All posts for the month April, 2016

I’m delighted to announce that the podcast for edition 145 of Live From Progzilla Towers is now available.

In this edition we heard the following music:

  1. Prince – Let’s Go Crazy (Movie Mix)
  2. Paul Bremner – The Witness
  3. Krokofant – Sail Ahead
  4. Port Noir – Onyx
  5. Thrilos – Strange Images
  6. Einsturzende Neubauten – Ein Seltener Vogel
  7. Messenger – Oracles Of War
  8. Steve Howe – Nether Street
  9. Prince – I’m Yours
  10. Prince – Alexa De Paris (Extended Version)
  11. The Strawberry Republic – R.L.Z.T.N
  12. Andy Jackson – The Gyre
  13. Hawkwind – All Hail The Machine
  14. Hawkwind – The Machine
  15. Suspensión Solar – Sirio B
  16. Porcupine Tree – Arriving Somewhere But Not Here
  17. Stu Nicholson – Willow Way
  18. Prince – Purple Rain

iTunes/iPod users*: Just search for ‘Progzilla’ or subscribe to:


This news story was originally published here:

The most dangerous power trio of the Brazilian progressive rock scene is back! Joceir Bertoni (vocal/guitar), Ricardo Fanucchi (bass) and Bruno Pamplona (drums/vocal), collectively known as Imagery, retook the recordings of its new studio album at Play Rec Pause Studios in Londrina/Brazil.

Still untitled, this will be the second Imagery’s album, successor of the highly acclaimed “The Inner Journey”, that was nominated as one of the “Best Brazilian Metal Albums from 2012” by Dynamite Magazine.

To give a taste of what is to come, the trio had already launched the single “Blinded Nation” and now presents a new one: “People Say”.

[embedded content]

“This song was created from an intricate guitar riff”, says vocalist and guitarist Joceir Bertoni. “Although the tense sonority, this song is an example of the democracy that exists in Imagery, once I started to write it by myself and in the end it had a part of the lyric written and sung by Bruno Pamplona, besides the arrangements done by our former keyboardist, Henrique Loureiro”.

“People Say”, as the previous single, “Blinded Nation”, and the entire new album, has on production the signature of the respected Julio Anizelli (Mamaquilla, Terra Celta), with whom the group worked on the debut album.

This news story was originally published here:

The organisation of Progpower Europe have just confirmed the signing of Bulgarian post prog metal band Smallman.

Smallman is a Bulgarian band creating dark, experimental, ambient metal, influenced by the “Balkans” folklore. The bands identity comes from the Bulgarian native instruments -“gaida” and “kaval”. They bring a hypnotic atmosphere to balance the deep vocals, aggressive guitar riffs and bass lines, and outlined rhythms.

The band is formed in 2001 in the foot of the “Rhodope” mountain (area between Bulgaria, Greece and Turkey) which is one of the main inspirations for their work. Smallman held the same members for the past 11 years, without making a single change. With 3 self-released albums, the band stands as one of the most influential underground bands in Bulgaria. Smallman participated in major Balkan events including “Spirit of Burgas”, Bulgaria and “Best’Fest” in Romania. It toured Eastern-Europe in 2012, 2013, 2014 and 2016 when they visited Serbia, Romania, Greece, Slovenia, Hungary and Austria.

In early 2016, the band released music for a dark short animated film – “The Blood” – by the Bulgarian director Velislava Gospodinova. Its strong appeal to society against terror, war and violence won several awards from international film festivals.

This news story was originally published here:

What’s the story behind your band’s name?

David: We wanted a name that reflected our mentalities and the way we are. We’re Lost in the sense that we tend to find our path and direction in the almost total confusion that is our lives. Order through chaos, if you will. We see our music as Poetry. The lyrics and the songs are free and devoid of any thinking about how it’s “supposed to be”.

How did you guys form?

Petter: We both have a long history of playing in different bands. Ages ago we actually played together but that band dissolved and we went our different ways. Years later we stumbled upon each other when I played in a rock band that needed a singer. A common friend recommended one and suddenly David showed up! We had no idea that was going to happen and it was a great reunion. That was about three years ago and since then we’ve been pretty rigorous with what we set out to achieve. People came and went until we figured out that if we were to realize our goals, we didn’t need anyone else. The two of us could do everything ourselves. Even playing live. That’s when we formed The Lost Poets.

How would you describe your sound to a listener who had never heard you guys before? Forgive me if I’m wrong, but I hear a distinct 90s rock influence in your work.

David: No, we definitely have some influence from 90s rock. It’s not that we set out to sound like anything from that era, but it tends to seep through sometimes. We’re often compared to Soundgarden, AIC or Pearl Jam etc, so it could be worse…

Petter: Yeah, David is weird in the sense that he almost doesn’t listen to much music at all! I guess that the heavy riffs and melodies comes from something dormant in the back of his head. I, on the other hand, listen to a lot of different bands all the time, and that influences me from many directions. Maybe that’s one of the reasons we work so good together. We approach songs from totally different angles.

Your latest record Insubordia pt II has been really impressing me with its tight song writing and warm performance. What went into the making of this album?

Petter: Thank you. Yeah, a lot of sweat and tears went into realizing this vision of ours. After the Insubordia EP came out and was so well received, we set out to make a full-length album. We already had a handful of songs when we started recording and the rest of them came pretty quickly after that. This album differed in the way that we approached the writing. This time it wasn’t just David with an acoustic guitar getting some input from me. This time it was more of a joint venture. Sure, David still wrote stuff on his own, but together we’ve come up with a lot of stuff for Insubordia pt II. “In Filth” was written when we rehearsed and “Monomyth” came about when we were about to record “1000 MPH”. We just started goofing around with different instruments in the studio and it ended up with that we recorded it right there and then. For us, it’s all about feeling. We’re not masters of our instruments and maybe we never will be, but that doesn’t matter. What matters is that we’re good enough to do what we love and hopefully get our message across to people out there.

Insubordia pt II, true to its name, is a continuation of sorts from the first Insubordia record. What’s the correlation between these albums? Is there a larger message you would like to get across with this titled series of records?

Petter: That’s a great question that, oddly enough, we haven’t been asked before. It all revolves around the Insubordia universe where our TLP-characters are guardians of sorts. It’s all part of a greater story that would take up too much space in your magazine so let’s just say that, yes, the two records are connected. Even if the songs evolve, the overall feeling for us is that they’re sprung from the same place. Namely, Insubordia.

Insubordia 2

How much importance do you place on the lyrics in your music? Are there any songs here with particular significance to you?

David: As I’m the one who writes the lyrics I can say that I’m totally free in what I write. I never care about what is right or wrong, I just write whatever I feel like. Some of the things I write may sound incoherent, but it all makes sense to me. I can’t write what I think someone else might like so I just follow my own flow and, if you like it, nobody’s happier than I. One of my more straightforward songs, “As Long As I Am Conscious And Clear In My Mind”, bares a lot of significance to me. It’s a very fragile song about a dying man realizing that there’s more to life than he thought and he now regrets his choices. It’s a very personal song to me for many reasons that I won’t go in to here, but I implore everyone to listen carefully. I think it’s some of the best lyrics I’ve ever written.

What’s the live experience with the Lost Poets like?

Petter: We give it our all every time and we hope that the audience enjoys it as much as we do! Our motto is ‘Fuck it, let’s have fun!’. We don’t care if we miss a chord here or there, just as long as the feeling’s right and we enjoy ourselves on stage. Hopefully it’ll rub off on everyone else. In the end, that’s what’s important when we play live. We want the audience to have a good time. They’ve come out to see and hear us, so we’ll always give them our all.

Do you have any advice you might give to other musicians in your shoes?

Petter: Our best tip is don’t give up! If you really feel that you have what it takes and that you have a good product you’ll be fine. Just be prepared for that, in most cases, it takes a lot of time and a lot of effort. You need to have good songs, great timing, luck and people helping you out. You also need to work your ass off.


What’s the rock scene in Sweden like? Most of my experience of Swedish music has been had in metal, prog and jazz, but very seldom more compact forms of rock.

David: We have some pretty cool bands like The Hives, Opeth and Ghost, but all in all, the rock scene in Sweden is pretty limited at the moment. Especially in Stockholm.

Petter: Yeah, house “music” is the flavour here right now so we’re very fortunate to be even remotely successful internationally.

What lies in the future for the Lost Poets?

David: We have a lot on our table right now. We’re working on everything surrounding Insubordia Pt II and we’ve started putting together our upcoming short-film “Tales From Insubordia”. We’re also working on our children’s book aptly named “The Lost Poets”. On top of this, we’ve started writing songs for our third album.

Anything vital I may have missed?

We are to be featured in the new cult-film “Don’t Kill It!”. Directed by Mike Mendez and featuring Dolph Lundgren among others.

Last words for potential fans?

As usual we’d like to send our love to all the people who enjoy our music and thank them for supporting us and being a part of our journey.

All the best. Thanks for taking the time to respond to this.

All the best to you too! Thank you for showing interest in our music.

Follow the Lost Poets on Facebook.

Interview with THE LOST POETS is a post from: Prog Sphere – Progressive Rock News, Interviews, Reviews & More

The post Interview with THE LOST POETS appeared first on Prog Sphere.

This news story was originally published here:

How would you describe yourselves to a new prospective listener?

We like to describe Lifewalker as progressive hard rock set to a cinematic backdrop… so like mashing the 300 soundtrack together with Breaking Benjamin and Tesseeract battling to the death in the foreground.

What’s the story behind your band name?

Lifewalker was actually the original name for what evolved into “Diagnose Me” (the song) while we were writing for our old metalcore band. Once the old project disbanded I (Dan Halen) told Shane (lead song writer) that Lifewalker would make a much better band name than song name and that it encompassed everything that I loved about music. Every moment needs a song and most people relate certain songs to corresponding life events. Music walks with you through life. This is our Lives’ soundtrack.

How did you guys form? 

Everyone except for our singer Stephen Dodge was in a metalcore project for about two years together. Our singer at the time didn’t have the singing voice we wanted to evolve the band out of the two dimensions of metalcore and into the multi-faceted monster we wanted. The singer also happened to own the rights to the old band’s name and Facebook page, so we all quit. It was a round about way of kicking the old guy out. Shane and I (Dan) ended up writing most of the EP without a singer until we found Dodge. He was a Godsend.

Your EPK states you came together from the ashes of prog and metalcore bands in Virginia Beach. What was your experience of playing in these other bands like? How is playing in Lifewalker different?

Witness For Hope was a metalcore project the instrumental section of the band partook in during the height of the metalcore scene in Virginia Beach. Our friends in Honour Crest had just signed to Rise Records and gave the rest of the scene hope that they too could break out of the area. When Honour Crest broke up less than a year later, literally every metalcore band of that four-year era diffused within a two-month period. It was eerie. Back then it was almost guaranteed that every show every night of the week would draw a decent crowd. Now, with Lifewalker, it’s like we’re trying to reform the scene but not really finding our niche. We’re not heavy enough to play with really heavy bands (which account for a lot of what remains), and tthere is no rock/indie scene in Virginia Beach. We basically set up our own shows once every two months or participate in events like Lunatic Luau where we can open up for huge national artists. There’s no real in between.


Was there anything different in the writing/recording process between your debut Diagnose Me and the recent Rx EP?

The EP Rx, as I mentioned earlier, was written without any idea of what our vocalist was going to sound like. It was also our transition out of metalcore and into hard rock. On Rx, we kind’ve just rolled the dice and came out sounding great. The songs we recorded for the full length we had more of our identity down. We knew the range and dynamic ability of our singer, Stephen, and we wrote more around his abilities than just to empty melodies we heard in our heads. The full length is an extension of the EP and the entire album is a concept with a loose story line. It culminates in a 13-minute finale with a full orchestra and three separate movements. Dodge is spectacular on it and really shows off his wide range of talents. Both were recorded with Will Beasley at Valencia Studios in Baltimore (Paul Leavitt’s studio).

Both of your releases contend with the issue of mental illness. It’s definitely a heavy subject matter, and aptly reflected in your music’s tense atmosphere. What inspired this choice?

When Stephen was “trying out” to be our vocalist, the second song he worked on was “Hollow Vessels.” I (Dan) had already written lyrics for it that dealt with anxiety and feeling trapped inside your self, feeling like a vessel that was at the whim of those around him rather than a Captain in charge. Dodge has some familiar (as in family-related) experiences with mental illness and I think in the grand scheme of life, we all at times feel crazy or unbalanced and can also see that reflection in mainstream media, politics, relationships, and in our places of work. When Dodge recorded the pre-pro vocals for “Hollow Vessels” I almost wanted to cry, and then when he related the personal story surrounding it I was sold. This was our guy. We wanted both Rx and Diagnose Me to be a story mirroring a Chuck Palahniuk interpretation of Shutter Island while still involving personal stories that meant a lot to us. When Dodge recorded the lyrics to “Exodus,” I had lost a friend to a heroin overdose the day before unbeknownst to him. The lyrics so perfectly commemorated the girls passing that it was bone chilling.

What is your songwriting process? Is one person at the helm, or does it come together as a collaborative effort?

Shane Royer, one of the youngest of the band, is the prodigy behind the majority of the song writing. Shane records and records and records and sends us demo after demo. I (Dan) may rearrange a thing or two or add a part, but for the most part Shane is the centerpiece to our madness. When Dodge and I sit down and pre-pro vocals, that’s where I get to shine in layering things and getting a little crazy. The drums are almost always re-written by Pericles, who is one of our greatest blessings. Until our metalcore project he had never really played any kind of metal, just drum line and jazz. He adds a lot of groove that would not be present with a typical metal drummer. The whole group gets a say in every song though, which can be a huge ordeal at times. For the most part, we know when to fight for something or let things go. Shane wins a lot haha.

You’ve already opened for some big names. What’s your live experience been like?

About eleven months ago we got to open Virginia Beach’s Lunatic Luau at Farm Bureau Live. It was our fourth show and after getting off stage after playing for 2,000 people I got a “killer set” from Danny Worsnop of Asking Alexandria and We Are Harlot and the whole band got to spend most of the day hanging out with him and his bandmates while watching Papa Roach, Godsmack, and Slayer. It was definitely a very early peak haha. When we played Metalcore we would get VIP passes to Warped and get to hang out with Memphis May Fire and Attila but this was another level. Our next big break was opening for Nothing More who had, at the time, become one of our most beloved bands and was also writing a lot of meaningful music about mental illness and the state of the union and society. Best live performance we’ve ever seen (Shane and Matt go back and forth between Nothing More and Dream Theater to be honest). Locally, we’ve been blessed with playing some other big events with some scattered local shows, we did a 1,000 person physical EP release a few months ago (November) and are working on holding our spot for Lunatic this year.

Do you have any hopes for 2016 and beyond?

With the state of the music industry as it is, we’re hoping for an opportunity to be able to venture out on some decent tours and maybe sign with a label that believes in us and has the capacity to get us where we want to be. We are very blessed to have the unconditional support of our media and management team at Digital Thunderdome Studios (Scott Hansen and Desiree Connell) who are constantly pushing our music and image to everyone they know. Come September we’ll be making some week-long/weekend tours up and down the East Coast, recording some new music videos, and digitally assaulting as many people as possible with our music. If Nothing More would take us on tour in support of their new album we’d consider 2016 a win. I mean two bands whose hard rock albums deal with mental illness? #iknowjenny #hinthint

What have you been listening to these days?

Dream Theater, Periphery, Tesseract, Kamelot, Nothing More, Bring Me The Horizon, Monuments, Devon Townsend Project, Breaking Benjamin, Nine Inch Nails, Justin Bieber, Life On Repeat, all things Guthrie Govan, all things 90’s, new BTBAM all day.

What advice would you impart to other up-and-coming bands in your position? Any bits of wisdom you can give to other young musicians?

Be realistic with your expectations and your goals. What is your market? Are your songs good and who is telling you so? Are you sacrificing a large amount of your personal income chasing this dream? Can you sustain yourselves on your own? There is no dream anymore ladies and gents, no one gets “found.” You are a business and a commodity to the industry; can you maintain your integrity and still fit into that mold? If your answer is you don’t care, keep doing it.

Any words for present and future fans abroad?

Hello, we are Lifewalker. We want to live in your head, in your car, in your workplace to irritate your coworkers. We want to be in your bedroom when you hate everything or when you’re about to get laid. We want to give you purpose as you walk across campus or to the local coffee shop. We want to be your break up song, your song of loss and sorrow, your song of triumph and perseverance. We want to be the song you see in that action movie. We want you to know that things probably won’t be all that okay, but your self-perception and strength are all that is needed to survive and flourish. We are coming for you, and the Walkers will rise.

Follow Lifewalker on Facebook.

Interview with LIFEWALKER is a post from: Prog Sphere – Progressive Rock News, Interviews, Reviews & More

The post Interview with LIFEWALKER appeared first on Prog Sphere.