Ophelia’s Eye Talk About New EP, Single And More

 

We’re Ophelia’s Eye, a modern metal band from Switzerland.

The project originally started in 2019 with a different constellation and over the years the constellation changed naturally as people moved on to new stages of their lives. Only Sandro (bass) and Corinne (guitar) remained throughout, carrying the spark forward.

With the new members Jan (vocals), Noah (guitar) & Noé (drums) the band assumed a completely new creative identity. The new members brought fresh energy, new influences, and a shared determination to craft something that felt authentically “us.” That renewal is what ultimately shaped Ophelia’s Eye into the band we are now: heavier, more deliberate, and far more aligned in vision and personality.

It is our collective vision to craft songs and shows that feel immersive and musically intense, emotionally resonant, and lyrically honest.

We’d describe our sound as modern metal shaped by technical precision, emotional intensity and strong rhythmic movement. The riffs are sharp, the rhythms are driving and the vocals range from raw aggression to clearer, atmospheric moments. It’s heavy and impactful, but also cinematic and melodic built with intention rather than excess. We care about detail, tension and dynamics just as much as about sheer weight.

 

 

 

All of us come from slightly different musical backgrounds, but the common thread is that music was present early in our lives. All of us grew up in musical families, surrounded by instruments and live shows, so we all got in contact with music early on. Some of us began with classical instruments like tuba or oboe before changing to instruments on which we could play the heavy music we listened to.

As a band, the earliest “shared” memory that truly shaped us, was the first rehearsal in our current lineup. The chemistry was immediate and we all knew that something exciting is coming. That moment of everything suddenly locking into place still feels like the true beginning of Ophelia’s Eye.

 

 

 

 

Jan (Lyrics): I wrote my first song ever when I was twelve years old for a school concert where I performed it with my little brother, and then I also wrote a few short Piano pieces during my high school years. The first metal song I was part of writing was with my first metal band in 2018.

Noah (instrumentals): I started experimenting with songwriting when I first picked up the guitar seriously. At the beginning it was mostly riff ideas and small fragments I recorded on my phone and over time I became obsessed with how modern metalcore songs are built around tension, atmosphere and the way a single riff can develop itself during a song.

 

 

For us, Severance marks a new creative chapter. We didn’t approach it with the mindset of “let’s make an EP” rather than with the goal of capturing exactly who we are right now.

We wanted the songs to be heavier, more deliberate and more emotionally charged than anything we’ve done before. Each track focuses on contrast: aggression and melancholy, precision and atmosphere, weight and vulnerability.

Instead of forcing a concept, we let the themes and feelings behind the songs shape the identity of the EP. It grew naturally out of a time where many of us were breaking away from things that no longer served us which is exactly what “Severance” stands for.

 

 

 

We recorded “Severance” at the SOS Basement Studio with Sebastian Schiess.

If you’re active in the Swiss independent metal, rock or hardcore scene, you’ve almost certainly heard one of his productions.

Recording with him is extremely relaxed and focused. He gives sharp, musical feedback, pushes ideas in the right direction and helps you shape a sound that’s powerful but still honest. A thing we value a lot as well is, that he doesn’t overproduce. Everything he adds, be it FX, synths, textures, is built in a way that we can still translate it authentically on stage.

 

 

 

We always have a lot of fun in the studio, but we’re also pretty structured.
The most memorable moment was definitely the recording of “Letters”. That song went through chaos before it became what it is now.

Originally, Jan wrote the synths, Noah recorded guitars that didn’t quite fit the vocal phrasing, and the whole thing felt… off. In the end, Sebi basically rebuilt the backbone of the track with us. We reworked the guitars last minute, restructured some layers and suddenly the whole song clicked.

Last but not least: Corinne recorded vocals for the first time ever on this track. That alone made “Letters” special for us.

 

 

The guitars were recorded as DI tracks and re-amped using Archetype: Gojira X by Neural DSP.
Everything else was built around keeping the sound tight, heavy and translatable to our live setup.

 

 

 

a) Happiest – “Severance”
The energy of that track feels like a release. It’s heavy, but it’s also strangely uplifting. Somehow like burning down what holds you back so you can breathe again.

b) Angriest – “Enter the Arena”
This song is a punch in the throat. It’s disgust, frustration, and that raw energy of “wake the hell up”. Definitely our most aggressive track.

c) Most reflective – “Letters”
This one cuts the deepest. It deals with disconnection, loss of meaning and the fear of disappearing unheard. It’s fragile, melancholic and painfully honest.

 

 

 

In some ways yes and in others not at all.

Musically, the writing flowed very naturally. Noah and Jan write fast and with a clear sense of direction and the chemistry within the current lineup made it easy to recognise when a song felt right. The ideas came quickly, but shaping them into something cohesive and intentional was the real work.

Emotionally, the EP was definitely heavier to carry. Some of the lyrics deal with betrayal, disillusion and internal struggles. All of those topics that come from very real places for some of us. Writing about that means exposing something personal and once a song is out there, it’s permanent. People interpret it through their own lens, whether they understand the context or not. That level of vulnerability isn’t always easy.

But in the end, that tension is exactly what shaped Severance into what it is: focused, raw and very real.

 

 

 

It was designed by Holo_Dreamz, an artist who specialises in djent, thall and modern metal artwork. His gritty, atmospheric style fit the tone of the EP perfectly.

 

 

 

 

“Severance” reflects a break with corrupted systems, toxic cycles and false kings. Literally and metaphorically.
The lyrics revolve around betrayal, manipulation and reclaiming autonomy.
It’s the moment you cut the cord, tear down the temple and refuse to play a rigged game any longer.

The title captures that exact energy.

 

 

 

 

“Severance” is a confrontation with betrayal and hypocrisy.
It reflects on modern “kings”: People or systems that present themselves as authoritative or trustworthy while operating through fear, manipulation or self-interest.
The song explores the moment you recognise those patterns and decide to detach from them, no matter how difficult that step may be.

It’s less about destruction and more about clarity: Understanding what no longer serves you and having the courage to step away from it.
That shift in perspective to break with corrupted structures is what makes “Severance” the emotional and thematic core of the EP.

 

 

 

 

We wanted a performance video that wasn’t just visuals for the sake of visuals, but one that amplified the message of the song.

Instead of an LED wall, we used a wall made of dozens of old televisions, each playing synchronised dystopian footage we created ourselves. The analog imperfect texture of CRT screens gives the entire video a harsh, unsettling atmosphere that fits the theme of corrupted “kings” perfectly.

We also included a subtle storyline: Jan sitting back-to-back with the king, confronting him with the images on the screens and ultimately ripping the sceptre from his hand during the line “draw our knives for the broken”.

The concept, filming and editing were done by Dani (Corinne’s husband) with support from Andreas Gemperle (Photoworkers, Winterthur).

 

 

 

 

Our rehearsal room is in Aarau so that’s our musical “hometown”.

Five words: Historic, beautiful old town, riverside, creative, alive.

 

 

 

 

We always do good warm-ups, proper cooldowns, resting when sick and breathing exercises to strengthen the lungs.

 

 

 

 

 

We currently have two confirmed shows in Switzerland in early 2026: On 21 February and 28 February. Details will follow soon.
We’d absolutely love to play more shows, especially outside Switzerland and at festivals.
So if someone feels our sound fits their lineup, we’re ready to deliver the energy to your stage.

 

What two things do you hope to have achieved once you have left the stage?

Most importantly, that we’ve created a moment where people genuinely felt something. Be it energy, connection, catharsis, whatever they needed in that time.

And of course that we, as a band, walk off stage knowing we gave everything we had, fully present and our best performance.

 

 

 

 

As a band we use a mix of personal essentials and a shared, highly structured live setup that keeps our shows consistent and reliable.

Jan isn’t much of a gear head. As long as there’s a microphone of Shure SM58 quality or higher, he’s happy.
Sandro relies on his Dingwall bass paired with a Quad Cortex running Parallax, which forms the backbone of his tone.
Corinne plays a Chapman ML1 Modern Baritone through a Kemper Stage, which delivers the tight, modern sound that defines a lot of our riffs.
Noah runs a modern digital guitar setup as well, focused on tight, articulate high-gain tones that translate perfectly between studio and stage.

Noé plays a PDP Concept Maple CM7 kit (22” kick, 12/14/16 toms, 14” snare) with a selection of Paiste cymbals and effect stacks, delivering the dynamic blend of power and detail that our songs require.

Where we collectively go full gear-nerd is our shared rack system.
Sandro and Noah built a setup that manages our in-ear monitoring, FX routing, wireless systems and even controls elements of our light and CO₂-jet show. It keeps everything synchronised and gives us a clean, reliable environment on stage, no matter the venue.
This ensures that every show runs smoothly and our sound is as close as possible to what people hear on our recordings.

 

 

 

“Dune” by Frank Herbert (any part of the book series really).
It’s a universe built on power, prophecy, manipulation and inner transformation. Those contrasts between brutality and spirituality as well as scale and intimacy are very close to how we approach dynamics in our music.
Creating a score for something that vast and atmospheric would feel like a natural extension of what we do.

 

 

 

 

Our influences come from different corners of modern metal and they enter our music mainly through the perspectives of our two primary songwriters Jan and Noah.

Vocally, Jan draws inspiration from bands like Lorna Shore, Bad Omens, Bring Me the Horizon and Future Palace: Artists who combine aggression, dynamic expression and a strong sense of atmosphere. Instrumentally, Noah’s writing is shaped by modern metalcore acts such as Currents, Bury Tomorrow and Polaris. Their approach to riff-writing, structure and emotional weight, especially the work of the late Ryan Siew, has had a clear influence on how he thinks about composition and dynamics.

As a band, we pull from these inspirations not to imitate, but to learn from what resonates with us and then shape it into something that feels distinctly ours.

Our recommendation:
Take inspiration from the artists you admire, but don’t let it dictate your writing. The most powerful ideas usually come from whatever you’re genuinely feeling in the moment: The emotions, tensions and experiences that sit closest to the surface. Use influences as reference points, not templates. The music becomes far more authentic when you let your own headspace guide the songwriting instead of chasing a trend or a specific sound.

 

What makes Ophelia’s Eye happy and what makes you unhappy?

What makes us happiest is creating and sharing music together. Writing new songs, watching ideas grow and then feeling them come alive on stage is incredibly fulfilling. It’s a huge outlet for all of us. It’s a way to process tension, stress or heavier emotions and turn them into something tangible. When a riff locks in, a groove hits exactly right or we see people in the crowd truly connecting with what we do, that’s when we feel most at home.

What can make us unhappy has less to do with the music itself and more with the environment around it. Today’s musical landscape comes with a lot of pressure: Algorithms, visibility and the feeling that consistency matters more than creativity. Not every part of the online side is enjoyable and there are days where creating content on top of rehearsals, releases and life in general feels draining.

However, we handle that by staying organized: planning ahead, preparing posts in batches and building small strategies so we’re not constantly scrambling for ideas. That structure makes the workload manageable and keeps the fun alive.

And in the end, it’s worth it, since every post is a chance to reach someone new, to connect with listeners who might never see us live. That gives the whole effort a clear purpose and outweighs the difficult parts.