Breath of Illusions Expands His Creative World on 'Whispers of Eternity'

Breath of Illusions enters a defining new chapter with Whispers of Eternity, a six-track EP that brings instrumental storytelling, progressive rock and metal, cinematic atmosphere, and vocals together under one evolving creative vision.

Featuring four vocal tracks and two instrumentals, Whispers of Eternity explores love, mortality, choice, environmental destruction, war, and the lasting impact our experiences leave behind. “Whispers of Eternity,” “The Light I Didn't See,” “The Riddle,” and “Before It All Fades” carry those ideas through lyrics, while “Wings of Fate” and “Beyond Our Dreams” rely entirely on atmosphere, melody, and musical storytelling.

That balance is significant for Breath of Illusions. After years of approaching music primarily as a guitarist and composer, the artist spent roughly a year studying vocal technique before traveling to Argentina to professionally record the EP's vocals. Rather than abandoning the project's instrumental roots, the addition of his own voice gives Breath of Illusions another way to communicate the ideas behind the music.

The EP refuses to settle into one sonic lane. “Wings of Fate” channels the tension, sacrifice, and human consequences of war, while “Beyond Our Dreams” shifts toward a surreal, almost waltz-like world shaped by classical influences and dreamlike arrangements. Across the project, heavier progressive passages collide with melodic guitar work and cinematic textures.

Created through an 18-month collaborative recording process connecting Colombia and Argentina, Whispers of Eternity ultimately sounds like an artist widening the boundaries of his own identity.

For Breath of Illusions, these aren't simply six separate compositions. They're different ways of asking the same question: what parts of our lives continue echoing long after the moment itself has passed?

You’ve described Whispers of Eternity as an important evolution for Breath of Illusions. What changed in you creatively that made this the right project to bring your own voice further into the music?

I think the biggest change was that I became more willing to step outside the identity I had created for myself as primarily a guitarist and composer.

Even though my first album included songs with lyrics, for many years I felt most comfortable expressing myself through the guitar. That was my voice. I could communicate an emotion through a melody, a solo, a chord progression, or even a change in rhythm without needing to explain it with words.

But as I continued writing, I started having ideas that I felt needed something more. There were stories and emotions I wanted to express more directly, and I realized that if I wanted Breath of Illusions to continue evolving, I also had to evolve as a musician.

The difficult part was accepting that, in some ways, I would have to become a beginner again. I had been playing guitar for most of my life, but singing was different. So instead of simply recording vocals and hoping they worked, I spent about a year studying vocal technique with Rosana Laudani in Argentina before traveling there to record professionally.

That process changed the way I saw my own voice. I stopped thinking about singing as something separate from being a guitarist or composer and started thinking of it as another instrument available to me as a storyteller.

I can't deny that it was difficult and, at times, very challenging. Singing feels much more personal to me. When you're playing guitar, there is an instrument between you and the listener. With your voice, the instrument is you. That made me feel much more exposed. It opened the door to more insecurities, doubts, and fear of criticism than I was used to experiencing as a guitarist.

But I think that vulnerability became an important part of the evolution as well. I had to accept that growing as a musician also means being willing to do things that make you uncomfortable, to hear imperfections, to work on them, and to keep going even when you question yourself.

I think that's why Whispers of Eternity feels like an evolution rather than a departure. I didn't replace the instrumental side of Breath of Illusions; I expanded the vocabulary I have available to express an idea. Now sometimes that voice is my guitar, sometimes it's literally my voice, and sometimes it's the combination of both.

After spending so much of your career telling stories instrumentally, what did you discover about yourself as a songwriter once lyrics and vocals became a bigger part of the process?

One of the most interesting discoveries was that lyrics force me to be more specific.

With instrumental music, I can begin with a very clear idea or emotion, but once I release the song, the listener has complete freedom to interpret it. A guitar melody that represents sadness to me might represent hope to somebody else, and I actually love that.

Lyrics change that relationship. The moment you introduce words, you're giving the listener more information about the world behind the song. I initially thought that might limit the imagination, but I discovered that it can actually open another dimension.

It also changed the way I compose. Now I'm thinking not only about riffs, melodies, harmonies, and solos, but about how the words sound against the music, where the voice should leave space for the instruments, and when the guitar should take over the storytelling again.

I also discovered that writing lyrics makes me more vulnerable. It's one thing to communicate an emotion through a guitar solo; it's another to actually say something with your own voice. Songs like “The Light I Didn't See” or “Before It All Fades” require me to be much more direct about what I'm trying to communicate.

I don't see myself moving from instrumental music toward vocal music as if one has to replace the other. What excites me now is having both possibilities. Sometimes the guitar can say something better than words ever could, and sometimes a story needs a human voice.

The EP moves through love, fate, war, environmental loss, and the passage of time. What connects those themes for you, and why were they weighing on you while creating this project?

At first they may seem like very different subjects, but I think they're all connected by something I've become increasingly conscious of: how temporary so many things in our lives actually are.

Relationships change. People come into our lives and leave. We make decisions without knowing where they will take us. Societies repeat mistakes from the past. We transform the planet around us without always thinking about what might disappear. And through all of it, time continues moving.

I think as I've gotten older, I've become much more aware of that. Not in a pessimistic way, but almost the opposite. Understanding that something isn't permanent can make you appreciate it much more while it's here.

That's why the title Whispers of Eternity became so meaningful to me. There is a contradiction in it that I really like. Our individual moments may be temporary, but they can leave something behind. A person, a relationship, a decision, an experience, or even a mistake can continue shaping us long after that particular moment has passed.

The songs look at that idea from very different perspectives. Some are personal, some are historical, some look toward the world around us, and others are almost imaginary. But underneath them, I think I'm asking similar questions: What do we do with the time we have? What do our choices leave behind? And what remains after a moment is gone?

“Wings of Fate” and “Beyond Our Dreams” tell their stories without lyrics. When you're writing instrumentally, how do you know you've communicated the emotion or narrative you originally imagined?

I don't think I ever know with absolute certainty, and that's actually one of the things I love most about instrumental music.

Usually I start with an idea, an image, a historical event, an emotion, or sometimes just a world I can see in my imagination. Then I start asking myself what that idea would sound like. Is it heavy? Is it peaceful? Does it need tension? Should the melody feel hopeful? Should something unexpected interrupt it?

The guitar becomes almost like a character in that story, but rhythm, harmony, dynamics, keyboards, and even silence are equally important. A key change can completely change the emotional meaning of a section. A heavier rhythm can create tension. A simple melody can sometimes communicate more than a technically complex solo.

“Wings of Fate” and “Beyond Our Dreams” are good examples because they come from almost opposite worlds. “Wings of Fate,” which I see almost as a second chapter to “Aces in the Sky” from Hectic Times, carries the tension and human consequences of World War II. “Beyond Our Dreams” is much more surreal. It has a waltz-like feel and some classical influences, and I wanted it to feel almost like entering another reality.

But ultimately, I don't need listeners to imagine exactly what I imagined when I wrote them. If the music makes them feel something and creates a story in their own imagination, then I think the song has done its job.

Creating Whispers of Eternity took more than 18 months and connected musicians across Colombia and Argentina. How did that collaborative process change the EP from the demos you initially created at home?

Quite a lot, and that's one of my favorite parts of making records. I can honestly say that the creative process itself is one of the things I enjoy most about being a musician.

The songs begin in my home studio in Colombia. At that stage, I'm composing, arranging, programming ideas, and building demos that already contain a fairly clear picture of what I want each song to become. But I don't want the final recording to simply be a more polished version of my demo.

When I bring other musicians into the process, I want them to bring something of themselves to the music. I want them to leave their own musical stamp or footprint on my songs. That's part of what makes collaboration so interesting to me.

Joaco Rosson produced and mixed the EP in Argentina and also contributed guitars. Federico Casañas recorded the drums, Marton Fabrizzi played keyboards and piano, Alfredo recorded bass in Colombia, and Rosana Laudani was an important part of the vocal process. Each person hears music differently, and those different perspectives can take an idea somewhere I wouldn't necessarily have taken it on my own.

Sometimes it's something relatively small: a drum fill, a different piano voicing, a guitar texture, or a production decision. Other times, someone's contribution can completely change the character of a section or even take the song in a different direction. And I'm completely open to that. I trust the musicians I work with, and I know their contributions come from the same intention I have: making the song as good as it can possibly be.

There's also a special story behind this EP because I had already worked remotely with Joaco and Federico on The Awakening and Hectic Times, but I had never actually met them in person. With Whispers of Eternity, I finally traveled to Argentina and spent time in the studio with them. After years of sending music back and forth between countries, suddenly we were in the same room creating together. That made the experience particularly meaningful.

For me, collaboration isn't about giving someone a finished composition and asking them to reproduce exactly what I programmed in a demo. I want to arrive with a strong vision, but leave enough space for great musicians to surprise me.

That's one of the reasons the final EP feels much bigger than the recordings I originally created at home. The songs are still very much my compositions and my stories, but the finished record also carries the musical personalities of everyone who helped bring them to life.

In the end, my name may be behind Breath of Illusions, but records like Whispers of Eternity remind me that music can become something much greater when you allow other talented people to leave a piece of themselves in it.