Hailing from San Juan, Puerto Rico, MATHS is a Progressive Metal band known for their effortless ability to blend complex elements of Progressive Metal with the heaviness of Stoner and Doom, the intricacy of Math Rock, and the improvisational flair of Jazz. Their upcoming release marks the debut of powerful new vocalist Mariel Viruet, and is heavily inspired by the concept of the Seven Deadly Sins. Set for an independent release on August 1, 2025, this album promises to be a bold and dynamic statement from one of Puerto Rico’s most boundary-pushing metal acts. We spoke together with guitarist Weslie Negrón and singer Mariel Viruet.
Welcome to Moths
So, first of all, welcome to Femme Metal Webzine, Weslie and Mariel. I want to ask you both, how are you doing, and how is this period treating you?
Mariel: Oh, thank you for having us. We are in an exciting moment right now with the band. I’m excited to be here. This is my second interview, so I’m a little nervous. Everything’s okay.
The production of “Septem”
You know, guys — the beginning of next month marks the release of “Septem”, Moths’ new album, and I wanted to ask: when did you start gathering the first ideas for it? Especially considering it’s Mariel’s first album, I imagine that brought a lot of different factors into play. It must have been quite a challenge, right?
Weslie: Sure, yeah. I mean, so the band started writing music for Septim. And I want to say, like in 2021, we’ve been holding on to these songs for a while. With our previous singer, Damaris, we started writing a couple of the lyrics for that as well. The basic concept of the record is around the seven deadly sins. But instead of just being a rock like a raw message against the religion or the shirt or whatever, I wanted to speak about it in a more psychological and more introspective kind of way.
The production of “Septem”, part 2
So when we sat down with Damaris to start writing the first few songs, she kind of like took it that way. Now, Damaris left the band in 2022 she moved to Puerto Rico. That’s why she left the band. And then we have Mariel joining the band, which we’ve, we’ve put her into the fires, and she got into the band. Her first show was the previous record, Space Force album release party, and then we did.
We played in Argentina, where we recorded Septum. And once we came back home, we went straight to finish the lyrics for these. I feel it was very interesting because Mariel adds a very different set of influences and a different style to what the money’s, you know, was doing.
Mariel: Damaris and I have different styles of singing, so it was challenging to come into the band.
Welcoming Mariel in Moths
I wanted to say that it was also big shoes for you to fill in.
Mariel: Yes. We have completely different singing styles, so I had to find a way to incorporate my style of singing and try to stay true to the band’s sound. So, yeah, it’s, it’s been challenging, but it has been fun.
Weslie: Well, yeah, I think we also were able to, like, for example, a song like “Wrath”, which was the second single. We have Mariel doing the soprano vocals, which, you know, the first time I saw Mariel singing was in a Nightwish tribute band.
So being able to see how she implemented that into our style, which is a style like symphonic metal, is not something that we, the guys in the band, listen to at all, but having her, you know, come up with the idea and, you know, like implement it in the way it was. It’s been very fun as well. But it’s also awesome to hear the final result of how you bash it together.
“Septem” is the most ambitious project of the band
You mentioned that Septem is your most ambitious project yet, and I wanted to ask you why. I mean, I know you went all the way to Romaphonic Studios in Buenos Aires, which meant moving from Puerto Rico to Argentina. That’s a big deal — especially financially. So I’d love to hear more about how that journey started, why it is the most ambitious project so far, and really, just why this album feels so major for you.
Weslie: Yeah, I mean, that’s exactly it. I think with Space Force, we really set a standard for how we want our music to be experienced. From the very beginning, we’ve been intentional about creating a full audio-visual experience. That means making sure the artwork connects with the music — high-quality visuals, well-thought-out videos, the whole package.
But of course, we’re still an independent band, and we don’t have label support. So this is something we’re funding completely on our own — and yeah, it’s a big investment. I’m not sure if you’ve seen the music videos yet, but…
Moths producing independetly the new videos
Yes, I have — and actually, that leads right into my next question. I’ve seen the videos, and they really align with the lyrics. You can tell everything has been carefully planned and thought through.
For example, Envy feels like a silent film from the early 20th century — visually very stylized, almost vintage. And in Gluttony, there’s this guy who’s constantly eating, but the focus isn’t really on him. It’s more about the food itself — the textures, the colors — and that kind of attention to detail stood out to me. It shows how intentional your visual storytelling is, and I really appreciate that.
Weslie:Yeah, yeah — definitely. And I think that’s where the ambition comes in: trying to stay as consistent as possible across the entire release, while also managing the financial side of things. It’s a balancing act.
One of the coolest parts of the process, especially for the Wrath video, was working with Mariel — she directed that video. We sat down together to really dig into the details, brainstorm ideas, and shape the visual concept. It was a creative and rewarding exchange, and I think it all came together in the end.
Yeah, I mean — I really love that video. It’s incredibly detailed, and in the end, it really captures what the song is about. Like I mentioned before, you can tell there was a careful, well-thought-out plan behind it. So first of all, congratulations on that — seriously, well done.
Moths raising the bar again
I also understand how tough it can be working independently. So I wanted to ask: how challenging was it to raise the bar this time around, compared to the previous album? Because we’re talking about two major things — recording in Argentina, and then filming these visually rich, concept-driven videos. As an independent band, pulling all of that off is a big achievement.
Weslie: Yeah, I mean, I can speak to the first part, but I’d love for Mariel to jump in — especially since this was her first time recording anything, which is a really interesting perspective. I feel like her work has just gotten stronger and stronger, especially after finishing the vocal sessions. But that’s something she can speak to better than I can, because I’ve been doing this for a while.
From my side, I think the biggest challenge came once we got the masters — that was back in May 2024. Then it was all about planning: deciding which songs to release as singles, working on the artwork, and developing the concepts for the music videos.
Moths raising the bar again, part 2
For the Gluttony video, I had to travel to LA to shoot it. And of course, we also had the whole Argentina trip, which was an amazing opportunity. We recorded there, and even played a show while we were down — it was a big moment for us.
Bit by bit, these incredible opportunities kept coming our way and helped push the project forward. It felt like a kind of perfect storm — everything lining up so we could bring this album to life with as much clarity and intention as possible.
Something that you call an extra connection, in a way.
Weslie: Yeah, yeah — for sure. I just want to say how thankful I am that we’ve had people supporting us — people who genuinely believe in what we’re doing, and who are willing to step in and help however they can.
That’s exactly what happened with the MV videos — Rob was a huge help in making that come together. So yeah, it’s been a challenge, but it’s also been super rewarding.
And honestly, part of me wants to say, “We’re almost done!” — but another part doesn’t want it to end, because that means we’ll have to start thinking about the next record already! [laughs]
But yeah, I’ll let Mariel talk about her experience too, since this was her first time stepping into all of this.
Mariel’s background
Mariel: Yeah, before I joined the band, I was singing jazz and doing musical theater. I also had a Nightwish tribute band where we focused on Tarja’s era, so my vocal style was rooted in that kind of symphonic, classical approach.
At some point, Damaris left the band, and they started looking for a new vocalist. I knew Wesley from way back — we studied together at university. He reached out and asked if I’d like to audition.
At first, I was hesitant. I told him, “I don’t think I’m the right fit for this band — I don’t sing that style, and I’ve never done extreme vocals.” But he encouraged me to give it a shot and see what happened.
So I did — and they ended up choosing me. That’s when my whole journey began. I had to start learning how to do extreme vocals from scratch. And honestly, I picked it up in like a month or two. It was intense, but super exciting.
Mariel’s background, part 2
Yeah, congratulations.
Mariel: Thank you. And it was really challenging for me because, as I said, Damaris and I are so different, yeah, in our style.
Considering your background, Mariel, you sang in a Nightwish tribute band, you performed in jazz bands — I think all those different experiences come together to form a bigger picture. At first glance, it might not seem like a perfect match for Moths’ musical style. But when you step back and look at the full picture, you realize: “Actually, I have a bit of everything this music needs.”. So in the end, it makes total sense — you really are the right person for this role.
Mariel: It was exactly like that for me, because in the process, I may have my doubts about how I fit here. I’m so different from what they have already done. But then, when the product is finished. When the album was recorded and everything was finished, then it all made sense.
Blending musical genres
Yeah, I think so too, because I’ve been listening to the album recently, and to be honest, jazz has never really been one of my favorite genres. I’ve always found it a bit difficult to connect with — maybe that’s just me. It’s one of the few styles I’ve struggled to appreciate. But when it’s blended with metal, stoner, doom, and this whole wide palette of subgenres, it works.
And for that kind of mix, you need someone who’s vocally flexible — someone who can move across all those different styles with confidence. If you had only the typical lyrical, Nightwish-style soprano — like that early-2000s sound, I honestly don’t think it would work with a band like Moths. It would feel like something’s missing. I’m not sure how to explain it exactly, but… yeah, that’s just how I see it.
Blending musical genres, part 2
Weslie: Yeah, it makes sense. Honestly, when we’re working on the instruments and writing the music, sometimes we’re like, “What the f*** are we even doing? How does this fit with anything?” Then we think about Mariel—or back then, with Damaris—when we were writing the record, we were like, “Damaris is going to have a tough time figuring out where to place everything.”
And then when Mariel had to write her parts, we were like, “Alright, let’s see what happens.” Honestly, I struggle a lot with writing lyrics, so figuring out where the vocals should go is really difficult for me.
But I have to say, her work has been amazing. She’s been with the band less than a year and managed to create a record—and deliver a performance—that’s one of the highlights of the whole album.
The Seven Deadly Sins according to Moths
I want to ask you about the album — it’s centered around the theme of the seven deadly sins, which is a topic with many layers. You could approach it from a religious perspective, analyzing it through that lens. Or you could look at it from a psychological or sociological angle. How did you approach this theme? It’s loaded with significance, and I imagine it was a real challenge to find the right way to express it.
Weslie: Yeah, I mean, the concept came to me more than ten years ago. I was in a different band at the time, and I remember wanting to do something around the seven deadly sins with them. But they weren’t really into the idea, so I just shelved it — kept it in the back of my mind, thinking maybe I’d revisit it down the road.
Then I came across this National Geographic article that talked about how the Catholic Church assigned different demons to each of the seven deadly sins. And it instantly clicked: “This would make an amazing concept album.” I imagined creating artwork for each demon and building a visual and musical world around that idea.
The Seven Deadly Sins according to Moths, part 2
But back then, I think my approach would’ve been more of a direct critique — almost like an attack on the Church. Now, though, I think that perspective has evolved with time and maturity.
I don’t write the lyrics myself, but I remember having conversations with Mariel, Jonathan (our lead guitarist, who also co-wrote two of the songs), and even Damaris. I said, “Instead of just turning this into a straight-up criticism or an anti-religious statement, why don’t we explore how these sins reflect who we are as human beings?”
The idea is that we’re born with original sin — that darkness is part of human nature. So, rather than just calling it out, we wanted to reflect on it. What are we doing when we fall into gluttony, envy, or pride? What roles do these sins play in our daily lives, consciously or unconsciously? Especially in the kind of violent and cruel society we live in.
The Seven Deadly Sins according to Moths, part 3
I’m not saying we’re trying to be some ultra-positive or moralistic band — not at all. But the goal was more about understanding each sin, reflecting on how we are affected by it, and maybe finding ways to counteract it in our behavior.
So yeah, that’s the mentality behind the album — not to preach, but to provoke thought, to look inward, and hopefully inspire some kind of growth or self-awareness through the music.
A different perspective, part 1
I like that approach — it creates space for self-reflection, you know? It allows you to put a piece of yourself into the concept. Honestly, it would’ve been easier to just stand here and attack the Church. I mean, I’m Italian, so for me, it’d be the classic thing: list the seven deadly sins and go straight into criticism. But that’s kind of a cliché at this point. I think there’s a real need for a different perspective — one that makes the topic more relevant, more human, more current. And I appreciate that you chose to take it in that direction.
Weslie: With our previous records and songs, we didn’t have a specific theme or message we were trying to focus on. Like I mentioned before, Damaris used to write most of the lyrics, and there was a mix of topics — things like depression, loneliness, heartbreak. Then we had a track like Space Force, which was more of a satirical take, kind of poking fun at Donald Trump’s announcement about the actual Space Force.
A different perspective, part 2
So yeah, it was a bit all over the place thematically. But I feel like, at this point, we’re in a different place, at least in my opinion. I think now is the time to really start talking about real emotions and real experiences, instead of always relying on abstract or fantastical stories. We’re living in a really intense and unique moment in history, so why not reflect on that? Why not talk about what actually impacts us as human beings? And as Puerto Ricans, there’s so much we could speak about — so many things that are directly affecting our lives and our communities. It just feels more meaningful.
The upcoming tour in the US
I also wanted to mention that you’ll be touring the U.S. at the end of July, which is another huge milestone you’ve achieved.
Weslie: Yeah, we’re excited! We were just talking about it the other day — like, “I need to get off the island for a bit!” This will be our first tour since 2023, and it’s the most extensive one we’ve done so far. We’re wrapping it up at the Summer Gloom Festival, which is a doom festival happening in Somerville, Massachusetts. We’ll be playing alongside Sumac, Morne, and a bunch of other amazing bands, so we’re super pumped for that. And after that, we’re heading to Mexico in November — so yeah, lots of exciting things coming up!
Nice, Mexico in November, then.
Weslie: It’s going to be interesting — I’m really looking forward to seeing how people react once the album comes out. I honestly can’t wait. And then… Europe!
Probably Europe….
Are there any plans for Europe?
Weslie: We were supposed to play at Wacken, but yeah… We had competed in the Metal Battle — the Battle of the Bands — and we ended up coming in second. So we were planning to visit Europe for the first time, and if things had worked out, we would’ve been leaving next week. Hopefully, next year instead. Like we mentioned before, the biggest challenge as an independent band is the economics of it all.
Visas & Co.
And I don’t even want to start talking about visas. Yeah, because I know things are starting to get really dramatic in the U.S. right now. Just yesterday, I read that a progressive rock/metal band—Vanden Plas, I think—had to cancel something… not sure if it was PowerProg or something like that. So yeah, I’m starting to get a bit concerned about how you guys will handle the whole situation, especially with everything going on—like the craziness around Ramp and all the politics affecting visas. It’s just another challenge, you know?
Weslie: For sure. I mean, as Puerto Ricans, we do have U.S. citizenship, so we can go back and forth without much issue. But that doesn’t protect us from potential racist attacks. A lot of people in the States don’t even consider Puerto Rico to be part of the U.S.—and to be honest, some of us don’t feel like we are either. We identify more as Latinos, you know? It’s a complicated and interesting topic.
Visas & Co., part 2
But yeah, if we can find someone genuinely interested in bringing us over to Europe, and we can plan things properly, we’d love to do it. That’s always been one of those milestones for me—something I’ve dreamed about since the early days, even before the band was formed. We used to fantasize about playing in Germany, maybe even touring other countries over there. I don’t know… Hopefully next year, or maybe 2026. We’ll see.
Closing words
Thank you for taking the time to speak with me. I appreciate it, and I hope you enjoyed the conversation as much as I did. Thanks again for chatting with me.
Weslie & Mariel: So thank you so much. And yeah, probably we’ll see each other in Europe. I don’t know for sure. I’m crossing my fingers for you guys. Thank you. Thank you for your time and your interest.