As Lord of the Lost prepares to unveil their bold new trilogy Opus Noire, guitarist Pi Stoffers opens up about the album’s creation, the inspirations that shaped him, and why Lana Del Rey might just be his dream collaboration. Interview conducted by Marta Antosz.
How much did Black Sabbath and Ozzy Osbourne shape your musical journey?
Funnily enough, you’re the first to ask that! I don’t remember exactly when I first heard Black Sabbath. I knew the song Paranoid and learned it on guitar as a teenager, but I didn’t realize at first that it was a Sabbath song. I just liked how it sounded and wanted to figure it out by ear.
As for Ozzy’s influence—honestly, it was more about his attitude than the music itself. I used to watch The Osbournes on MTV with my older sister, and some moments from that show still crack me up. Ozzy seemed like such a chaotic and loveable mess. I found it inspiring in its own weird way.
Who would you say was your biggest guitar inspiration—your “guitar hero”?
Without a doubt, Guns N’ Roses. I remember watching the November Rain video—Slash playing that solo in the desert, looking epic. That was the moment I decided I wanted to play electric guitar and take it seriously.
Stylistically, I don’t play like Slash anymore, but he was the start. Other major influences? Matt Heafy from Trivium, Mark Holcomb from Periphery—huge inspirations. Also Jack White, because I love how he experiments with sound and always manages to sound raw and vintage. And yeah, I listened to The Poison by Bullet For My Valentine on repeat as a teenager, so I have to give them credit too.
Let’s talk about Opus Noire. What did the creative process look like?
We didn’t set out to make a trilogy. That wasn’t the plan at all. At the start of 2024, we just knew we wanted to write a dark, melancholic, experimental album—very different from anything we had done before. A few songs were already written, but most came together from January on.
We started writing with zero constraints: no timeline, no genre box. We pulled chord structures from black metal (though the album doesn’t sound black metal) and were inspired by film composers like Danny Elfman—so, very theatrical and a bit twisted. There’s orchestration, choirs, classical instruments… but it all had to feel sinister and grand.
Eventually, we realized we had over 20 songs we loved. A single album wouldn’t cut it. We’d already done a double album (Judas), so we thought about a triple album—but that felt overwhelming. So we split it into a trilogy. That gave each part space to breathe and allowed us to shape each album’s unique vibe while keeping the whole thing connected.
Do you think the fans will see Opus Noire as a return to your darker roots?
Some might say that, sure. But we’ve always worn black—it’s not new! Blood & Glitter was bold and different, but it was still very much us.
Opus Noire feels like something new, though. While it borrows DNA from past works, it’s not a throwback—it’s an evolution. We’ve done things on this album we wouldn’t have tried five years ago. It might even bring in new listeners, because it’s such an ambitious project. But yeah, I also think long-time fans will feel very at home with it.
There are a lot of collaborations on this album. How did you decide who to bring in?
Across all three volumes, we have 15 guest features! Every one of them came together differently. Sometimes we met an artist at a festival and thought, “Hey, this person would be perfect on this track.” Other times, we wrote a song specifically for a collaboration—like Light Can Only Shine in the Darkness, which we wrote with Sharon den Adel from Within Temptation in mind.
Sometimes someone laid down a demo vocal and we were like, “Okay, you’re officially on this song now.” With Tina Guo, for example, we added cello to a track that was already finished—but once you hear her play, it just takes everything to the next level.
Technology helped a lot. We didn’t have to be in the same room to create magic—just lots of Dropbox folders, WeTransfer links, and Zoom calls!
Is there a dream collaboration you haven’t done yet?
As a guitarist? I’d love to play for Lana Del Rey. I know, it’s not metal at all—but I love her music. It’s some of the only music that fully zones me out. I’d either want to play guitar for her or somehow get her to sing on a Lord of the Lost track. It sounds impossible… but so did many things that eventually came true.
You’re based in Hamburg. How does that influence the band’s identity?
I’ve lived in Hamburg for 12 years. It’s a very open-minded, tolerant city. I think we carry that spirit into our music and presentation. We’re not just one thing—our music spans from classical to industrial to glam to blackened rock. We ask our listeners to be open, just like Hamburg is.
What can fans expect tour-wise?
We’re starting in Germany in October with Feuerschwanz on the Lords of Fire co-headlining tour. Then we’re heading to the UK and Ireland, followed by the U.S. and Canada. We’re also going to Australia before the 2026 festival season.
There’s still a gap in the schedule that would be perfect for a European tour—so yes, plans are in the works.
What guitars did you use on the album and which ones are coming on tour?
I exclusively play Cyan Guitars—custom, handmade instruments from a Hamburg luthier named Tom. I’ve got two offset Jazzmaster-style guitars, a long-scale 29″ baritone for our super low tunings, and a spare Flying V.
Also, there’s a white Gibson Les Paul Custom with gold hardware on the album. Not mine, sadly—it’s a friend’s. But it sounds and looks incredible.
With the release so close, what excites you most right now?
Right now it’s the anticipation. We’re about two weeks out, and while it’s “business as usual” on the surface, I know that very soon this music won’t be ours anymore—it will belong to the world. That’s both exciting and a little nerve-wracking.
Then comes the live part, which is its own beast. We don’t even know yet which of these songs will be great live. But I have a good feeling—this is a live album in spirit.
Any favorites from Opus Noire you want to highlight?
Bizarre Bizarre is definitely one—it’s probably the weirdest and one of the best songs we’ve ever written. I also love The Things We Do For Love. It’s super dynamic, with a lot of tempo and mood changes. But honestly, I’m proud of the whole thing.
You’ve played in Poland before—any memories from Castle Party or shows here?
Yes! Castle Party in 2019, I believe—right before the pandemic. Beautiful setting, though a logistical nightmare with the gear being pushed up the hill!
We’ve always had great shows in Poland—Warsaw, Kraków, Gdańsk. Especially the Progresja Club in Warsaw—we have a history there, including once being invited backstage by none other than Steve Harris of Iron Maiden and British Lion. So yeah, we’ll be back.
Thanks so much for your time, Pi. Looking forward to the show next year.
Thank you! See you then.