Chapter 1 [2011 – 2013]


Svet Kant is a Slovenian/English word-game related to the concept of “Holy failure” and/or “denial”.  The message behind is that without failure there is no learning, and without learning, there is no inner growth or developing of one.  It is also closely related to the concept of denial (i.e. can’t = Kant) where if proposed, there is actually nothing that can not be achieved throughout life. The message behind the band’s name is that all is inside one’s head and depends on how many sacrifices one is willing to make to achieve that task that will ultimately bring happiness and self-realization.

Originally the band was to be called “Anthropophobia”, but being this name already been taken, the need to come up with a creative and unique name lead to the combination of totally antagonistic languages to narrow the possibilities.


Svet Kant began as a side project of Santiago Kodela while playing in Argentinean thrash-metal band (Malicia).  Even though the music was varied and alternating, something was missing in terms of dynamism and contrast; so the need to explore new horizons within the metal genre set Santiago on a quest to expand and reach new unknown musical limits.  The wish and need to explore not only onto more extreme music but also more melodic material, set the tone and challenge to blend two naturally antagonistic styles into one, bringing forth a wider variety of moods, tones and emotions within each piece.  Additionally, the need for lyrics in English to be able to reach more fans, and the challenge of conducting this project.In addition, the need to write lyrics in the English language (to widen the fanbase) and the challenge of conducting independently such project, boosted, even more, all of this which began just as mere wanderings.  In the year 2010 Santiago parted ways by being let-go from his current band (for reasons not to be detailed) and this served as the ultimate motivation, challenging his will despite the unexpected and unpleasant situation.


Svet Kant’s original project “Loneliness” was formed by Santiago and drummer Alejandro Ulrich (Malicia).  Expectations grew and recording dates were planned and scheduled.  Santiago would commit to tracking all instruments with the exception of drums.  However, during the first week of recording (July 2011), Alejandro unexpectedly walked away from the project, leaving him on his own.  The idea of cancelling the project never crossed his mind and a new recording studio was sought after finding the producer and engineer Ramiro Pacheco from “Muzic Records”.

After new dates and arrangements were set and established with the new studio, the project now demanded to find a drummer that would fit the level and intensity “Loneliness” required, and not much time passed until Santiago came across Santiago Sauza, session drummer.

Rehearsals went along until new dates were scheduled, set for late December 2011/January 2012.  The drums were recorded/edited between a 1.5 months period and things were running as scheduled.  While tracking drums the possibility of incorporating a bass player came along with the appearance of Federico Gervan (Against).  His bass skills were exposed to the pressure of learning and recording the bass lines in a matter of weeks. Fortunate enough, not only he was up to the challenge but exceeded all expectations; however, due to being a member of another band and time issues, Federico ought to walk aside the project leaving his imprint as a guest appearance.

After the bass tracks were done, it was the time for the guitars.  The tracking of all guitar solos and rhythmic sections took longer than expected due to the number of arrangements as well as the complexity and technical difficulties of some passages; and most remarkably to the fact of recording a classical guitar track to transmit a clear and big contrast within the overall musical project.

After guitars were tracked, the real challenge arrived for the tracking of the vocals.  Not wanting to leave any element to chance, and knowing the importance of the vocal instrument, Santiago sought coaching and lessons with a classical music expert (Marina Aranda).  Each piece was worked in detail to capture and correctly transmit the essence of the lyrics and express them correctly, focusing on giving different moods and expressions to the melodic parts of the vocal lines.  The growled sections were approached by following Santiago’s main influences, but also looking for specific and defined techniques for this kind of singing, taking as a main influence Melissa Cross’ instructional DVD’s (“Zen of screaming I and II”).

On April 2013 Santiago departed Argentina and re-based to Dublin, Ireland.  Once in new territory, “Loneliness” was finished and released independently obtaining a substantial amount of positive reviews from the metal community from distant places such as a New Zealand, Chile, Argentina, United States, Germany, France and Spain, among many others.

to chapter 2