Welcome friends and readers! Today we bring you an interview with Kai, the talented leader of the amazing band Esprit D’Air.
Special thanks to our friends at Visual Violence for conducting the interview during The Sisters of Mercy’s recent visit to Mexico.
- What motivated you to bring back Esprit D’Air as a solo project and take on all the creative roles within the band?
When Esprit D’Air first started in 2010, I was just the guitarist. By 2013, I had quit music completely, right around the time I graduated from university. I was struggling with depression and had lost all desire to do the one thing I loved most. I ended up working regular jobs, but they were eating away at me inside. Eventually, I hit a breaking point and realized that if I didn’t go back to music, I wouldn’t be able to carry on like this. The only way forward was to restart Esprit D’Air — and since I had already been creating most of the music back then, turning it into a solo project was the natural choice.
At first, when I started singing, I thought I was just filling in because someone had to. But now, I can’t imagine myself not being the vocalist. It’s become a part of who I am.
- What has been the biggest challenge of maintaining a completely independent (DIY) approach in production, recording, and promotion?
Being an independent artist means you are always learning new skills. I taught myself music production at a young age, which meant learning plug-ins, synth design, composition techniques, and more. I also had to learn how to use social media and approach marketing in a way that felt authentic. I manage all the content myself and reply to comments directly. Our TikTok and YouTube channels have now grown to over 100,000 followers and subscribers each, which surprises me. Our first tour happened because I wanted to tour. Instead of hiring a promoter, I thought, “Okay, what does a promoter actually do?” I learned how to book venues, promote shows, and handle the finances and risks involved.
The biggest challenge is the risk of burnout because I’m always working, even while touring. Sometimes I end up writing songs on the road. The financial risks are also very real since we don’t have a label or management funding the project. Everything comes from my own pocket.
But I wouldn’t trade it away. Doing everything myself gives me freedom and ensures authenticity in the music we make. That’s something I’d never give up to join a big company or label.
- Constellations was a turning point in your career, winning the Independent Music Award. How do you remember that moment, and what impact did it have on you?
I’ll never forget that experience. I had just received the nomination and invitation to the ceremony in New York, so I booked my flight immediately. But the day before, my flight was cancelled. I was devastated.
The airline got me on another flight, but it meant arriving later at JFK around 6 or 7 p.m. The ceremony at Lincoln Center had already started, and the metal category was expected to be announced at 8:30 p.m, so I did not have much time to get to the ceremony. To make things worse, it was the weekend, so several subway lines were closed for maintenance.
Thankfully, a kind New Yorker helped me navigate, and I made it with just five minutes to spare. Then came the announcement: “And the winner is… Esprit D’Air.” I screamed. I couldn’t believe it.
It was my very first day in the United States, and it instantly became one of the most unforgettable days of my life. Having said that, I think our second album, Oceans, was where we really started seeing growth in the band. To enter high up in the Official Charts without a record label or management, above some major record label bands was something I was super proud of. Not only that, but I think our composition and songwriting style had also matured into something really unique to us from then.
- Your music blends progressive metal, alternative, electronic, and J-Rock influences. How do you manage to balance all these elements while keeping Esprit D’Air’s unique identity?
People often tell me that the one thing that keeps Esprit D’Air unique is my voice, no matter what style of music we explore — and I think that’s partly true. But at the same time, I’ve always wanted Esprit D’Air to be a band that breaks boundaries and isn’t confined to a single genre.
For me, it’s about blending these influences naturally rather than forcing them. Whether it’s progressive structures, electronic textures, or melodies, the music still carries our identity because it comes from a place of honesty and exploration.
- In your latest works (Seasons and the upcoming Aeons), you explore themes such as pain, loss, and hope. How much does your personal life influence the narrative of your songs?
Some lyrics come directly from personal experiences, but music also serves as escapism for me. I don’t always want to write literally about my own life — sometimes I like to create entirely new worlds in the lyrics.
I draw a lot of inspiration from role-playing games. In RPGs, you follow a character’s journey and story, and I often channel that kind of storytelling into my songs. It allows me to express real emotions but mixing reality with imagination.
- On stage, you perform with session musicians. How different is the experience of recording alone in the studio compared to sharing the stage with other musicians?
When it comes to the creative process, I think it’s important for the composer/somgwriter to have one clear vision. Working alone allows me to keep that vision intact without compromises. The music stays true to the original idea.
On stage, though, it’s a different dynamic. There’s a bond between us, and the other musicians bring their own personality to the performance. That makes the live show very special.
These musicians are also my close friends. Takeshi and Yusuke have been performing with me for six years, and Vincent has been with us for nine years. We love making music together and spending time on the road. Yes, they’re paid like professionals, but none of us see this as just a job — it’s passion and art.
With Aeons, while most of the album was produced by me, Takeshi and Yusuke co-wrote a couple of songs each, and Vincent recorded all the drums. It’s become a true collaboration and a reflection of our friendship.
- How has the experience of joining a legendary band like The Sisters of Mercy as a guitarist been for you?
Ben Christo, who has been the guitarist of The Sisters of Mercy for 20 years and whom I greatly respect, recommended me to Andrew Eldritch. Andrew liked the sound of me (my personality, background and my ethos in my own music), and they flew me out to join them mid-tour in Europe in 2023.
Since then, I’ve become a permanent member, contributing guitar parts and even starting to write songs with them. They’ve also trusted me with arranging harmonies, refining live sound, and suggesting ideas for the show. One of my proudest moments has been singing the Ofra Haza parts in Temple of Love — the audience’s response has been incredible.
- What lessons or influences have you taken from that experience that you plan to apply to your career with Esprit D’Air?
Since joining The Sisters of Mercy, I’ve learned a lot about scaling up a band. I became better at handling tour management and leading a larger team. Esprit D’Air has grown from being a van-sized band to a full tour-bus operation with our own sound engineer, lighting engineer, and a bigger crew. Playing bigger venues has taught me how larger productions work.
I also really respect Andrew Eldritch’s approach. He does what he wants, whether it’s the setlist, songwriting, or performance. He never panders — and that authenticity inspires me. I believe it’s better to make music for yourself and have people love it, than to make music just to please others and lose your own voice.
- This is your first visit to Mexico — what does it mean to you to finally meet your Mexican audience?
It means the world to me. Performing or even visiting Mexico once felt like a far-away dream, so to finally be here is a huge honor.
I’ve always loved Mexican culture, history, and art, so exploring the museums and temples in Mexico City was incredible. But what really stayed with me was how warm and welcoming the fans were. I left with a big smile, knowing this was one of the most important experiences of my life.
- What can your fans in Mexico expect from your live show, and what do you hope to receive from them in return?
Fans in Mexico can expect a powerful, emotional performance where we give everything we have on stage.
In return, all I hope for is their passion and energy. That exchange between artist and audience is what makes live music unforgettable, and I know the Mexican fans will bring it because I have already seen how truly passionate they are for music.
