1st row: Ah (vocals) /  Keiko Komori (saxophone)
2nd row: Taku Yabuki (keyboads) / Tatsuya Yoshida (drums / vocals)  / Kengo Sakamoto (bass / vocals)
bottom insert: Kei Koganemaru (new guitarist!)

TUESDAY, JUNE 5th, 2018

CD / 2xLP / ULT-Edition / Digital Download
“Some bands you just have to hear. Japan’s KOENJIHYAKKEI (aka Koenji Hyakkei aka Hundred Sights of Koenji) are just such a band. Headed by vocalist / composer / drummer extraordinaire Tatsuya Yoshida (of the renowned bass and drum duo RUINS) and emboldened by overcharged reeds, glittery keyboards and a soaring front-woman speaking in somersaulting tongues, KOENJIHYAKKEI blend progressive rock, jazz fusion, symphonic rock and neoclassicism with the energy of hardcore punk, the volume of metal and the attitude of rock in opposition.”

Hi Everyone – 

My name is Mark and I’m the founder of SKiN GRAFT Records.The video up top is just a sample of the 62 minutes of music KOENJIHYAKKEI have recorded for “Dhorimvishka”, their first new album since 2005’s “Angherr Shisspa”. I’ve heard the entire thing and it is incredible.

Now – historically Koenjihyakkei’s albums have been issued on CD – and “Dhorimviskha” will continue in this tradition, however we’ve issued recent releases from Yoshida’s Sax RUINS and RUINS Alone on vinyl as well.  – But due to “Dhorimvishka’s” length, the sound quality would be greatly compromised if all 62 minutes were squeezed onto just two sides of a single Vinyl LP.

Unfortunately, despite all of the “vinyl comeback” hype, we’ve seen declines in the demand for physical formats of music year after year – so much so that many albums have not yet recouped their initial manufacturing and origination expenses.

So that’s where you come in. All of the songs have been recorded, mixed and mastered – and the album is already being scheduled for release digitally and on compact disc – but if you would like to own “Dhorimviskha” in a slick, deluxe Gatefold Sleeved Double Vinyl LP edition, here is your chance to help make that happen.

For the next two weeks, we’re asking for your help to fund the manufacture of a vinyl release of “Dhorimviskha”through a Kickstarter campaign created by SKiN GRAFT and KOENJIHYAKKEI.

A few key things to understand about

• Kickstarter is an all-or-nothing platform. If we don’t raise the funds before the end of the campaign, we get $00- and the album will will not be released on vinyl.

• If you pledge support, you won’t be charged until the end of the campaign, and even then – only if the campaign is successful.

• You actually get something tangible in return for the investment. We can accept pledges from all over and will ship rewards worldwide.

Even if you don’t have a turntable, you can pledge funds and get a the CD version or Digital Download in return. And you’ll get it before the official release date!

You can see a complete list of rewards, preview some of the artwork and make a pledge / pre-order at this direct link HERE. We’ll continue to post updates at the Kickstarter page as the campaign goes on.

The band and I appreciate that funding a campaign such as this requires a bit of a leap of faith. If the community sees us through to a successfully funded campaign, we’ll do our best to meet or exceed everyone’s expectations. Please help us spread the news, we’ve only got two weeks to see this through. Below are links to some assets that can be used to help get the word out.

Thanks Everyone!

Mark, Tatsuya and all of Koenjihyakkei
( Kengo, Keiko, Taku, Kei and Ah )

This news story was originally published here:
Henrik Nygren

Carchosa is a one-man progressive death metal band from Malmö in Sweden, founded by multi-instrumentalist Henrik Nygren who earlier this month dropped the self-titled debut album. Read what Henrik says about it in an interview for Prog Sphere.

Define the mission of Carchosa.

Continue to create inspiring and dynamic music, that first and foremost appeals to me, but hopefully attracts interest to other people as well.

Tell me about the creative process that informed your self-titled debut album and the themes it captures.

Usually I come up with a riff or a melody. Inspiration usually comes when you least expect it, watching a movie/tv-serie, reading a book or listening to music. Most of the time I also get a sense of what the lyrical content should be about. Then I try to get an image how I want the song to progress. I’ll check if I have another riff or melody lying around, or I try to come up with something that would fit into the mold so to speak.

What is the message you are trying to give with Carchosa?

Music is all about expressing emotion. So I guess the message depends a lot on the listener, how they embrace the music and interpret the lyrics. It would be very rewarding to know that my music has touched and inspired others in a positive way.

Carchosa - Carchosa

How did you document the music while it was being formulated?

I use the software Guitar Pro to keep track of riffs and melodies, and arranging the songs. I also compose the drum tracks in there and import them as midi files into the DAW I use for recording.

Is the dynamic flow of the pieces carefully architected?

Yes, very much so. I spend a lot of time thinking of and testing different ideas to get the songs as intriguing and dynamic as possible.

Describe the approach to recording the album.

When I started, my recording skills were quite limited, so I got help from a friend to show me the basics. The album was recorded and mixed by myself during 4 years at my home studio. Therefor my understanding of the recording process got better and better along the way. I then got some mix feedback from Tony Lindgren at Fascination street studios, before he did the amazing job mastering the album.

How long Carchosa was in the making?

The first riffs were written 6 years ago.

Which bands or artists influenced your work on the release?

One of my top favourite bands are Metallica, and especially the albums released in the eighties. I grew up listening to them, so they have definitely influenced me in some way. Dissection, Morbid Angel, Testament and Opeth have also been huge sources of inspiration for me since I started to listen to them in the early and mid nineties. I also listen a lot to movie soundtracks and try to incorporate that in my music. Hans Zimmer is a big favourite.

What is your view on technology in music?

The technological advances have made it very easy to record music by yourself and spread it to people all across the world, so that is obliviously a positive thing. But I am also a big fan of vinyl and analog equipment.

Do you see your music as serving a purpose beyond music?

Yeah, I hope so. Or at least I hope that people listening to my music feel the same satisfaction as I felt creating them. If that would be the case, I would be very honoured.

What are your plans for the future?

Another album for sure. But before that I hope we record an album with my previous band, a Symphonic metal act. We have just started talking about picking up were we left off, abruptly 10 years ago. A lot of material was written back then, but never recorded so I definitely hope we work something out.

Carchosa is out now; order it from Bandcamp. Follow the project on Facebook.

The Progzilla World Cup kicks off Monday at 19:30hrs (UTC+1) as 32 bands from the countries playing in Russia take each other on in the ultimate progressive music event!

Tune in at 7.30pm (UTC+1) to hear music from Russia, Saudi Arabia, Egypt, Uruguay, Morocco, Iran, Portugal, Spain, France, Australia, Argentina, Iceland, Peru, Denmark, Croatia, Nigeria, Costa Rica, Serbia, Germany, Mexico, Brazil, Switzerland, Sweden, South Korea, Belgium, Panama, Tunisia, England, Colombia, Japan, Poland and Senegal, all on Progzilla Radio! or

This news story was originally published here:

47 years ago, one of the most surreal and scariest albums ever came out on the Dawn label. I was only 23 years old in 2008 when I first heard Comus’ music on a progressive rock podcast, it just took me by surprise hearing the song Diana for the first time and I bought the album straight away. I wouldn’t say that my life changed, but it certainly took me to a whole new level discovering what is known as Acid, Psych, Pagan or Progressive Folk.

This wasn’t just Pete Seeger, Joan Baez, Bob Dylan, and the Kingston Trio, it was raw, in your face, and it gave me chills every time I listened to the album from start to finish. I would listen to it again and again and again. Comus’ debut is not for the faint hearted. This was something that came out of nowhere and I was hooked right from the start.

Now, ten years later, the good people at Esoteric Recordings have reissued this unearthed and unsung treasure, and among supporters, including Current 93, Lee Dorrian, Opeth’s Mikael Akerfeldt, and the late great David Bowie who was an early champion of the band, First Utterance is the album that refuses to die. The band’s music and lyrics weren’t about protest or traditional themes but went right to the core by tackling the subjects of mental illness, violence, and rape.

According to an interview in issue 12 of PROG Magazine with Lee Dorrian (Napalm Death, founder of Rise Above Records), Roger Wootton described that the inspirations came from the essence of Jefferson Airplane, Captain Beefheart, and The Velvet Underground.

Taking their name from the Greek God and John Milton’s masque in honour of chastity, Comus launched in the late ’60s when Wootton and Glenn Goring met at Ravensbourne College of Art in Bromley, where David Bowie himself studied. They performed regularly at The Arts Lab at 182 Drury Lane in London and Bowie appreciated what Wootton was doing, asking the band to be one of his supports at the Purcell Rooms in 1969.

Comus also admired what Bowie was doing and the direction he was going, and they appreciated the support he gave them. Comus played on the college circuit and appeared briefly in Lindsay Shonteff’s obscure 1970 film, Permissive, also providing the opening theme, incidental music and songs. The plot line of the movie is about a girl who comes to London and meets a friend named Fiona who is involved in a relationship with a bassist played by Alan Gorrie (Average White Band, Forever More). Violinist Colin Pearson would later work with Shonteff’s on the scores for two more films, Big Zapper (1973) and The Swordsman (1974).

Comus signed to Pye’s progressive label, Dawn Records, in 1970, also the home of Demon Fuzz, Heron, and Titus Groan, and recorded their debut album. First Utterance is one of those albums you might want to prepare yourself for, given the controversial subjects they tackle, and believe me, they are not easy topics, the insights are not pleasant and it might be a dangerous area that you want to stay away from.

John Milton once said, “The mind is its own place, and in itself can make heaven of Hell, a hell of Heaven”, and that’s what First Utterance does, it shows the listener those dangerous locations you need to avoid. The opening track, Diana features the eerie guitar slide that Glen Goring adds to bring some intensity, followed by Colin’s violin, Bobbie Watson’s vocals and Andy Hellaby’s bass, walking through the spider-webs on a loop.

Roger’s calm and snarling vocals deal with the character’s fate, picking up the pace before intensive percussion and violin signifies the victim’s reign of terror as she runs to find shelter before it’s too late. When you listen to the 12-minute composition The Herald, Watson’s vocals are at times reminiscent of Mellow Candle’s Alison Williams and Clodagh Simonds. It’s one of those pieces that feels like you’re walking through a forest at night, goosebumps and chills running down your spine. Wootton’s incredible half-speed guitar increases the tempo before Rob Young’s flute sets up a sun rising scenario, oboe giving us a quick view of a ghost town as Pearson’s violin takes us towards it through a dusty sandstorm. You can hear a pin drop. Roger’s theatrical performance on Drip Drip has a Quasimodo-like vibe, carrying the essence of Family’s Roger Chapman. He and Pearson duel between the rhythms and the melodies, racing towards the finish line and giving the band a chance to add some unbelievable folk-like improvisations, Roger and Colin’s guitar battling it out in the ring, Hellaby’s bass sliding and Watson’s howls nodding towards Zappa before Roger’s Munchkin-esque vocals cry out to the gods to being gentle.

Now Song to Comus, a disturbing Gothic fairy tale with a hopping and skipping dance thanks to the acoustic guitar introduction. It is perhaps one of the scariest songs tackling the subject of rape, Wootton pouring his heart out as his vocals go from calm to nightmarish terror, as if there’s no one to help the victim.

I feel that there is some acknowledgement of Anthony Burgess’ novel and Stanley Kubrick’s 1971 cult classic, A Clockwork Orange, where Alex and his droogs go into town and hurt people because they just don’t care, and of course Sam Raimi’s 1981 horror classic Evil Dead where Cheryl, portrayed by Ellen Sandweiss, is attacked and raped in the woods. Comus know how to tackle these controversial subjects and let the listener know that a dangerous monster is on the loose so you’d better get out of there as soon as possible because you’ll be next.

The Prisoner takes on the subject of mental illness, guitars suggesting the eerie scenario of going inside the asylums and meeting one of the characters sent there to be cured. It has suggestions of the case of actress Frances Farmer’s time at the Kimball Sanitarium where she was diagnosed with paranoid schizophrenia and given insulin shock therapy, before being committed again to the Western State Hospital after she physically attacked her mother, and Ken Kesey’s critically acclaimed play, One Flew Over the Cuckoo’s Nest. This is a person who wants to remain free from the hell that he’s in, the issues of paranoid, delusional confusion and shock treatment, Comus tackling it very well as while it has gentle surroundings, inside the asylums, it is not pleasant. The last minute and 57 seconds sees Comus raising the pace, Pearson laying down some violin work as the person frees himself from the hospital and runs away from the treatments and torture.

The four bonus tracks on this Esoteric reissue feature three songs that were on the Maxi-Single RPM release, containing Diana plus In the Lost Queen’s Eyes and Winter is a Coloured Bird. There is also a All the Colours of Darkness, which previously appeared in the 2005 box set of the band’s recordings, sung by Bobbie Watson. Acoustic and electric guitars slide back and forth with a melodic, waltz-like piano and mournful violin. Wootton’s guitars set up the snowy storm, Watson is almost like a ghostly spirit that has haunted this house for eternity, describing the chilling scenario before turning away from it, never to return.

When the album was released in 1971, it didn’t sell. Although NME and Time Out gave First Utterance generous reviews, it received negativity. But according to Comus, a postal strike might have been the reason why the album did not make an impact. The band split in ’72 until Virgin Records became interested, a second album, To Keep From Crying, being released in 1974, produced by Family’s Roger Chapman.

Nothing was heard from Comus until Opeth’s Mikael Åkerfeldt showed his appreciation, naming his band’s third studio album My Arms, Your Hearse after a line from Drip Drip, and their eighth album Ghost Reveries where the track The Baying of the Hounds is from a line in Diana. The band reunited, thanks to Mikael’s support and persuasion to get them back together for a performance at the Mellotronen Festival in Sweden ten years ago.

And Comus are still going strong. The 20-page booklet contains liner notes by Malcolm Dome, interviews about the history of the band, photographs, promos, programs, an ad for the Penny Concert tour, and a newspaper article about the band. Comus deserves more recognition, it is time to open the doors and give them the warm hand shake they deserve. First Utterance is still one of the scariest folk albums I’ve ever listened to, and ten years later for me, it still holds up.

01. Diana (4:35)
02. The Herald (12:10)
03. Drip Drip (10:51)
04. Song to Comus (7:29)
05. The Bite (5:29)
06. Bitten (2:18)
07. The Prisoner (6:17)
08. Diana (Maxi-Single Version) (4:24)
09. In the Lost Queen’s Eyes (2:50)
10. Winter is a Coloured Bird (8:01)
11. All the Colours of Darkness (7:21)

Total Time – 71:52

Roger Wootton – Lead Vocals, Acoustic Guitar
Colin Pearson – Violin & Viola
Glen Goring – 6-string & 12-string Acoustic Guitars, Slide & Electric Guitars, Hand Drums, Vocals
Andy Hellaby – Fender Bass, Slide Bass, Vocals
Rob Young – Flute, Oboe, Hand Drums
Bobbie Watson – Vocals, Percussion
Gordon Caxon – Drums (tracks 8-10)

Record Label: Esoteric Recordings
Catalogue Number: ECLEC 2629
Country of Origin: U.K.
Date of Release: 25th May 2018 (originally 1971)

Comus – Website | Facebook | Cherry Red Product Page

This news story was originally published here:

With the anniversary of the Manchester Arena attack not far behind us, this might be a good time to review the Tangekanic live release. Not to trivialise the atrocity in any way but because the album contains the most powerful and moving musical comment I’ve yet heard on the recent spate of horrific concert attacks. In between a selection of songs from the back catalogues of The Tangent and Karmakanic comes Sanctuary In Music, composed and performed by Andy Tillison. Now, some people think Mr Tillison’s voice is not the best in the world and it is true he is no Freddie Mercury, but there are times when a raw, honest, unaffected delivery of a lyric is what a song needs – and this is certainly one of those times.

A bit of background: In order to double their audience appeal The Tangent and Karmakanic joined forces and toured at the end of last year (I can see this taking off – anyone for Yes Club 7?). At the same time a crazy nutjob gunman opened fire on the audience at the Route 91 Harvest music festival in Las Vegas, killing 58 and injuring 851.

It was the worst mass shooting in U.S. history and came after the Manchester Arena bombing that killed 22 and the deadliest concert shooting of all time, Le Bataclan in Paris with a death toll of 130. When Tillison heard about the Las Vegas attack he scribbled some words together and performed the song at the Summer’s End festival, mostly just himself and a solo piano. He said:

“We were among friends wherever we went, and walking around the festival that day I just knew I had to say something about the special place that music holds for us and everyone in that audience. I went behind stage and scribbled some lyrics out and the band agreed to come on and join in at the end of the piece – which they’d never even heard on the first performance of it.”

In the hands of Roger Waters this would have involved a lot of swearing and manic screaming, his “Victor Meldrew on the verge of a nervous breakdown” schtick which, quite frankly, has become a bit wearing. That last album… pah! But Tillison performs it in a restrained, bitter-sweet style that lets the words speak for themselves. Over simple piano chords – A minor, F and the occasional tasty Bb major seventh – he expresses what I think most of us feel about the music we love, whether it’s prog, jazz or Ariana Grande.

“I claim sanctuary in music”, he sings. “It’s not a request; it’s a basic human right”, and he sings about a place we all can go to, a different kind of home “where the musings of the artists are similar to my own”. A place where we can lose ourselves in the sheer breathtaking, heart-lifting joy of music, whether from a little shiny disc or a collection of noughts and ones or live from a stage, in the company of like-minded celebrants wearing the same T-shirts and carrying the same pot-bellies. I am by no means a religious man but any spiritual moments I’ve experienced have been in a concert venue – frequently with the late Daevid Allen up on stage.

Because of music’s astonishing ability to inspire, to heal, to bring joy and banish pain, because a live concert is a celebration of creativity and a bringing together of people, the savage attacks seem so barbaric, so unfathomable, almost sacrilegious in their wanton destruction of something so beautiful and precious. How dare they invade our place.

Tillison’s song contains an unusual middle-eight – just 30 seconds of respectful silence. Just before that he sings the line that always brings a lump to my throat: “Dancing with their daughters for the last time”. I have two daughters and I want to dance with them until my ticker gives out, not when a sad sack of shit with a gun decides.

I wasn’t sure how to end this review, and I’m aware I’ve said very little about the other tracks on the album. But nothing else packs the same emotional punch as Sanctuary In Music and, quite frankly, everything else sort of fades to grey in comparison.

I think I can only say that I, too, claim sanctuary in music. And I’m thankful that I can share that sanctuary with artists whose musings are so similar to my own.

01. A Spark In The Aether [The Tangent] (5:41)
02. Doctor Livingstone (I Presume) [The Tangent] (12:13)
03. God, The Universe & Everything Else Nobody Cares About [Karmakanic] (25:48)
04. Sanctuary In Music [Tangekanic] (9:08)
05. Two Rope Swings  [The Tangent] (9:47)
06. Steer By The Stars  [Karmakanic] (14.42)

Total Time – 77:19

Andy Tillison – Keyboards, Vocals
Göran Edman – Vocals
Jonas Reingold – Bass Guitar, Pedalboard, Vocals
Steve Roberts – Drums
Luke Machin – Guitar, Vocals

Record Label: Reingold Records
Countries of Origin: U.K./Sweden
Date of Release: 11th February 2018

The Tangent – Website | Facebook
Karmakanic – Facebook

This news story was originally published here:

‘Epic’ has unfortunately joined the ubiquitous throng of overused words in our everyday language to the point that we hardly notice it is there any more. Frequently, humorously – and wrongly – used to describe everything commonplace from hangovers, car insurance to ‘fails’, it has become nothing more than a trendy, vacuous catchphrase empty of all meaning and significance.

With the release of Ship, the fourth studio album from the outrageously talented Yuka & Chronoship, the time has come to reclaim and restore the term to where it rightfully belongs. Ship represents the return of the epic. This is a work of majestic vision, a glorious triumph of expansive imagination married with technical virtuosity and gorgeous playing. It is, to my mind at least, their best to date and marks an impressive step forward in the band’s evolution.

Not that this should come as a surprise. Yuka Funakoshi always takes a satisfying holistic approach in the way albums are meticulously conceived and written. Their previous album, The 3rd Planetary Chronicles (2015), is a carefully crafted historical, philosophical and musical ode to the planet on which we live. It is a survey of the significant developments in Earth’s evolution, a sweeping vision covering not just the formation of the planets but the emergence of Earth, key steps in human history (Galileo, steam, The Industrial Revolution, the birth of radio) and also anticipates aspects of our future as well.

Ship takes this grand, epic sweep and goes further. The album opens with the unmistakable voice of Sonja Kristina (Curved Air) singing the repeated refrain “Where do we come from? / Where are we going?” Don’t be fooled. This isn’t simply a philosophical musing which runs in various forms throughout the entire album. It is also the opening gambit in what turns out to be a loving reimagining of the ancient Greek legend of Jason and the Argonauts in their heroic quest to find the Golden Fleece.

The opening seven tracks form an extended ‘suite’ of ‘Argo’ themed songs and immediately gives a clue to the ship oriented theme captured in the album’s title. I make no apologies for calling this suite epic. Intense, smouldering keyboard driven soundscapes create an imposing and profound sense of scale. The Ship Argos drips with heavy atmospheric guitar riffing, infused with smoky keyboard textures which in turn are supplanted by choral echoes before returning to the main theme, creating a spacious, lofty sense of mission and destiny.

Landing is layered with the most beautiful, growling Hammond-esque keys; dominated by arduous, strenuous, thumping drums above which a pained guitar adds an insistent and urgent voice. Listen for the menacing bass, hammering out an incessant rhythm. Listen also for the way it carries across tracks. A Dragon That Never Sleeps opens with the most delicious undulating and complex bass line off which some serious keyboards riff and a fantastic bluesy guitar lets loose, almost improvised in style. A fabulous bass solo segues to a foot stomping grandiose finale with thrash cymbal, majestic synths and a restive sense of denouement.

Even with the Argo suite complete, the ship theme continues across the remaining tracks despite a noticeable difference in the change of pace and atmosphere. The Airship of Jean Giraud is an impressively splendid expression of precise musicianship which shows just how tightly interactive the band are with each other. The tranquil interludes with flute accompaniment and laid back soulful guitar are delightful. Old Ship on the Grass is a change of pace again with a playful nod to the old sea shanty style songs, a light melody with a bouncy rhythm sung by the ship’s crew as they worked.

True epics take time to absorb; repeated telling allows the complexity and details to gradually sink in. Ship is no different. It doesn’t come easy and you won’t be putting it on for a quick listen. As a holistic experience it demands and requires repeated, sustained, focused attention. When the penny finally drops, the reward is an exquisite piece of supremely gifted musical storytelling born of a comprehensive vision and prodigious instrumental talent. Fantastic.

01. Argo – Tears of the Figurehead (1:55)
02. Argo – The Ship Argos (6:30)
03. Argo – Landing (5:48)
04. Argo – Golden Fleece (5:03)
05. Argo – A Dragon That Never Sleeps (7:09)
06. Argo – Islands in the Stream (3:53)
07. Argo – Return (2:04)
08. The Air Ship of Jean Giraud (6:17)
09. Visible Light (8:01)
10. Old Ship on the Grass (5:00)
11. Did You Find a Star? (9:06)

Total Time – 60:46

Yuka Funakoshi – Vocals, Keyboard, Piano
Takashi Miyazawa – Guitar
Shun Taguchi – Bass
Ikko Tanaka – Drums
~ With:
Hiroyuki Izuda – Vocals
Sonja Kristina – Vocals (tracks 1 & 11)

Record Label: King Records (Japan) | Cherry Red Records (World)
Catalogue#: KICS-3687 | YCUK004
Cuntry of Origin: Japan
Date of Release: 4th April 2018 (Japan) | 11th May 2018 (World)

Yuka & Chronoship – Website | Facebook | Twitter

This news story was originally published here:
Exclusive: GAIA Launches “Nebulous” Video with “Man vs. Robot” Concept

Progressive Metalcore project from India, GAIA, formed by young multi-instrumentalist Abhiruk Patowary, is dropping a debut music video for the song “Nebulos” today exclusively via Prog Sphere. The song is a part of the upcoming album entitled Aerial. Watch the video below.

“Nebulous” is a closing song on Aerial. Patowary explains, “I’m releasing it at the end because it has all the components you’d expect in the album; it is a summa summarum of what ‘Aerial’ represents. The day I wrote this track was also the day I started to plan the album.

The video for “Nebulous” was directed by Veil of Maya singer Lukas Magyar at New Industry. Patowary went on saying, “The video is about two people prejudicing a robot by beating him up and then the robot fighting back. ‘Nebulous’ is about a time when robots are capable of being a part of the society but it also has an alternate side of racism.

“Nebulous” features guest contributions from I Built the Sky guitarist Ro Han and Intervals drummer Nathan Bulla, along with vocal performances from Siddharth Nair and David Chunn.

Collaborating with each of these people was amazing since they are the best at what they do. All of them have influenced the direction of the track and have put their best in it.

Watch a video for “Nebulous” below, and follow GAIA on Facebook and Instagram for future announcements.

[embedded content]

This news story was originally published here:
Exclusive: GAIA Launches “Nebulous” Video with “Man vs. Robot” Concept

Progressive Metalcore project from India, GAIA, formed by young multi-instrumentalist Abhiruk Patowary, is dropping a debut music video for the song “Nebulos” today exclusively via Prog Sphere. The song is a part of the upcoming album entitled Aerial. Watch the video below.

“Nebulous” is a closing song on Aerial. Patowary explains, “I’m releasing it at the end because it has all the components you’d expect in the album; it is a summa summarum of what ‘Aerial’ represents. The day I wrote this track was also the day I started to plan the album.

The video for “Nebulous” was directed by Veil of Maya singer Lukas Magyar at New Industry. Patowary went on saying, “The video is about two people prejudicing a robot by beating him up and then the robot fighting back. ‘Nebulous’ is about a time when robots are capable of being a part of the society but it also has an alternate side of racism.

“Nebulous” features guest contributions from I Built the Sky guitarist Ro Han and Intervals drummer Nathan Bulla, along with vocal performances from Siddharth Nair and David Chunn.

Collaborating with each of these people was amazing since they are the best at what they do. All of them have influenced the direction of the track and have put their best in it.

Watch a video for “Nebulous” below, and follow GAIA on Facebook and Instagram for future announcements.

[embedded content]