Nicholas Antonucci of The Shadow Self Releases "Rebirth" and Connects with Fans About the Transformative Track
- STAFF
- Jul 17
- 7 min read
By: Staff
The depth and raw power of "Rebirth" marks a masterstroke of musical innovation, blending hard rock with mystical Eastern soundscapes.
A New Sonic Odyssey Awaits
Nicholas Antonucci, the mastermind behind The Shadow Self, has just unleashed a track that promises to take listeners on an unforgettable journey. "Rebirth", a bold and transformative blend of powerful rock, mystic Eastern melodies, and industrial energy, is already stirring conversations in the music world. But this isn't just any song. It’s a deep, spiritual exploration wrapped in hypnotic rhythms and explosive sound.
What went into creating such a unique piece of art? We sat down with Antonucci to dive deeper into the meaning behind "Rebirth" and explore his creative journey, influences, and what’s next.
Continue reading to hear from the artist himself on the vision, the voice, and the future of The Shadow Self.
Here’s how it went:
Begin Interview:
Hello Nicholas Antonucci, we’re thrilled to have you here for this interview! We've had an amazing time exploring your music and diving into your creative journey. Now, we’re even more intrigued to get a deeper look into both your brand and your personal and professional inspirations.
Q. We loved the opening harrowing sound. The explosive rock sounds were exhilarating. Your voice is everything from soft to powerful and commanding. How long have you been singing, and was there a moment where you realized, this is me and how I want the world to see me?
A. Firstly, thank you! I've been singing since I was a child, but only within the last 6 or so years have I taken it seriously. I've gone through many creative "evolutions" to develop my sound - including fronting punk bands and heavier projects. My focus has always been on melody and lyricism to envoke a sort of "mystique". This iteration of the way I present myself is... recent to say the least.
Q. You sound like you were made for this sound. Would you say this genre found you, or did you find this genre?
A. I would say it found me. I've always taken to alternative styles of music. The darker, the better. As stated previously, I've fronted and performed in projects much different than The Shadow Self, but the heavier, darker aspects have always followed me.
Q. Were you always based in Phoenix, Arizona? How has the city influenced your musical journey?
A. No, actually. I'm originally from Ottawa, Canada. I've lived in many different places but I truly had my musical start in Austin, Texas as a child. My roots have since been planted here in Phoenix, however. We have a developing art and alternative scene here and I'd like to see where it goes. You just have to know where to look, because on the surface Phoenix can seem like it's lacking. I assure you, it is not. There are many emerging experimental and "non-conventional" projects popping up here, and I hope we can collaborate or share stages in the future.
Q. Has the fusion of hard rock, world music, and industrial elements always been your go-to for The Shadow Self’s sound? Do you see yourself exploring different genres in the future?
A. It definitely was the blueprint, yes. I enjoy many different genres and I certainly plan on expanding on these sounds. That being said, I'm also rather indecisive. I'm constantly wanting the next collection of works to be different or an evolution of what was. For example, the next song to be released is definitely more in the vein of an alternative stadium rock anthem, and the one to follow being more closely related to the first two singles. Who's the say what's after that? Maybe it'll be a hyperpop album.
Q. What motivated you to blend Eastern instruments with heavier guitar grooves? Was there a specific moment or influence that sparked that combination? What role do exotic instruments like the Sitar and Sarod play in shaping the overall sound of The Shadow Self?
A. "Eastern" sounds have intrigued me since I was child and I first heard the sounds of The Doors and The Rolling Stones. I didn't know it at the time but those songs (you know the which ones) would ingrain themselves into my creative process. I wouldn't say there was necessarily an "aha!" moment... I just know I wanted to explore that side of music as it's so vastly different than what we're accustomed to in the west. It's beyond music and melody. It's spiritual - and transcends what we'd call catharsis. I started listening to many Indian classical musicians to try and understand what it was that intrigued me so much, but what I found was that it was beyond intrigue - it was healing. I'm an anxiety sufferer through and through. I find the sound of the Sitar and Sarod (and instruments like them) to be very calming. Not only while listening, but while playing. I'll enter a trance-like state and my mind and worries leave me - even if only for a moment. They play a big role I'd say. At least in this current iteration of The Shadow Self. A few of the tracks have even started with basic ideas written on the Sarod and then turned into fully fleshed songs.
Q. Performing live with these instruments in front of audiences who may not have seen this before must be incredibly exciting! Can you share some of your experiences on stage, and how have audiences reacted to your music?
A. You know, I haven't had the chance to fully introduce these instruments into my live sets yet. My current shows have been more of your standard "rock show", if that means anything. Ultimately I'd love to set up some smaller, more intimate shows where I can truly expand upon these songs in an acoustic setting. These instruments can be rather tempermental and are very very sensitive to environmental changes. I'm very lucky to have a luthier who has agreed to help me troubleshoot them when needed, but with that being said - it would require a team to make that happen in a live setting. I'll make it happen sooner than later, though.
Q. Can you elaborate on the deeper message behind your track "Rebirth"? What does it represent for you personally?
A. "Rebirth" was my attempt at portraying what it would feel like to read The Kybalion while under the influence of psychedelics. I wanted to invoke a feeling of self-actualization and discovery - and throw it into a palatable and sensual track.
Q. How do you define the freedom that comes from rationalizing one’s reality through art?
A. The more you understand, the more you question. The more you question, the more you understand. As above, so below. The bug for knowledge is infectious. For me, it lends a deeper purpose to this life - and art is an extension and expression of one's life. To experience art (or to make it) is to be human. To go without it would the suicide of the soul.
Q. As a multi-instrumentalist, do you have a go-to instrument to start the foundation of your songs? How does that affect the final sound?
A. I almost always start with guitar. I'm a guitar player first, truly. All my guitars are in some strange tuning and unfortunately for me (and anyone who plays live with me) - every song is in a vastly different and bizarre tuning. I'll create tunings to mimic some of my world instruments and go from there. The world instruments usually become lead parts or layers to augment what would otherwise be a standard hard-rock composition.
Q. You mention constantly pushing the boundaries of sound. What drives that urge to innovate and experiment in your music?
A. Selfishly, it's the urge to impress myself. If I can break out of my standard songwriting habits and allow myself to be uncomfortable, and ultimately have that thing work? That's such an incredible feeling. If I can walk away from a project and say "Wow, I never thought that would work", I've won. (Fun fact: "Rebirth" started with an instrumental loop I recorded on an Esraj and had no intention of becoming a full song, but here we are.)
Q. What are your top 3 venues on your wish list to perform at?
A. Red Rocks is number one. So many groups I've admired have played there. Pompeii is another, for obvious reasons. I guess I haven't put much thought into what would be number three... It's not really a venue, more a festival. But for my fellow Canadians - I'd love to play Bluesfest someday if you'd have me.
Q. Outside of music, who or what has had the biggest influence on your personal growth or artistic perspective?
A. This is a tough one. I take parts of everything in my reality and apply it to my art... Mundane daily experiences, my spiritual readings, love, sex, sadness, bliss... It depends on what captivates me in the moment, or what I'm transfixed on. I will say, if you haven't gathered - I'm a very spiritual being. I'm also a very romance-centric person. Those two things being the biggest contributors creatively for me as of late.
Q. What do you want people to remember most about you after hearing this song and reading this interview?
A. That it only gets more unpredictable from here. I'm excited to share these pieces of myself with those who will lend me an ear. Be good to yourselves, and keep questioning.
Q. We can't thank you enough for sharing these intimate details! So, what's next? Can you give us the inside scoop on your upcoming projects and what fans should be excited about? We'd love to be the first to share the news!
A. Thank you so much for having me. I have more songs coming down the pipeline... Just awaiting finishing touches and then on to creating content surrounding them. I'm excited to announce I have two headlining dates here in Phoenix in the fall. October 25th at Desert Grey music festival, and November 30th (details to be announced surrounding that one).
Nicholas Antonucci, thank you so much, we appreciate you taking the time to talk to us!
End Interview
We’re happy to have shared Nicholas Antonucci’s exciting journey with you and uncovered such inspiring insights about their creative process.
