{"id":662538,"date":"2026-02-11T09:52:05","date_gmt":"2026-02-11T08:52:05","guid":{"rendered":"https:\/\/elgarajedefrank.es\/?p=662538"},"modified":"2026-02-11T10:52:11","modified_gmt":"2026-02-11T09:52:11","slug":"interview-divine-shade","status":"publish","type":"post","link":"https:\/\/elgarajedefrank.es\/en\/interview-divine-shade\/","title":{"rendered":"Interview: Divine Shade"},"content":{"rendered":"

We discovered the neo-industrial band Divine Shade back in 2020 with the release of their EP In the Dust<\/em>. Even then, we were struck by the intensity and boldness of their music. They continued to surprise us with their single “Stars” and the electronic project of their founder. That\u2019s why we wanted to talk to Remi Thonnerieux, also known as Ren Toner, about the beginnings of the band and their spectacular debut album Fragments-Vol.1<\/em>. Although, as we mentioned, we already knew their music, it was their performance at the Madrid festival Santuario that showed us what a great band they are.<\/span><\/strong><\/p>\n

\"\"<\/strong>\u2014In an interview you said that you started Divine Shade after being in some <\/b>other bands. Why did you start this project back in 2013\/14? What was your aim back in the day?<\/strong><\/span><\/p>\n

\u2014Ren Toner:<\/strong> At the time, I was 20 years old, and my intention was to create a project where I would be the main driving force. Previous projects often ran out of steam: yes, we were teenagers and not very serious, but also real bands whose motivation relied on a collective spirit. From my perspective, that was also a major fragility in terms of perseverance. So it felt safer and more responsible to know, consciously, that no one would fight as hard as I would from now on.<\/span><\/p>\n

\u2014You have described your music as sincere a few times. Do you think that we are living a period in which music is missing its sincerity?<\/span><\/strong><\/p>\n

\u2014”Success” is a puzzle in art. The mainstream has always embraced addressing the largest audience through unifying codes, although the underground often says it wants to break free from them, it actually works in a very similar way. In 2026, with the weight of algorithms, communities have closed in on identifiable codes, favored both by algorithms and programmers. In this context, the idea of a completely unique sincerity inevitably becomes fragile.<\/span><\/p>\n

\u2014I think that the clearest influence in your music is NIN. How has Trent Reznor influenced your way of making music?<\/span><\/strong><\/p>\n

\u2014Trent Reznor<\/strong> was a true revelation when I discovered him, and Nine Inch Nails<\/strong> became a model for me. The quality and precision of his work in every aspect constantly pushed me to question my own, never settling for the minimum and aiming for an almost obsessive coherence.<\/span><\/p>\n

\u2014And to end up with the influences, in most of the descriptions of the band, there are references to coldwave. Has the original French coldwave been important for you?\u00a0<\/span><\/strong><\/p>\n

\u2014Not really, no. French coldwave didn\u2019t really influence me, even though I have a lot of respect for the bands. My musical universe comes more from other sources.<\/span><\/p>\n

\u2014The first song that you composed for the band was \u201cFrom the Sky\u201d when you\u00a0were still a student. Do you remember the moment of writing the song?<\/span><\/strong><\/p>\n

\u2014Yes, I remember it very well, and “From the Sky” remains today one of my favorite songs to play on stage, because that\u2019s where it all began.<\/span><\/p>\n

\u2014How do you see your EP From the Sky<\/em>, released in 2014, in hindsight?<\/span><\/strong><\/p>\n

\u2014Today, I look back at this EP with a lot of fondness. Even if the theme wasn\u2019t exactly that from the start, From the Sky<\/em>, for me, tells the story of a young boy discovering that music, like for his spiritual mentors, can give meaning to his life.<\/span><\/p>\n

\u2014What happened between 2014 and 2020? There were no new songs in those years, right?<\/span><\/strong><\/p>\n

\u2014Between 2014 and 2020, personal cataclysms pulled me toward a form of self-destruction. Some things collapsed, while others struggled to survive in the darkness. Artistically, I felt that the na\u00efve child of the first EP was only clumsily imitating his masters. Facing the blank page, I saw myself as an impostor. Silence then became a necessity, almost a rite of passage. The voice that had spoken until then was not yet my own.<\/span><\/p>\n

\u2014The second EP appeared in 2020 and the evolution from the first one is clear.\u00a0The sound is bigger and deeper. How would you describe your evolution during\u00a0those years? What did you learn?<\/span><\/strong><\/p>\n

\u2014I went back to the basics, using real, organic instruments, but the real work happened within me. I realized that Divine Shade<\/strong> would become a project with a meta narrative. This EP explores impostor syndrome: trapped in a prison of my own making, suffocated by my influences, unable to find confidence, drifting in a sense of depersonalization. In the end, it\u2019s a story about finding a way to survive creatively.<\/span><\/p>\n

\u2014For In the Dust<\/em>, you created a short film divided into 4 episodes\/videos. Can you please tell us more about the making of this?<\/strong> \"\"<\/span><\/p>\n

\u2014In the Dust<\/em> was the most collaborative period of the project. In retrospect, for me, it doesn\u2019t quite align with post-punk or darkwave aesthetic expectations. But, I love its charm, it feels like an unconscious world within the universe of Divine Shade<\/strong>. And with what I just mentioned earlier, one could almost say that the short film doesn\u2019t really tell what you see on screen.<\/span><\/p>\n

\u2014After this EP, you started collaborating with Chris Vrenna, who remixed some\u00a0of your songs. How did you meet him?<\/span><\/strong><\/p>\n

\u2014The only thing I can really say is that I contacted him directly. We hit it off immediately, and it was a true honor to collaborate with him. Chris is very friendly and passionate, I remember playing him “Stars”, which he liked, and then remixing it gave me an extra spark of motivation. I hope we\u2019ll collaborate again.<\/span><\/p>\n

\u2014The first idea for Fragments<\/em> was 3 Eps and then it became a full album. Why\u00a0did you decide to do it in this way?<\/span><\/strong><\/p>\n

\u2014Originally, I had composed enough songs to release a trilogy of EPs. It was also fairly strategic: planning multiple highlights over several months or years. Very quickly, I realized that I wouldn\u2019t allow myself to experience new, immediate creative sensations if I waited for each EP to come out, and I risked feeling \u201cout of time.\u201d So I decided to merge everything into a single album, since it was all part of the same story. I could then tell new stories in the next \u201cfragments.\u201d I can\u2019t say yet how many there will be, but a second one is certain. I don\u2019t know yet if it will be an EP or an album.<\/span><\/p>\n

\u2014The album was self-released thanks to the help of your fans. How was the\u00a0experience?<\/span><\/strong><\/p>\n

\u2014We had already done a crowdfunding campaign for the short film In the Dust<\/em>. It was really nice to see that people wanted to know what would happen next in the story of Divine Shade<\/strong>, and for that, I am very grateful.<\/span><\/p>\n

\u2014Talking about the album, you have spoken about your self-fulfilling\u00a0prophecies. I am really curious about this, can you please explain it?<\/strong><\/span><\/p>\n

\u2014Everyone tells themselves a story to face life. For me, music plays this role with self-fulfilling prophecies: it allows me to feel and process my wounds, and, in a way, to plan my healing and influence my future state of mind. That\u2019s why I always try to find positive and resilient outcomes in my lyrics or in the concept of my albums. Because once a track leaves the studio, it begins to transform my reality.<\/span><\/p>\n

\u2014”Hate And Oblivion” was based on some health issues that you had, right? Canyou please tell us more about this and how affected your music?<\/span><\/strong><\/p>\n

\u2014”Hate And Oblivion” was born from a peak, dark period in my personal life. A deep anger almost consumed me, leaving both visible and invisible wounds. My eyes burned even when closed, and the light of the world was unbearable to me. I felt trapped. I had to relearn how to reconnect with myself, with life.<\/span><\/p>\n

\u2014Thanks to the tour with Gary Numan, you met Steve Fox-Harris, what can you please tell us about his collaboration in “Oublier”?<\/span><\/strong><\/p>\n

\u2014Steve is an humble and kind guy, I had the impression he just wanted to share the joy of making music. I remember when we talked about it, I was so happy. And when I received his guitar tracks, the song immediately became a top priority for me, as both the theme and the collaboration were so inspiring. Whether it was Steve, Chris Vrenna, or Chris Payne, these collaborations made me appreciate even more that period before Fragment-Vol.1<\/em>, when I realized that the most important thing was simply making music.<\/span><\/p>\n

\u2014Some tracks of the album have a very elaborated electronic part, such as “Heaven”. What kind of electronic music are you into these days?<\/span><\/strong><\/p>\n

\u2014My electronic inspirations are diverse, especially cinematic ones: for example, the soundtrack of the film Annihilation (2018), I love the track “The Alien” by Ben Salisbury and Geoff Barrow. I also enjoy certain tracks by Daniel Avery<\/strong>, Jon Hopkins,<\/strong> Maenad Veyl,<\/strong> and Amelie Lens<\/strong>. In fact, I like a lot of things, but I don\u2019t want to \u201cmaster\u201d the subject. I\u2019m such a fan of industrial music that new releases often move me less emotionally. I realize that, often, it\u2019s the idea\u2014the fantasy I create around a style or an atmosphere\u2014that becomes a true creative resource for me.<\/span><\/p>\n

\"\"<\/strong>\u2014How do you decide if you are going to sing a song in French or English? You said that in your native language, the tracks are more personal, right?<\/b><\/span><\/p>\n

\u2014<\/b>In both cases, my lyrics remain personal. Sometimes, I just feel like I\u2019m not bringing anything interesting, or that my command of the language doesn\u2019t fully allow me to on a particular track. At that point, the voice becomes an instrument, and the language itself becomes part of the exploration.<\/span><\/p>\n

\u2014Do you try to give a positive perspective with the album? Do you think it\u2019s still\u00a0possible<\/span><\/b> to be optimistic nowadays?<\/b><\/span><\/p>\n

\u2014<\/b>I always try to maintain perspective. Optimism isn\u2019t naive, it means acknowledging difficulties without letting them consume you, and looking for those small lights that help you move forward. I believe that what defines human beings is this ability to adapt, to find resources even in the darkest moments.<\/span><\/p>\n

\u2014You record mainly with analogue gear, don\u2019t you? Why do you prefer it?<\/span><\/strong><\/p>\n

\u2014Quite simply because I find analog gear has more character. Equipment saturation creates new sensations, for example. With advances in AI or even high-end plugins, a lot of soundscapes among artists in 2026 start to sound similar. For me, using organic gear allows you to recover that charming human imperfection. That said, there are very good plugins that I also use from time to time. And having everything on a computer has allowed many young musicians to make music without having to spend astronomical amounts on a synth that only makes one color.<\/span><\/p>\n

\u2014You do the artwork of the releases, right? What\u2019s your inspiration for it?<\/span><\/strong><\/p>\n

\u2014Exactly, I do watercolor. My influences are fairly predictable: I love the works of Francis Bacon, as well as the drawings and paintings of David Lynch (even though at first I didn\u2019t really know his films, which I\u2019m now discovering and adore).<\/span><\/p>\n

\u2014Divine Shade has opened for great bands and artists, especially The Sistersof Mercy, The Mission, Gary Numan and New Model Army. What\u2019s your best\u00a0memory of these concerts\/tours?<\/span><\/strong><\/p>\n

There are so many good memories, it would be hard to choose just one. But for me, the most striking was what Gary Numan<\/strong> told me: sometimes, there are people who make you feel illegitimate, who call you a copy\u2026 as if the great masters hadn\u2019t had masters themselves. And he made me understand something powerful: \u201cYour own story is unique.\u201d<\/span><\/p>\n

\u2014What happened with your side-project Ren Toner? We really liked the EP you\u00a0released in 2022.<\/span><\/strong><\/p>\n

\u2014I took a short break with Ren Toner, because opportunities with Divine Shade came quite quickly and I had to focus on them. That said, the idea of continuing to make electronic music on the side still appeals to me.<\/span><\/p>\n

\u2014What are your plans for the future?<\/span><\/strong><\/p>\n

\u2014I\u2019m going to compose the tracks for Fragments-Vol.2<\/em>, continue painting, while touring as much as possible. At the same time, I want to explore my musical and visual universe even further, like a true multiverse.<\/span><\/p>\n

\u2014How was the experience at Santuario Festival? I know some guys who were\u00a0impressed with your performance.<\/span><\/strong><\/p>\n

\u2014It was really intense in terms of organization, but it was a true pleasure to be able to play at a festival like this in Madrid. We had an incredible time on stage, and I\u2019m truly grateful to every single person who came to listen to us.<\/span><\/p>\n

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