After nearly a decade of silence, Shepherds of Cassini are back with a powerful statement. The Psychedelic Progressive Metal quartet from Auckland, New Zealand, has built a reputation for crafting expansive soundscapes where Heavy riffs intertwine with ethereal atmospheres and soaring violin melodies. With their new full-length “In Thrall to Heresy,” released on February 21, 2025, the band returns stronger than ever, blending Progressive Metal’s technical edge with Psychedelic depth and spiritual intensity. We had the pleasure to talk with the band about their long-awaited comeback, the creative process behind the record, and what lies ahead.
After such a long hiatus, how does it feel to finally be back with a new album after nearly ten years?
Coming back after all these years has been incredibly surreal and deeply fulfilling. We’d been looking forward to this moment for a long time, reuniting, writing new material, and finally releasing an album together again. The entire process was invigorating. It reminded us just how much we missed creating music as a band. That creative chemistry, the joy of collaboration, and the excitement of sharing something new with the world, it all came rushing back. More than anything, we missed playing together, and that connection really fueled our drive to write and record this album.
What was the main spark that reignited Shepherds of Cassini’s creative energy and brought the band together again in 2023?
We always knew we’d make music together again. It was just a matter of when. Even though we were on hiatus, we never officially broke up, so the door was always open. The real turning point came when Vitesh returned to New Zealand
after spending several years overseas. With all of us finally back in the same place, the spark reignited naturally. Being together again created the perfect moment to start jamming and reconnect creatively.
“In Thrall to Heresy” is both a continuation of your signature sound and an expansion into new sonic landscapes. How would you describe the musical direction of this album compared to your previous works?
In Thrall to Heresy’ definitely builds on the foundation we established in our earlier work, but it also marks a significant evolution in our sound. Our core elements are still there, the interplay between heavy, riff-driven sections and more atmospheric, melodic passages, with the electric violin playing a central role. But this time we really pushed ourselves to explore deeper emotional and sonic territory. We’ve grown a lot as a band since our last album. Having two releases behind us gave us a clearer sense of who we are and what we wanted to improve. We were able to reflect on what worked in the past, what could be done better, and approach the writing of this album with a stronger sense of direction. That growth really shaped how we arranged, composed, and produced this record. Compared to our earlier albums, this one feels more dynamic and immersive. The compositions are more deliberate, the arrangements tighter, and there’s a stronger narrative thread running throughout. Thematically, it’s darker and more introspective, and musically, we’ve leaned into more contrast. Heavier sections feel more crushing, while ambient moments are more expansive and textured. We also let the music guide the vocals and lyrics more organically this time around. There was a sense of freedom in the writing process that allowed for more experimentation, and I think that shows in the mood shifts across the album. In many ways, it still sounds like Shepherds of Cassini, just more refined, more intense, and more cinematic.
The album was recorded with Dave Rhodes and mastered by Luke Finlay. How important was this production team in shaping the final sound?
The production team had a huge impact on shaping the final sound. As a band, we hear the songs in a certain way, but having an outside perspective, especially someone like Dave, really helped us see things differently. Having him in the
studio to guide us made a big difference. We’ve worked with Dave on our last two albums, so he knows our sound well, and that history gave weight to his suggestions. His fresh ears brought a new perspective, and he offered some great ideas that helped elevate certain sections and make them more impactful.
The electric violin is such a distinctive element in your music. How do you approach writing and arranging to ensure it remains integral without overpowering the rest of the instruments?
It really depends on the section of the song. Some parts call for the violin to create a certain atmosphere that a guitar or bass just couldn’t replicate, while others might need a solo or an interplay between the violin and guitar. We don’t go in
with rigid ideas about what the violin should do. It usually takes shape naturally as we write and play the track over and over. Because of the style of music we play, there’s a lot of space for the violin, or any instrument really, to have its moment, whether it’s taking the lead or supporting the overall texture. We’re constantly bouncing ideas around about what the violin could bring to a section. Felix has an incredible ear and feel for what works. He always finds the right balance, knowing exactly when the violin should step forward or when it’s better used for ambiance.
The new single “Red Veil” already gives a glimpse of the album’s atmosphere. Could you share the story or inspiration behind this track?
We set out to write something relentlessly heavy, a straight-up metal track that’s driving, aggressive, and intense from start to finish. ‘Red Veil’ ended up becoming the centerpiece of the album, both musically and thematically. It represents a major turning point in the story. The moment the central character, a despot, completely loses his humanity. Stripped of mercy, empathy, and remorse, emotions once induced by a shaman’s drug, he descends into pure rage and cruelty, ultimately spiraling into madness. His fall leads to the destruction of entire communities and ecosystems. The heaviness of the track mirrors all of that violent, unrelenting energy. Interestingly, the song was originally intended to be an instrumental. We felt the music alone could tell the story. But while we were tracking drums in the studio, Brendan Zwaan wrote the lyrics. Once we heard them paired with the music, it added a whole new dimension to the song. The weight and aggression of the track really inspired Brendan to fully flesh out this part of the character’s journey, and it elevated the narrative in a powerful way.
The artwork by Moonroot adds a strong visual identity to the release. How did this collaboration come about, and how does the artwork reflect the themes of of the album?
After a long search, I discovered Moonroot on Instagram, and we immediately connected with his work. We knew right away he was the right artist for this project. He replied to our email almost instantly, was genuinely excited to
collaborate, and jumped into the process with us straight away. Moonroot is absolutely incredible. He understood our vision from the start, and once we shared the concept behind the artwork, Moonroot brought it to life in a way that not only reflected the themes of the record, but elevated them beyond our expectations. The artwork plays a huge role in expressing the album’s conceptual depth. Each element carries symbolic weight. The eclipse represents sudden and transformative change, the black sand signifies both death and mourning, but also wealth and power, the cracked grey sky symbolizes the collapse of wisdom. The pelican, drawn from ancient Egyptian mythology, embodies death and rebirth. There’s even a pelican on the back cover that subtly hints at the despot’s fate at the end of the story.
The visual narrative spans the entire record. From the opening track, Usurper, tothe final piece, Threnody, reinforcing the arc of the concept through powerful imagery. Speaking of themes, “In Thrall to Heresy” is an evocative title. What concepts, narratives, or philosophical ideas inspired it In Thrall to Heresy is a concept album that dives into the psychological and spiritual disintegration of a despot, a man who rises to absolute power and, in the process, loses all sense of self, morality, and ultimately, his humanity. The title itself speaks to that tension. Being ‘in thrall’ suggests both slavery and devotion, while ‘heresy’ implies the rejection of an established truth or moral code. The album explores what happens when someone is enslaved to their own rejection of truth. When power, ego, and delusion replace any guiding ethical or spiritual framework. The story follows a mythic, almost tragic arc. At its core, it’s about a figure who begins with confidence and charisma (‘Usurper’), but whose unchecked ambition spirals into guilt, paranoia, and ultimately madness (‘Slough,’ ‘Vestibule,’ ‘Red Veil’). Philosophically, it draws on ideas around the corrupting nature of power — similar to Lord Acton’s famous line, ‘Power tends to corrupt, and absolute power corrupts absolutely.’ There are also echoes of Nietzsche’s concept of the Übermensch, twisted into a darker form, a man who believes he is beyond morality and thus begins to unravel once faced with the consequences of his actions.
There are mythological undertones throughout, particularly with the references to the pelican, a symbol of sacrifice, death, and rebirth in ancient Egyptian lore. The idea of ritual and transformation is central to the album. The despot seeks counsel from a shaman to confront his inner self, but instead of healing, he spirals further into delusion. This failed rite of passage becomes the catalyst for his complete descent into madness. You could see this as a kind of dark mirror of the Hero’s Journey except this journey doesn’t lead to enlightenment, but total collapse. The later songs (‘Mutineers,’ ‘Abyss,’ ‘Threnody’) feel almost existential — the despot is abandoned, overthrown, and finally forced to reckon with his legacy and mortality. There’s a sense of cosmic justice here, but it’s not clean or redemptive. Even at death’s edge, he can’t surrender his ego. That speaks to the human struggle with letting go, of control, identity, self-importance and raises questions about whether true transformation is even possible for someone so consumed by power. The artwork reinforces these themes. The eclipse suggests sudden, cosmic shifts — the kind that blind or enlighten. The black sand represents both mourning and material wealth, a reminder that power and death often sit side by side. The cracked grey sky symbolizes the collapse of wisdom or reason. And the pelican hints at an unresolved tension, will this figure be reborn, or is he forever bound to the heresy of his own making? So while the story follows a fictional despot, it’s really a reflection of deeper, timeless questions about power, guilt, ego, transformation, and the search for meaning in the face of ruin. It’s heavy both musically and thematically.
Many bands evolve drastically during long breaks. Do you feel the hiatus changed your approach to composition and performance?
The hiatus definitely changed our approach to both composition and performance and in a really positive way. During that break, we all took the time to grow individually as musicians, diving deeper into music theory and expanding our
skills. That growth helped us come back with a stronger understanding of how to craft songs more thoughtfully and how to bring out the best in each other when playing together. Taking that time away gave us fresh perspectives and renewed energy, which translated into a more confident and focused approach on In Thrall to Heresy. We’re playing smarter, more intentionally, and with a greater sense of connection as a band.
Progressive Metal often balances complexity with emotional depth. How do you ensure that your music remains both intellectually challenging and emotionally resonant?
We don’t really set out with a conscious goal to balance those two concepts. It’s more of a subconscious process for us. As we write and jam, those elements naturally come through because that’s just part of how we express ourselves. The music flows from what we’re feeling and thinking in the moment, so it ends up being both intellectually engaging and emotionally resonant without having to force it. It’s really about staying authentic to the music and letting it evolve
organically.
You’ve always combined elements of Progressive Metal, Doom, and Psychedelic Rock. Do you see these genres as natural companions, or do you consciously try to merge them?
We definitely see these styles as natural companions rather than genres we consciously try to merge. For us, it’s not a deliberate process of blending styles, it’s more that these elements naturally come through in our music because of the sounds and moods we’re drawn to. Each genre brings something unique that complements the others: the heaviness and atmosphere of doom, the complexity and dynamics of progressive metal, and the expansive, trippy textures of psychedelic rock. When we write, it just flows organically, and those influences find their way into the music without forcing anything. It’s really about following what feels right for the song and the story we
want to tell.
The New Zealand scene has produced many remarkable underground acts. How do you see your place within that context, and has the local environment influenced your sound?
New Zealand’s underground scene is pretty awesome, and we’re really happy to be part of it. There’s this strong DIY vibe and a real passion for doing things differently, which fits well with how we work. We see ourselves as just one piece of a bigger puzzle, adding our own flavor while being inspired by all the cool stuff happening around us. The local environment definitely seeps into our music, even if it’s not always obvious. Being from here, the landscapes, the isolation, and the close-knit community all might have influenced how we write and play. There’s a raw, honest energy in the NZ scene that we really connect with, and that comes through in what we do as a band.
Looking back at your debut (2013) and “Helios Forsaken”(2015), what do you feel you’ve learned as musicians and as a band that made “In Thrall to Heresy” possible?
Looking back at our debut and Helios Forsaken, we see those records as important stepping stones, they captured where we were creatively at the time, and laid the foundation for our sound. But with In Thrall to Heresy, we approached things with a much deeper understanding of ourselves as musicians and as a band. One of the biggest things we’ve learned is how to write with more intention. Earlier on, we were still exploring and discovering our sound. This time, we had a clearer vision of what we wanted to express and how to execute it. The arrangements are more deliberate, the dynamics more refined, and there’s a stronger sense of space and cohesion across the record.
The long hiatus between albums actually played a big role in that growth. During that time, I (Omar) continued playing in a stoner punk-doom band called Ginzu and the Steak Knives, and both Felix and I are also part of a synthwave project called Star Control, where Felix plays keytar. Being involved in those completely different musical environments gave them new perspectives and skills, which naturally fed back into Shepherds of Cassini. It challenged us to think differently, to experiment more, and to bring a broader musical vocabulary to the writing
process. So while In Thrall to Heresy still carries the core identity of the band, it also reflects years of growth as players, collaborators, and composers. We wouldn’t have been able to make this record without everything we learned from the first two albums, and from the time we spent outside the band exploring other creative avenues.
The album will be released in digital, CD, and 2xLP vinyl editions. How important is the physical format for Shepherds of Cassini in today’s streaming-dominated era?
For us, physical formats are still a really important part of the art of making music. There’s something meaningful about having a tangible piece of work, something you can hold, look at, and engage with beyond just the audio. The
artwork, the layout, the liner notes, the credits. All of that plays into the experience of the album as a whole.
Especially in the kind of music we make, where there’s often a strong conceptual or visual element, the physical copy helps to complete the picture. And within the progressive and metal communities, there’s still a real appreciation for physical media. Fans of these genres tend to value collecting, digging into the details, and supporting artists in a more direct and lasting way. So while we’re obviously part of the streaming era, offering digital access, having CD and vinyl editions is still really important to us. It honors the work, and it connects with listeners who see music as more than just background noise.
Finally, what are your plans for 2025 and beyond? Should fans expect live performances, tours, or perhaps even new material sooner than last time?
We don’t have any concrete plans for 2025 just yet. Right now, we’re just really proud to have released new music this year. That alone feels like a huge milestone for us. That said, playing live is definitely something we all want to do again. It just takes a bit of planning, since half the band is based in Australia and the other half in New Zealand. Fortunately, it’s only a three-hour flight, so it’s definitely manageable. As for new material, absolutely. We definitely don’t want to wait as long this time. The response to In Thrall to Heresy has been incredibly motivating, and it’s sparked even more creativity within the band. We’re already talking about new ideas, and I’ve got material ready to share. So yes, fans can definitely expect more from us, and sooner than a decade this time!
“In Thrall to Heresy” marks not just a return but a reinvention for Shepherds of Cassini, a band that continues to push the boundaries of Progressive and Psychedelic Metal with vision and intensity. With their fusion of crushing heaviness and transcendental soundscapes, they remind us why they remain one of the most intriguing voices from
the New Zealand underground. We thank the band for their time and look forward to witnessing where this new chapter will lead them.
Purchase “In Thrall To Heresy” here: https://www.shepherdsofcassini.com/purchase