own terms.
That freedom became one of the defining characteristics of this album. Instead of shaping the music to fit a predetermined format, we listened to what the songs were asking for, letting them unfold naturally.
The result is an album that feels more like a journey than a collection of individual tracks. Songs like âVioletaâs Dreamâ and âDigital Comaâ take the listener through multiple phases, shifting between introspective moments and intense climaxes. Ultimately, the goal was to create something that demands to be experienced as a wholeânot just as isolated songs, but as a fully immersive sonic world.“
Besides the long instrumental textures there are also intense vocals, what themes do the lyrics deal with?
“The lyrics in Subsounds explore introspective and existential themes, often revolving around time, memory, fate, and the subconscious. Thereâs a strong sense of searching, questioning, and confronting the unknown, whether on a personal, emotional, or even spiritual level.
Many of the songs touch on the passage of time and how it shapes our experiences, sometimes creating a sense of inevitability, other times suggesting a desire to break free from cycles and patterns. Thereâs also a recurring exploration of dreams, hidden emotions, and the contrast between reality and perception, where things are not always as they seem.
Another strong theme is human connectionâwhether through love, loss, or faithâand the complexities that come with it. Some lyrics evoke a feeling of distance or detachment, while others deal with the weight of belief, expectation, and change.
Rather than offering clear narratives, the lyrics create atmospheres and emotions that allow for personal interpretation, much like the music itself. They work as part of the overall experience, blending into the sound and reinforcing the immersive nature of the album.“
Given the complexity of the project, what equipment did you use to make the album?
“For Subsounds, we made a conscious decision to keep everything analogâfrom the recording process to the choice of instruments. Everything was tracked through an analog console, which gave the album a warmer, more organic feel, allowing the natural textures of each instrument to come through. We didnât want a polished, overly processed sound; we wanted something that felt alive…
One of the most interesting aspects of this album is how we worked with sound textures. The album actually starts with the sounds of a forest in Cyclical Night, but nothing was sampled from natureâevery insect, every rustling leaf was synthesized from scratch on a Minimoog. Thatâs why it sounds so organic yet unfamiliar at the same time. We wanted to
recreate something real, but with a subtle surrealism behind it.
Percussion also played a huge role, especially in Violetaâs Dream. Thereâs a section that we call âthe nightmareâ, where we layered indigenous Brazilian percussion elements, creating a hypnotic, almost ritualistic atmosphere. That was something we explored deeplyâletting the rhythm itself become part of the storytelling.
The piano was recorded on a Grand Steinway at Master Chord Studios in London, and you can actually hear the pedal noises and mechanical details, which adds to the intimacy of pieces like Blue, where the solo piano really carries the emotion.
Synths were a huge part of this albumâs identity as well. We used Minimoog, Moog Modular, Eurorack systems, Moog One, and Roland Juno-60 and 106, but not in a way that was meant to replicate classic prog textures. We wanted to move away from the typical Mellotron-heavy approach and create something that felt both timeless and modern. Even the Minimoog solos, while they might have moments that nod toward Rick Wakeman or Keith Emerson, have their own unique character.
At the end of the day, this album was about listening to what each track needed and allowing the music to breathe. If a song naturally extended by three or four minutes, we let it happen. The whole process was about capturing something honest, where the sounds and the structure werenât forced but emerged naturally.“
This is your second studio album, how has your sound evolved over time?
“I think the biggest difference between our first album, Out of the Loop, and Subsounds is the way we approached composition. This time, we allowed ourselves much more freedomâthe structures became more complex, more fluid, and we embraced a deeper level of experimentation.
We werenât thinking about formats, about what would be more accessible, or how the audience might react. That simply wasnât part of the creative process. We focused entirely on what we truly wanted to create, with no external expectations shaping the music. And I think thatâs the most honest way to make an albumâif you stay true to yourself, you end up being true to the listener as well.
This greater sense of freedom also brought new elements into the music. The experimental approach led us to explore textures in a different way, and the vocals evolved significantly in this album. Rogerâs voice and vocal melodies were developed with much more detail, and we also had incredible backing vocals from Kim Chandler, a phenomenal English singer who brought beautiful layers to the songs.
So in many ways, Subsounds represents a shiftânot just in complexity and experimentation, but in the way we trusted our instincts and followed what felt right. Itâs a more personal and honest album, created with absolute artistic freedom.“
Many of our readers and your fans wonder if there will be a chance to hear your music live, do you have plans in this regard for the near future?
“Yes, absolutely! We are already rehearsing and preparing live performances focused on the new album. Given the complexity of the music, it will take us one or two months to be fully prepared and ready to bring these songs to the stage in the way they deserve to be heard.
The second challenge is finding venues open to hosting a project like thisâsomething more immersive and sonically intricate. But weâre fully committed to making it happen and canât wait to share this experience with the audience.“
Do you have any particular memories or anecdotes you would like to tell about your live experiences?
“Yes, we have quite a few interesting and funny moments. The first thing that comes to mind isnât necessarily funny, but it really highlights the challenges of having a project with a different sound.
One of the biggest struggles when we arrive at venues is getting a good sound for the Minimoog. Itâs especially tricky with the low-end frequencies, which can be difficult to manage if the sound system isnât set up properly for analog synths. Another challenge is bringing in all the instruments we actually needâwe use a lot of different elements that arenât common in a typical rock setup.
I remember one particular show where we had a large gong as part of the performance. We used it a lot in our first album for atmospheric textures, and it appears in Subsounds as well in a more experimental way. But the venue owner refused to let us bring it in because it âtook up too much spaceâ near the drum kit. So, we snuck it in anyway, just to make sure the show sounded exactly how it was supposed to!
Another fun factâour very first show wasnât even under the name Atomic Time. Back then, we were called Subsounds, which, of course, later became the name of our second album. The band name Atomic Time only came after that first performance.“
Brazil has a rich artistic and musical tradition, how do you see the current scene in your country as far as prog sounds are concerned?
“Brazil has an incredibly rich and diverse musical tradition that goes far beyond samba and bossa novaâthough, of course, both have undeniable importance in shaping our countryâs sound. But when we look at the more experimental side of Brazilian music, we find incredible artists who have pushed boundaries. In the late 60s, for example, we had Os
Mutantes, an experimental and highly innovative band. Then in the 70s, bands like O Terço carried the progressive rock spirit in their own way. And beyond rock, we have Egberto Gismonti and Hermeto Pascoal, musicians who are internationally recognized for their creativity and unique approach to sound.
As for todayâs scene, progressive rock remains a niche, not just in Brazil, but worldwide. Itâs not part of the mainstream, and probably never will be, but it has a dedicated and passionate audience. However, thereâs a challenge within these niche communities: a certain resistance to new bands. Itâs common to see comparisons like âthis isnât real prog,â or âClose to the Edge is better than anything new,â in forums and discussions. Thereâs a tendency to measure every new band against the giants of the past, which can be limiting and even harmful to the evolution of the genre.
That said, not everyone in the scene is like that. In Brazil, there are people, websites, and radio stations that actively support and seek out new progressive and experimental bands, showing a more open-minded approach. In the end, we hope that the movement toward music that values creative freedom grows stronger, breaking away from rigid
commercial formulas. And I believe the progressive rock scene has great potential to lead that chargeâ if it embraces evolution rather than just preservation.“
What advice would you give to young artists approaching music with a more elaborate sound like yours?
“Honestly, since weâre still a young band ourselves, we donât really see ourselves in a position to give advice. But if thereâs one thing weâve learned, itâs that the worst thing an artist can do is create music with the goal of fitting into industry standards or social media trends. Thatâs the quickest way to limit creative freedom.
Music should never be about trying to please a specific audience or adapt to an expected format. The most important thing is to be honest with yourself and create something that truly represents you. Whether the music ends up being complex or simple doesnât matterâwhat matters is that itâs genuine. If you stay true to that, there will always be people who connect with your work.“
I thank the band for their availability and wish them all the best for the promotion of their new album and the continuation of their artistic career.
“Thank you for the opportunity and for the support! We truly appreciate it. It was a pleasure to share more about Subsounds and ourwork. Wishing you all the best as well, and we hope to see you soon-maybe even on stage!“
Purchase their new album on Bandcamp: https://atomictime.bandcamp.com/album/subsounds
