When everything else is swept away, what remains? For SINSID, the answer is simple: metal. No compromises, no chasing trends, no desire to turn their backs on their roots. After three albums built on an unwavering faith in traditional heavy metal, the Norwegian band returns with All That Remains, a fourth chapter that takes their heaviness to another level without sacrificing melody, attitude or personality.
Announced as far back as 2023/24, the album has undergone a much longer gestation than originally expected. A decisive addition to the official lineup, with the arrival of a third guitarist, together with a creative process that was allowed to develop without rushing, inevitably helped shape the final result. Perhaps that extra time was exactly what SINSID needed to create a record that is more varied, powerful and mature.
The heart of the band, however, remains the same: riffs that hit you straight in the gut, huge choruses, biting guitars and Terje’s rough-edged voice holding everything together. All That Remains looks forward without forgetting where it comes from, proving that playing heavy metal in 2026 doesn’t necessarily mean looking to the past, but knowing what is still worth preserving.
We spoke with Terje about the long journey behind the album, the decisive addition of a third guitarist, the influences that continue to fuel the SINSID sound and their relationship with Pitch Black Records. Above all, we wanted to understand what truly remains when everything else is gone.
Interview by: Beppe “HM” Diana
The album was already announced back in 2023/24. What happened during these three years, and why did it take so long to finally release it?
There wasn’t really one specific reason. We started working on the album quite early, but things simply took longer than expected. We had some changes within the band, including bringing Erik in, and we also wanted to give the songs the time they needed.
After such a long wait, what does All That Remains mean to you today? Did the songs evolve considerably?
Some of the basic ideas were there from the beginning, but several songs developed quite a lot along the way. Looking back, I think the extra time helped the album. It became heavier, more varied and probably more complete than what we originally imagined in 2023/24.
The album’s title sounds almost like a statement of principles. What does the title mean to you personally?
For me, All That Remains is about what is left when everything else is taken away. You can lose money, possessions, status or even your sense of security, but certain things remain – your values, your freedom and who you are.
How important was it to preserve that old-school identity while still making an album that sounds like a record from 2026?
Very important. We have never tried to hide where our influences come from. SINSID is an old-school heavy metal band, and we are proud of that. But at the same time, we don’t want to sound like a band simply copying something from 1985. Production should be powerful and current while keeping the spirit of traditional heavy metal.
What has really made the difference between the new album and your previous releases?
Probably experience more than anything. After three albums, we know much better what works for SINSID and what doesn’t. The songwriting is more focused, but at the same time I think we allowed ourselves more freedom on this album. There are more different influences coming through, while it still clearly sounds like SINSID.
How has adding a third guitarist changed the band? Could the three-guitar attack become a SINSID trademark?
Erik brought another dimension to the band. Having three guitars gave us more possibilities with harmonies, rhythms and making the songs bigger and more powerful. But it only lasted two years, we lost both Even and Sten due to family priorities, and then we recruited Jostein on lead to complete the album.
Can you take us inside the songwriting process for All That Remains?
Most songs start off with a guitar riff or a basic musical idea, and from there we build the structure/arrangements. Vocals and lyrics usually come after, but there isn’t really a fixed formula. Sometimes a chorus or a lyrical idea can determine where the whole song goes.
Which bands and records have had the greatest influence on the way you write today?
Bands like Grave Digger, Motorhead, Metal Church, Running Wild, W.A.S.P. and Manowar have always been important influences. On All That Remains, I think the W.A.S.P. influence comes through a little more strongly in places. But after four albums, we are not consciously trying to sound like any particular band. Those influences are simply part of our musical DNA.
This is your fourth album with Pitch Black Records. Are they still the right home for SINSID?
We have been with Pitch Black Records since our first album, so there is a lot of trust between us. Of course, every band probably wonders what it would be like to work with a bigger label, but bigger doesn’t automatically mean better. Pitch Black understands SINSID, they have supported us from day one, and we have a very good working relationship. For us, that has a lot of value.
Your vocal style is one of the most recognizable elements of SINSID. How has your voice influenced the band’s sound and songwriting?
My voice has always been a little rough and aggressive, and I think that naturally became part of SINSID’s identity. I’m not trying to sound technically perfect, but more of having a character and feeling into it. Over the years we have also become better at writing melodies and choruses that fit my voice instead of trying to force it into something it isn’t.
Was there a particular song that was especially difficult to write or record? And is there one you consider the definitive SINSID track?
I wouldn’t say there was one song that was extremely difficult, but some definitely took longer to get right than others. If I had to point to a song that represents where SINSID is today, the title track All That Remains is probably a good choice. It has the heaviness, melody, attitude and big chorus that are all important parts of our sound.
What has changed most within SINSID as musicians, and what has remained the same?
We have become better musicians and probably much more focused in the studio. We also understand songwriting and arrangements better than we did in the early days. What hasn’t changed is why we do it. We still love traditional heavy metal, loud guitars and strong choruses. That part of SINSID is exactly the same.
The album feels very organic and uncompromising. Did you deliberately avoid modern production trends?
We didn’t really sit down and decide to avoid modern production. We simply knew how we wanted SINSID to sound. We wanted it heavy, clear and powerful, but still with some rawness and human character. Green Engine Recording and Tom Poole-Kerr, who handled the mixing and mastering, understood that very well.
Why do you think traditional heavy metal continues to have such a strong appeal today?
Because good heavy metal is timeless. A strong riff, a great chorus and the energy of a loud guitar never really go out of fashion. Trends come and go, but there will always be people who want that direct and honest feeling that traditional heavy metal gives you.
Who is the artist behind the All That Remains artwork, and how did you come to work with them?
Andy Pilkington of Very Metal Art. We wanted artwork that immediately felt connected to the title and the atmosphere of the album. Once we had the main concept, it was really about finding the right visual expression for it, and Andy succeeded with that.
What did you ask the cover artist to communicate through the artwork?
The concept came from us. We wanted the artwork to represent different parts of identity and heritage, but also the idea of what remains after everything else is gone. There is symbolism in the different elements, including the Viking and Sikh influences. The artist then had freedom to develop those ideas visually and bring them together.
Do you consider the artwork an extension of the music?
Definitely. Album artwork is still important to us, especially in heavy metal. Before you hear a single note, the cover should give you a feeling of the world you are about to enter. I think the All That Remains artwork fits both the music and the stories behind the album very well.
After the long journey that led to All That Remains, what do you hope will remain from this album? And what can fans expect next?
Hopefully people will look back on All That Remains as one of the strongest SINSID albums and one that really defined where the band was at this point. Right now, the main focus is getting the album out there and playing these songs live. We are not planning on slowing down.
Meanwhile, keep following the band and thanks to everyone who has supported us so far.
And thank you for the interview.
Cheers,
Terje.
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