Breath of Illusions Drops A New Record That Blends Rock Styles
- BuzzSlayers
- 2 minutes ago
- 9 min read
A new drop from Breath of Illusions comes through with a massive sonic presence, guided by intense and bold guitar work that all manages to blend genres together to build something that feels lush and boisterous.
The songs on this record range from classic hard rock to alternative, pop, and more, all built into this anthemic and, at times, symphonic atmosphere.
This is the sort of release you listen to all in one shot, from start to end. This is the way you can really soak in all it offers. There is a lot to chew on, from outstanding guitar tone and riffs to those cinematic rock songs, and it all branches out into those different styles but always feels confluent.
There is a major consistency to this record, and it has to do with its sense of self and attachment to displaying character and personality through and through.
Whispers of Eternity begins with a track called "Before It All Fades," and the single does such a great job of opening the door to the rest of this record. You get that bright pop-rock overtone, but it's laced with such a vast and filmic backbone that comes from synths and keys that add that depth.
This is a very layered release, and this opening track showcases some of the fiery guitar work you'll be hearing throughout the record's course.
As the song plays on, you get vocals that are melodically driving, and melodies hit with both a darkness, touched with sad undertones, but also with a certain light at the end of the tunnel.
This song manages to hit gracefully in terms of its performance while still remaining edgy.
This is part of the name of the game with the entire release.
Songs like "The Light I Didn't See" hit with that almost theatrical tonality. Widespread beats, driving guitars, and a power ballad sensibility.
This one displays the artist's way of imparting a fantastical approach. It is just huge and comes through like the record's opus.
"The Riddle" gives you more of a pop vibe but not overdone. It's placed in there and attached to the hooks and choruses as the vocals sort of float but still have a bit of powerful punch.
The full EP is something that you listen to a few times just to grab hold of all it has to give. There are loads of those layers and textures coming at you all the time. The guitar work is damn near perfect, and it goes to show the project's songwriter and performer, Juan Alvarado, holds the instrument close to his heart.
He is always making sure the music he releases has that intensity in the guitar work, and this release is no exception to that.
As far as I know, Juan performs guitars, vocals, and also writes all the music.
Once you realize this is all pretty much one person, it changes the game. It changes the way you listen to the music.
To bring these ideas to life must be quite a task.
After diving into this record, I wanted to touch base with Juan about everything. I wanted to find out more about where this comes from and how it's all done.
So, as you dig through the EP, have a read through of our interview with Breath of Illusions below.
Remember where you heard it first.
Where did the record come from and what is it about?
Whispers of Eternity came from a period in which I really wanted to challenge myself and expand what Breath of Illusions could be.
For many years, most of my music was instrumental and very guitar-driven. I love telling stories without words, using melodies, riffs, solos, dynamics, and different atmospheres to communicate an emotion or an idea. But at some point, I realized there were stories I wanted to tell that needed words as well.
That became one of the driving forces behind this album. I started working seriously on my voice and songwriting, and eventually vocals became another tool I could use to communicate alongside the guitar.
So Whispers of Eternity brings those two sides of Breath of Illusions together: the instrumental storytelling that has always been part of the project and a newer dimension built around lyrics and vocals.
The album explores things that are very present in my life and in the way I see the world: time, change, uncertainty, resilience, love, regret, our relationship with the planet, and the importance of appreciating what we have before it disappears.
To me, the title Whispers of Eternity represents those ideas, experiences, and emotions that remain with us and quietly influence who we become.
Is this almost like a concept album?
In a way, yes, although I wouldn’t call it a traditional concept album where every song follows one continuous storyline.
I see it more as a collection of different chapters connected by a common philosophy. Each song has its own story and personality, but there are themes that keep appearing throughout the record: life, time, emotions, change, and the experiences that shape us.
Musically, I wanted that diversity to be part of the experience as well. There are heavier moments, melodic and reflective sections, instrumental pieces, and vocal-driven songs.
That contrast is intentional because life itself doesn’t have one mood. We move constantly between very different emotions and experiences, and I wanted the record to reflect that.
So I would probably describe Whispers of Eternity as a thematic concept album rather than a narrative one.
So what are you performing on these songs exactly?
I perform the lead guitars, some of the rhythm guitars, and all the vocals. I’m also the composer behind the songs and responsible for the overall creative direction of Breath of Illusions.
Guitar is obviously a major part of my sound. For this album, I used three main guitars depending on the character I wanted for each song: a Fender Eric Clapton Signature Stratocaster, an Ernie Ball Music Man JP15, and a Gibson Les Paul Standard 60s. My guitar recordings in Colombia were done using a Focusrite Scarlett 2i4 and Boss GT-1000.
But there’s a great group of musicians behind the record as well. My friend Alfredo, a professional Venezuelan bass player, recorded the bass in Colombia. In Argentina, Federico Casañas recorded the drums and Marton Fabrizzi performed the keyboards and piano.
My producer, Joaco Rosson, also contributed rhythm guitars and played two of the three guitar solos on “Before It All Fades.”
I compose the music and have a clear idea of where I want a song to go, but I also enjoy giving great musicians space to contribute. They can bring ideas, nuances, and emotions that I might not have imagined when I first created the demo, and I think the album is stronger because of that.
How long have you been playing guitar? Is that your first instrument?
I’ve been playing guitar since I was 10 years old, and yes, it was my first instrument and has always been my main one.
I still remember learning songs like Metallica’s “The Unforgiven” when I was young. Guitar eventually became something much bigger than just an instrument for me. It became a way of expressing things that sometimes I couldn’t express in words.
Over the years, I continued studying and developing as a musician, including spending time studying music at Berklee College of Music in Boston.
But one thing hasn’t really changed: I still feel there is always something new to discover on the instrument. You can spend decades playing guitar and still find a new technique, sound, or way of expressing yourself. I think that’s part of what keeps me so connected to it.
Are you responsible for your own mixing? Or did you work with an outside mixing house?
The production and mixing were done by my producer, Joaco Rosson, in Argentina.
Our working relationship is actually an important part of the Breath of Illusions sound. I create the compositions and demos in Colombia and send them to Joaco, and from there we start developing the production together. He understands the identity of the project very well, but he also challenges my ideas and brings a different perspective to the music.
We’ve been working together for several years now. Joaco also worked with me on The Awakening and Hectic Times, so by the time we started Whispers of Eternity, there was already a lot of trust between us.
He’s also a guitarist, which makes the collaboration particularly interesting. On this record, he played some rhythm guitars and even two of the three solos on “Before It All Fades.” I loved what he brought to those sections, so there was never a question of who “should” play them.
For me, production is about making the composition reach its full potential, and having someone I trust who can challenge my perspective has become a very valuable part of that process.
Do you record on a home DAW setup?
Yes. Every Breath of Illusions song begins in my home studio in Colombia.
That’s where I compose, build the demos, experiment with arrangements, and develop the different sections of a song. I also recorded the lead guitars and some rhythm guitars for Whispers of Eternity there.
From that point, the recording process became quite international. Alfredo recorded bass in Colombia, while Joaco, Federico, and Marton recorded their parts in Argentina.
What’s interesting is that this kind of remote collaboration wasn’t new for us. Joaco and Federico had already worked on The Awakening and Hectic Times, yet despite making two albums together, I had never actually met either of them in person.
That finally changed when I traveled to Argentina for Whispers of Eternity. Suddenly, people I had known for years through files, messages, video calls, and music were actually in the same room with me. That was a really cool moment.
The trip also allowed me to record the vocals in Joaco’s studio with my vocal teacher Rosana Laudani there with me. So Whispers of Eternity became the first Breath of Illusions album where the remote and in-person sides of the project really came together.
Are you able to do any live performances at all? Or is this strictly a recording project?
Breath of Illusions started primarily as a recording project, but I definitely don’t want it to remain only that.
Bringing this music to the stage is one of the next challenges for me. Some of the songs have multiple guitar layers, keyboards, atmospheric sections, and fairly complex arrangements, so translating everything into a live setting will require some work.
But that’s also what makes the idea exciting. A studio gives you almost unlimited possibilities, while playing live forces you to reinterpret the music and discover what really makes each song work.
I can imagine some of these compositions becoming quite powerful in a live environment, particularly the heavier and more cinematic material.
So the recording project has been the foundation of Breath of Illusions, but live performance is definitely part of the future I envision for it.
What bands and artists have you been listening to lately?
I have to admit, I’m still pretty old-school when it comes to what I listen to! I keep going back to bands like Iron Maiden, along with many of the artists that have influenced me throughout my life, like Dream Theater, Metallica, Pink Floyd, and Led Zeppelin.
But I also enjoy discovering and listening to more contemporary artists. Lately, I’ve been listening to Myles Kennedy, whose work I really enjoy, particularly the combination of great vocals, strong songwriting, and guitar-driven rock. I’ve also been listening to Oryn Etheria, which brings something different and fresh into the mix.
My listening habits probably reflect the kind of musician I am. I love the power and musicianship of metal, the storytelling and atmosphere of progressive rock, great guitar playing, but also strong melodies and songs that create an emotional connection.
I don’t think you have to abandon the music that shaped you in order to keep evolving. Sometimes it’s actually interesting to take those influences you’ve carried with you for decades and combine them with something new. That’s very much how I approach Breath of Illusions as well.
How long did it take you to get this record finished?
From the early compositions to the finished album, the entire process took more than 18 months.
But there was another process happening at the same time that was particularly important to me.
About a year before the vocal recording sessions, I started taking virtual vocal lessons with Rosana Laudani in Argentina. I had always thought of myself primarily as a guitarist and composer, so deciding to become the singer of Breath of Illusions was a significant challenge.
I didn’t want to just step in front of a microphone and hope for the best. I wanted to learn how to use my voice properly and put in the work before recording.
After roughly a year of lessons, I traveled to Argentina and spent an entire week in Joaco’s studio with Rosana recording 10 vocal songs. We weren’t only recording Whispers of Eternity — some of those songs were already intended for the next releases.
That’s why the 18 months don’t feel to me like simply “the time it took to record an album.” They represent a period of learning, experimenting, collaborating, and pushing myself into areas that were completely new to me.
In many ways, the musician who finished Whispers of Eternity wasn’t exactly the same musician who started it.
Amazing work on this! Anything you want to express to fans of the music?
First of all, thank you for listening.
There is an incredible amount of music being released every day, so whenever someone chooses to spend part of their time listening to something I’ve created, I genuinely appreciate it.
Breath of Illusions has always been about more than technical playing or guitar solos. Behind every song there is an idea, an emotion, or a story. What I hope is that listeners make those songs their own. They don’t necessarily need to interpret them exactly as I did when I wrote them. If a song connects with something in their own lives, then the music has achieved something meaningful.
And there’s a lot more coming. “Ambivalence” has already opened the next
chapter and will be part of the upcoming EP Surrender, followed by Walking the Unknown by the end of 2026.
I feel that I’m still discovering what Breath of Illusions can become, and that’s probably the most exciting part of this whole journey.
So to everyone who listens, shares a song, follows the project, or tells someone else about the music: thank you for being part of it.
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