"We were young, hungry, and completely possessed by the idea of making extreme music. There was this feeling of stepping into unknown territory, because death metal in Portugal was barely a shadow back then. Everything felt new, unpolished, and full of potential."
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How are things going in the Sacred Sin camp at the moment?
Right now things are feeling strong in the Sacred Sin camp, we just came from a mini tour with Troops Of Doom, it was a great inspiring experience. We’re in one of those phases where the energy is flowing naturally - shows are tight, with a lot of intensity, and everyone’s focused on pushing the band forward. There’s a good balance between discipline and excitement, which isn’t always easy to maintain after so many years on the scene, but somehow we’re hitting that stride again. We’ve also been reconnecting with a lot of old fans and reaching new ones, especially after the recent shows. That kind of response gives us fuel - it reminds us why we do this. At the same time, we’re working on a new album, refining what we want the next chapter of Sacred Sin to sound like. No shortcuts, no compromises, just honest death metal with that unmistakable Portuguese edge. So yeah, things are moving, the spirit is high, and we’re hungry for what comes next.
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"Most places had zero insulation, so every rehearsal felt like a small battle with the neighborhood. Parents mostly looked at us like we were making noise instead of music, and neighbors… yeah, neighbors rarely saw the artistic value in blast beats at 2 p.m."
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Let's go back to the band's beginnings in 1991: What memories do you have of that time? Which bands influenced or inspired you to try your hand at music back then? What were the other circumstances like back then, both in terms of infrastructure, such as rehearsal rooms, but also the reactions of parents, neighbors, and so on? Back then, metal wasn't as socially acceptable as it is today, where every TV station now reports on big festivals.
Looking back to 1991 feels a bit like opening an old, dusty rehearsal tape - raw, imperfect, but full of a fire that you just can’t fake. The memories from that time are intense. We were young, hungry, and completely possessed by the idea of making extreme music. There was this feeling of stepping into unknown territory, because death metal in Portugal was barely a shadow back then. Everything felt new, unpolished, and full of potential. The bands that shaped us at the time were Slayer, Morbid Angel, Death, Kreator, Pestilence - that whole wave of brutal creativity that was rewriting the rules of metal. But we were also absorbing other sorts of metal, tape-trading like maniacs, discovering demos, rehearsal recordings, anything that carried that aggressive spirit. Hearing something extreme and thinking, “damn, this is possible - why not us?” That was a big part of it. There wasn’t really a “scene structure” to rely on, that’s where the romantic part ends. Rehearsal rooms were whatever we could get: borrowed basements, cold garages, someone’s storage space full of dust and spiderwebs. Most places had zero insulation, so every rehearsal felt like a small battle with the neighborhood. Parents mostly looked at us like we were making noise instead of music, and neighbors… yeah, neighbors rarely saw the artistic value in blast beats at 2 p.m. It wasn’t hostile, but it definitely wasn’t supportive either - more like tolerated chaos. And you're right: back then metal wasn’t remotely as acceptable or mainstream as it is now. There was a stigma around it - the long hair, the black shirts, the skulls, the intensity of the sound. People didn’t get it, and honestly, we didn’t expect them to. The idea of a TV station covering a metal festival was unthinkable. Everything we did was DIY: recording, distributing demos, making flyers, organizing shows. That struggle created a special bond, because the only people who believed in what we were doing… were the ones doing it with us. But maybe that’s exactly what made those early years unforgettable. We weren’t following a path - we were carving one. It was louder, harder, and less “acceptable,” but it was ours. And that spirit still follows us today, even with better gear, better rooms, and a world that finally understands the value of this music a little better.
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"What made it special, I think, was that we weren’t trying to be “diverse” just for the sake of it. We were simply following the emotional thread of each song. If a riff demanded more aggression, it leaned towards death metal. If it needed more tension or atmosphere, we brought in a symphonic layer or a more melodic approach by using keyboards."
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It’s always amazing to hear stories like that - someone discovering us through Rock Hard back in the day. That magazine had real influence in shaping the European scene, so knowing that “Darkside” caught your attention through it still means a lot to me. By the time we reached “Darkside”, our identity had already started to crystallize. In the early days we were obviously rooted in death metal - that raw, uncompromising spirit was the backbone of everything we wrote. But even then, we never felt comfortable staying inside a single box. We’d grown up listening not only to death metal, but also thrash, heavy metal, even atmospheric and darker music. So when we began shaping “Darkside”, it felt natural to let all those influences breathe. What made it special, I think, was that we weren’t trying to be “diverse” just for the sake of it. We were simply following the emotional thread of each song. If a riff demanded more aggression, it leaned towards death metal. If it needed more tension or atmosphere, we brought in a symphonic layer or a more melodic approach by using keyboards. We didn’t see boundaries - just possibilities. And that created a sort of hybrid intensity that set this album apart from a lot of what was happening at the time. When I look back, “Darkside” feels like the album where we truly found our voice. There’s an urgency there, a hunger, and also a willingness to experiment without losing heaviness. Hearing you call it “exceptional” - that hits home. We poured everything we had into that record, at a time when resources were limited but the passion was overflowing. The fact that it still resonates today… that’s the best reward a band can hope for.
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"You didn’t have constant noise from the internet and thousands of new releases every week, or the pressure to fit neatly into a micro-subgenre for algorithmic visibility. Everything was slower, and the process of developing a sound was almost like a long apprenticeship."
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In addition, “Darkside” strikes me as an album from a time when bands were still much more creative or had time to develop their own unique sound. Perhaps I'm mistaken in this impression, because there were far fewer bands back then, or at least fewer releases, and the internet didn't exist yet. Nevertheless, I see “Darkside” as a classic from a time when bands like Alastis, Samael, Ancient Rites, Behemoth, and Rotting Christ, to name but a few, entered the music scene and all had their own distinctive sound. What do you think?
I get exactly what you mean, and honestly, I think there’s a lot of truth in that impression - even if part of it comes from how different the whole ecosystem was back then. When “Darkside” was created, bands genuinely had room to breathe. You didn’t have constant noise from the internet and thousands of new releases every week, or the pressure to fit neatly into a micro-subgenre for algorithmic visibility. Everything was slower, and the process of developing a sound was almost like a long apprenticeship. You rehearsed endlessly, you played shows where half the crowd had no idea what extreme metal even was, and you grew naturally through trial and error rather than through trends. And you’re right - bands like Samael, Alastis, Ancient Rites, Behemoth, Rotting Christ… each one had a very distinct voice at that time. You could hear two riffs and immediately know who it was. Part of that uniqueness came from limitations: limited gear, limited studios, limited access to what other bands were doing. You weren’t subconsciously absorbing 200 new bands a month; you were inspired by a handful of records that you listened to obsessively. That created deeper roots and more personal interpretations. With “Darkside”, that’s exactly the atmosphere we were in. We weren’t thinking about trends or comparing ourselves with a huge global scene - we were simply making the music that felt right for us. The mix of death, thrash, darker atmospheres, and even symphonic elements came from instinct rather than strategy. And because everyone else was also following their own instincts, the landscape naturally became more diverse, more unpredictable, more… individual. Today there are incredible bands, technically brilliant and creative. But back then, the sense of identity was stronger because the world wasn’t pushing everyone in the same direction at the same speed. There was no template, no playbook, no pressure to release content constantly. You had time to shape your sound until it felt honest. So no - you’re not mistaken. That era had a kind of raw purity that’s hard to replicate in today’s hyperconnected environment. And if “Darkside” carries that spirit for you, that’s probably the greatest compliment we can receive.
“Anguish… I Harvest” was definitely a turning point, and the shift you’re sensing wasn’t accidental - but it also wasn’t planned in a strict, strategic way either. It was one of those albums born out of a mixture of internal changes and the natural evolution of who we were at that moment. On one hand, yes, the lineup changes had a real impact. Whenever new musicians come in, they bring their own personalities, influences, and creative energy. And Sacred Sin has always been the kind of band that lets each member breathe artistically instead of forcing everyone into a rigid mold. So the dynamic changed, the chemistry changed, and the music followed. But on the other hand, we were also at a point where we didn’t want to repeat ourselves. After “Darkside” and “Eye M ”, we felt we had already carved out a certain identity within that blend of death metal, thrash elements, and darker atmospheres. So when it came time to write “Anguish… I Harvest”, we were hungry to open the doors a bit more - to explore other textures, moods, and structures. At that time, we were listening to a wider range of music, experimenting more, and dealing with different personal experiences. All of that leaks into the writing process whether you want it to or not. So even if we didn’t sit down and say, “Let’s make a more diverse album,” that’s exactly what happened because we were changing as people. Stylistically, it’s a record that carries more emotional weight, more introspection, and a broader palette. It’s raw in some moments, more atmospheric in others, and sometimes even surprising from a band rooted in extreme metal. But that’s also why I think it stands out - it reflects a band in transition, embracing the chaos instead of avoiding it. So the answer is really a blend of both: partly conscious, partly instinctive, and deeply shaped by the lineup at the time with Joaquim Aires (drums) and Artur (keyboards) strong input on the compositions both me and Tó Pica were coming up. It’s an honest snapshot of that chapter in Sacred Sin’s history.
Are you still in contact with any of the numerous former members? Was there any bad blood when they left? Did the personnel changes often set the band back, or did the new members bring a breath of fresh air and new impetus?
Over the years Sacred Sin has had a long list of members, and that’s something you can’t really avoid when a band exists for so many decades. Life changes, priorities shift, people grow in different directions - it’s normal. And yes, I’m still in contact with quite a few of the former members. Some more regularly than others, of course, but there’s no wall between us. When you share music, rehearsal rooms, shows, stress, and victories with someone, that doesn’t disappear overnight. As for “bad blood,” honestly, not really. Were there disagreements? Of course - every band has them. But outright hostility? No. Most departures happened because people had different paths to follow, whether personal, musical, or professional. If there was tension at the moment someone left, it usually faded with time. When you look back, what stays are the good memories, the music we created together, and the fact that each person contributed to shaping the band at that moment in time. Departures can complicate things, no doubt. When someone leaves in the middle of writing or preparing shows, it can set you back a bit - that’s reality. But at the same time, new members almost always brought fresh air and new energy, and that has kept Sacred Sin alive and evolving. Every person who joined added something - a different influence, a new attitude, another set of ideas. That constant renewal is part of the band’s identity. So in the end, I don’t see the lineup changes as setbacks, but as chapters. Some were short, some were long, but all of them helped keep the flame burning. And the fact that I can still say hello to most of the former members, without bad feelings, says a lot about how genuine those chapters were.
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"The new album taking shape, and we’re not rushing it, but we’re also not letting it stagnate. When it’s ready, it will reflect exactly where we are as musicians and as people at this moment. So what can you expect? Sacred Sin is still rooted in death metal, still evolving, and still refusing to become predictable. The flame is burning strong, and new music is absolutely on the horizon."
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Nowadays, especially with your latest releases “Storms over the dying world,” “Born suffer die” and “Grotesque Destructo Art” you seem to be more at home with death metal again, whereas “Translucid...” and “Hekaton” contained melodic and mystical elements in addition to death/thrash. So what can we expect from future Sacred Sin releases? Is anything planned, have any new songs been written yet?
You’re right - the last few releases brought us back to a place where death metal is the spine again, with a darker, more direct energy. Albums like “Storms Over the Dying World”, “Born Suffer Die”, and “Grotesque Destructo Art” reflect a phase where we wanted that rawer punch, that primal aggression that first defined Sacred Sin. It feels natural because it’s in our DNA, even after all the different eras and experiments. But at the same time, those melodic or mystical elements from Translucid… and “Hekaton” are also part of who we are. We’ve never been a band that works inside a rigid cage. If the music calls for atmosphere, we follow it. If it calls for brutality, we go all in. That balance is what keeps things honest for us. As for the future - yes, there is movement. We’ve been collecting ideas, riffs, themes, and vocal concepts, and the early direction feels heavier, darker, and more emotionally direct than the last few albums. Not a simple repetition of what we’ve done recently, but a continuation with more depth. Think of the violence and intensity of the latest works, but with a stronger sense of identity and mood, maybe even with some of those older atmospheric touches making a return in a more mature way. We’ve already recorded new material and we are started mixing it. And the vibe so far feels hungry, sharp, and very inspired. The new album taking shape, and we’re not rushing it, but we’re also not letting it stagnate. When it’s ready, it will reflect exactly where we are as musicians and as people at this moment. So what can you expect? Sacred Sin is still rooted in death metal, still evolving, and still refusing to become predictable. The flame is burning strong, and new music is absolutely on the horizon.
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"As for coming back to Germany - absolutely. It’s a place we always feel welcome, and the scene there has a strength and passion that’s hard to match."
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Over the years we’ve shared the stage with so many incredible bands that it’s hard to choose just a few, but there are definitely moments that stick with me. Some shows remain burned into my memory not just because of the lineup, but because of the atmosphere, the crowd, or the absolute madness around it. Playing alongside bands like Napalm Death, Manowar, Cradle Of Filth, Vader, Malevolent Creation, Sinister, Primordial, Rotting Christ, Belphegor... - those were nights where you felt the scene breathing as one. There was this sense of being part of something bigger, something alive. And in the early days, every show and tour with an international band felt like stepping into a different universe. Germany in particular gave us some unforgettable experiences. German crowds have this perfect blend of discipline and total chaos - they listen, they respect the music, but when the energy hits, they explode. I remember the show at Spritzehaus (Frankfurt) where the venue was small, packed, sweaty, and absolutely on fire. We were practically melting on stage, but no one cared; the vibe was too strong. After the set, half the crowd stayed to talk, trade stories, share beers - that’s something that stuck with me. And of course, there were the classic touring mishaps - getting lost in some industrial area at 2 a.m., amps dying during soundcheck, the van breaking down in the exact wrong moment, promoters improvising solutions that shouldn’t work but somehow did. Looking back, those chaotic moments are the ones we laugh about the most today. As for coming back to Germany - absolutely. It’s a place we always feel welcome, and the scene there has a strength and passion that’s hard to match. We’d love to be back soon, and with new material on the way, the timing might be perfect. When the opportunity comes, we’ll be there - louder, heavier, and ready to reconnect with everyone who supported us since the “Darkside” days.
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"Looking back with the experience I have today, I’d say a combination of factors kept us in the underground. Some were internal, some external, and some were simply the reality of being a metal band from Portugal in the 90s."
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You were the first Portuguese band on MTV's Headbangers Ball. Did you think back then that your career would really take off? Looking back, what factors do you think were responsible for you not becoming bigger, but remaining underground? (By the way: What a coincidence that I just read today that MTV is shutting down most of its stations in Europe due to declining viewer ratings. Here, too, you can see how much the music industry has changed. In the age of YouTube, music video stations are basically obsolete. -author's note)
Being the first Portuguese band on MTV’s Headbangers Ball was surreal. At the time, it felt like the doors to the world were opening right in front of us. You have to imagine the context: Portugal wasn’t exactly on the global metal map back then, and suddenly there we were, on international television, side-by-side with bands we admired. So yes - of course we thought things might take off in a big way. It was impossible not to feel that spark of “maybe this is it… maybe the world is finally paying attention.” Looking back with the experience I have today, I’d say a combination of factors kept us in the underground. Some were internal, some external, and some were simply the reality of being a metal band from Portugal in the 90s. Portugal didn’t have the infrastructure, the labels, or the industry networks that countries like Germany, Sweden, or the U.S. had. Even with strong music, you were fighting an uphill battle to be noticed internationally. Distribution was limited, communication was slow, and everything depended on connections we simply didn't have yet. Lineup changes... Every time a key member leaves, it disrupts momentum. We always managed to bounce back, but those transitions definitely slowed down our ability to push harder on touring and promotion during crucial years. We were never interested in “playing the game” or reshaping our music for commercial appeal. That kept our integrity intact, but it also meant we didn’t follow the waves that could’ve made us more mainstream or exposed. Even when you’re on MTV, death metal is still a niche. Being underground is part of its nature. Do I think we could have been bigger? Yes - the potential was there. The songs were there. The passion was there. And the MTV moment proved that people outside Portugal were paying attention. But at the same time, I’m proud of where we ended up. We built a legacy the hard way, stayed true to ourselves, and inspired countless bands in Portugal. We might not have become a commercial phenomenon, but we carved out our own place - and that place still stands after more than three decades. In the end, the underground didn’t limit us - it defined us.
The Portuguese scene has always been a strange beast - small in numbers but incredibly passionate, and with a handful of bands that carved their own identity in a very unique way. The names you mentioned are all pillars in their own right. Moonspell, of course, became the flagship of Portuguese metal worldwide. Whether people like the early black metal phase or the later gothic evolution, they opened doors that none of us could’ve opened at the time. Decayed is one of the purest, most stubbornly authentic black metal bands Portugal has ever produced. They never bent to anything or anyone, and I respect that immensely. Corpus Christii, the same - a band with its own psychological darkness, very distinctive, and influential for a whole generation of underground musicians. Filii Nigratum Infernalium - absolute legends. They brought a kind of primitive, chaotic, almost punk-infused black metal spirit that no one else had. They were (and still are) a force of personality as much as sound. And the newer acts... without the younger bands coming in with fresh aggression, any scene stagnates. It’s always good to see new blood carrying the torch. But there are many more names worth mentioning - some older, some newer - that helped build this weird, stubborn, creative corner of metal we call home! The Old-School / Foundational Portuguese Metal acts: Tarântula - pioneers of heavy metal in Portugal, long before any of us. Ramp - one of the most important modern/heavy/thrash bands we’ve had. Thormenthor - death metal pioneers. Disaffected - Prog death thrash, their debut was ahead of its time. Genocide - grind death masters. Holocausto Canibal - pure Portuguese goregrind madness. Sirius - symphonic black metal excellence, Grog - brutal death/grind, decades of pure fire. Irae - black metal with a strong identity. As for the modern / newer acts i would recommend: Gaerea - explosive international rise, powerful black metal with real emotional weight. Sinistro - one of the strongest Portuguese doom metal bands of the new generation; dark, cavernous, atmospheric. Baltum - melodic death metal with precision and brutality. Glasya - Epic and powerful female fronted metal. Toxikull - heavy/speed metal revival done right. The Portuguese scene has always thrived in the underground, away from mainstream attention, but that’s what made it so special. It’s a scene built on passion, on stubbornness, on surviving despite the odds. And even today, with all the changes in the world, there’s still a pulse, still creativity, still that fire in the new generation. If the readers of Systematic Desensitization Zine want to dig deeper, Portugal has a lot to offer - you just need to follow the trail of noise, and you’ll find gems everywhere.
The last words are yours!
I’d just like to say that, for me, Sacred Sin has always been about honesty, persistence, and passion. Thirty plus years in the scene teach you a lot - about music, about people, about yourself. We’ve had highs and lows, lineup changes, moments of doubt, moments of fire, but through it all, the music has been the constant. To anyone reading this: support your local scene, explore bands outside the mainstream, and don’t be afraid to follow what moves you. Metal - in all its forms - is alive because people care deeply enough to make it, share it, and fight for it. And for those who’ve followed Sacred Sin through the years: thank you. Your energy, your dedication, your love for the music is why we keep going. There are still stories to be told, riffs to write, and stages to burn. The journey isn’t over - and I promise, it’s going to stay true, intense, and uncompromising.
