Esprit D’Air release their single, ‘Lost Horizon‘, on 28 February 2025. Written and produced by vocalist, Kai (current guitarist of The Sisters Of Mercy), the song blends nu-metal, hip-hop, and alternative metal, taking inspiration from artists such as Bad Omens, Bring Me The Horizon, and Linkin Park with a Japanese twist. The single is one of many leading up to their upcoming fourth album Aeons set to release on 24 October 2025.
‘Lost Horizon’ explores themes of grief and loss. Kai describes the song as a reflection of their experience navigating the aftermath of personal loss, characterised by a sense of searching for resolution that feels out of reach. “The ‘scream within a dream’ represents the silent but overwhelming pain I felt”, Kai explains. “It’s about the struggle to heal while feeling trapped in a state of longing”. It’s a cathartic experience for listeners who have faced grief and loss.
Esprit D’Air is the award-winning Japanese electronic rock/metal project led by Kai, a multi-instrumentalist, producer, and vocalist. With a strong DIY ethos, Kai records and produces all music independently, alongside managing every aspect of their tours and releases without a record label, management, promoter, booking agent, or any external financial backing.
Known for their dynamic collaborations, Esprit D’Air has previously worked with renowned artists such as Tim ‘Ripper’ Owens (ex-Judas Priest, KK’s Priest), Ben Christo (The Sisters Of Mercy), and Ryo Kinoshita (Knosis, ex-Crystal Lake), further cementing their reputation in the international rock and metal scene.
It was a pleasure to have a chat with Kai on the new single Lost Horizon and on the upcoming album. Check out below.
Hello Kai, How are you today, Greetings from Metalheads Forever Magazine, I’m Keith, A pleasure to e-meet you?
Nice to meet you too. I am feeling great, just a few days away from the tour now.
You released your new single “Shadow of Time”. A great power metal song, with awesome vocals and musicianship, would you like to tell me about the song, and the making of the music video?
Thank you! It is about feeling trapped by the passage of time—like you’re caught in its grasp, unable to move forward or escape the weight of the past. It explores the struggle of breaking free from the “shadow” that time casts over us, whether it’s regret, nostalgia, or the fear of an uncertain future.
I actually got inspiration for the lyrics in Tokyo, when I got completely lost in Shinjuku station and kept telling myself, ‘出口はどこだ?!’ (Where’s the exit?!). Getting lost in Shinjuku station is a Japanese tradition after all. So in a way, the song is about feeling trapped in time, but also about my personal struggle of escaping an endless labyrinth of train stations.
On 8th November 2024, You released your third studio album “Seasons” would you like to tell me about the songwriting and production behind the album?
Seasons was a special album for me because it was a mix of unreleased tracks, reworks, and covers that represented different points in Esprit D’Air’s evolution. Most of these songs were originally written between 2010 and 2013, back when Yoshisuke was still the vocalist, so revisiting and reworking them felt like bringing the past into the present. I recently reconnected with my former bandmates Yoshisuke and Coma after 11 years when I visited them in Tokyo. Seeing them inspired me to look into those songs again. Since they were never released, I didn’t want them to just stay buried in the past—I wanted them to finally see the light of day.
Production-wise, I wanted to modernize some of these older tracks while keeping the essence of what made them special. It was a mix of nostalgia and reinvention, balancing raw emotion with a more polished sound.
It was a long journey, but I’m really proud of how it turned out. Seasons felt like closing a chapter, which makes way for the fourth album Aeons, where we’re pushing things even further.
Does Seasons have a theme or a concept that was focused in the writing process?
The idea of “seasons” itself felt fitting because the songs represent different phases of the band’s journey, almost like chapters in a book. Some tracks capture the energy and rawness of our early days, while others have been completely reimagined, showing how far we’ve come.
So while there wasn’t a single concept driving the writing process, Seasons became a way to connect the past and present, letting these songs finally have their moment.
How has the reception of the album been, and what are your thoughts on the outcome of Seasons?
The reception to Seasons has been really interesting. Since a lot of these songs were written over a decade ago, the album naturally has a nostalgic feel to it, which I know resonated with some fans. But at the same time, I get that others might prefer Oceans because it was more forward-thinking and experimental.
For me, Seasons was about giving these songs the release they always deserved—they were a big part of Esprit D’Air’s history, and I wanted to finally share them properly. The response has been a mix of appreciation for the nostalgia and excitement for what’s coming next with Aeons, where we’re pushing things in a new direction.
With singles “Shadow of Time” and “Lost Horizon” which is leading to a new album “Aeons” set to release for October 24, 2025. Would you like to share a bit on the upcoming album?
Aeons is gonna be something different—no two songs are gonna sound the same. I’ve been pushing myself to go beyond anything I’ve done before, whether it’s heavier, more technical, or just completely unexpected. Shadow of Time and Lost Horizon were just the beginning, but there’s so much more to come.
The first three singles will be all my work, but this Spring and Summer, we’re bringing in songs written by Yusuke and Takeshi too. It’s exciting because their writing styles bring a whole new energy to the album, making it even more dynamic.
This isn’t just another record—it’s gonna be a journey. Something intense, something epic, and definitely something unpredictable.
With you being the sole member of the band and working with session musicians are there plans to get members into the band?
Yeah, Yusuke and Takeshi have been with me for six years, and Vincent’s been drumming with us for nine, so they’re way more than just ‘session musicians’—they’re an essential part of what makes Esprit D’Air what it is.
That said, I still like to work alone when it comes to creating my own songs. It’s just more efficient, less conflict, and lets me focus on a single vision without compromise. But when Yusuke and Takeshi bring their own songs to the table for the Aeons album, I give them free rein to express their ideas. I just step in to make sure everything still aligns with the Esprit D’Air sound and vision.
Beyond just being the band leader, I’m also the sole investor in everything Esprit D’Air does. That means every tour, album, and music video is entirely self-funded, with no label backing or external investors. Unlike bands where costs and profits are split among multiple permanent members, Esprit D’Air is my main source of income, so financially, it wouldn’t be easy to divide everything while also keeping the band running at the level we do. We wouldn’t be able to run a band at the level we work at if there wasn’t a full-time leader and I would have to get another job.
At the same time, the musicians I work with—like Vincent, who is a full-time session drummer, and Takeshi, who is also a full-time producer and musician—already have their own careers outside of Esprit D’Air. The way we currently work allows everyone to bring their best to the project without being tied down by permanent commitments that might not be financially viable for anyone involved.
So while I don’t see myself adding full-time members anytime soon, I’m grateful to work with musicians who feel like family. We’ve built something strong together, and this setup allows us to keep pushing forward without limitations.
Looking back at your journey from Constellations to Oceans and now Seasons, how do you feel you’ve evolved as an artist, and how has that shaped the direction of Aeons?
Looking back from Constellations to Oceans and now Seasons, I feel like I’ve leveled up—not just as a musician, but as a songwriter and producer too. Back then, I was still figuring things out, just throwing riffs together and hoping for the best. Now, I’m still throwing riffs together… but with slightly more strategy.
With Oceans, I really pushed myself to explore new sounds, production techniques, and more intricate songwriting—basically, I made my life harder on purpose. Seasons was different because it was about revisiting the past, which was kind of like opening an old diary and realizing, “Oh wow, I actually wrote this?” But instead of cringing and hiding it forever, I gave those songs the release they deserved.
Now, with Aeons, I’m taking everything I’ve learned and pushing it even further. It’s going to be more ambitious, more dynamic, and more unpredictable.
You are touring starting this Weekend in Europe until April, are there more touring plans for the year?
Yeah, this weekend kicks off our European tour, running until April, and after that, we’ll be shifting focus to finishing Aeons. These will be the final shows for 2025, since I want to put everything into making the album as strong as possible.
That said, once Aeons is out, we’re looking at possible tour dates in 2026—but for now, it’s all about making the record the best it can be.
Would you like to share a few highlight moments of your career with Esprit D’Air?
One of the biggest highlights was selling out our entire European tour last year. Seeing packed venues across multiple countries and hearing fans sing along was incredible. It really hit me how far Esprit D’Air has come—from being a completely independent band to pulling off a tour like that on our own without a record label, manager, booking agent, or promoter.
Another highlight was touring North America, playing guitar in The Sisters Of Mercy. It wasn’t an Esprit D’Air tour, but playing those huge venues every night and meeting fans across the US and Canada was an unforgettable experience. Plus, I somehow survived two months on a tour bus, so I consider that an achievement.
Also, seeing our second album Oceans hit the Official UK Charts, and stay in the charts for several weeks was a massive moment. For an independent band with no industry support to get that kind of recognition was honestly mind-blowing. It really showed me that everything we’ve built—our music, our fans, our community—has real power.
Any message for the fans around the world?
I just want to say thank you to everyone who has supported Esprit D’Air—whether you’ve been with us since the beginning or just discovered our music. Being an independent band isn’t easy, but because of you, we’ve been able to tour the world, release new music, and keep doing what we love.
There’s a lot of exciting work with Aeons, and I can’t wait for you all to hear it.
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