Coming out this Saturday, September 22nd is a debut full-length album by Michigan progressive metal group Salvation’s End. Titled The Divine Wrath of Existence, the 12-track album is available for streaming in full exclusively via Prog Sphere ahead of its launch. Check it below.
Commented guitarist TJ Richardson, “The inspiration for ‘The Divine Wrath of Existence’ came from our love for bands within the progressive metal realm, and our desire to tell a good story. The creative process was pretty simple. I had a small collection of songs that had been written for the album and one bonus track. I sent the songs with rough drum ideas to Jeremy, who then programmed the drums, and once we finished drum tracking, Kane and I started to track guitars and bass in my home studio. After that, we brought in vocalist Rob Lundgren (who we discovered on YouTube) to sing on the album, which was awesome. He’s one of my favorite modern metal vocalists, and getting the chance to work with him was an honor.”
The Divine Wrath of Existence is technically a concept album which tells the story of a being called the Traveler. He’s lived for centuries and has seen the rise and fall of humanity multiple times, only to repeat the cycle again. The album covers topics that we as people tend to go through in one form or another. “The End of Innocence” was written about suicide, while “Crimson Sunrise” is about fighting for what you believe in.
Salvation’s End already have a few things in the works, including a cover song the band did with singer Rob Lundgren which will be launched soon. The group already has plans for the next two releases.
“We’ll be playing live as much as we can to support the record, and we hope to be able to tour and play some festival gigs soon,” Richardson concludes.
The Divine Wrath of Existence Track Listing:
Death of Reason
The End of Innocence
Separation of Mortality
The Demon Within
The Crossroads of Chaos
Climb the Cross
The Storm of 1888
The Divine Wrath of Existence
About Salvation’s End:
A project that’s six years in the making, Salvation’s End is a dark spin on progressive power metal. Founded by ex-Halloween guitarist TJ Richardson, songwriting for what would become the band’s debut album “The Divine Wrath of Existence” began in 2012. Most of the guitars were written by the time Kane Bochatyn joined in 2016 on bass and the rhythm section was fleshed out.
For the next two years, revisions and recording were completed and illustrious vocalist Rob Lundgren was brought in to complete the vocal tracks that appear on the debut. In 2018, Shane Baker was enlisted as the band’s drummer and the roster was complete.
Northern Star 20th September 2018.
Northern Star – Theme
- Shineback – Here I am
- Starfish64 – Tomorrow in Darkwater
- Leprous – From The Flame
- Farcry – Black Wind
- Aaron Brooks – Lies
- Mark Rowen – The Reason Why
- Scarlet Inside – FOrce to FOre
- Hillward – Life in Serigraph
- IQ – Leap of Faith
- Jet Black Sea – Escape velocity
- Encircled – Smiling on the inside
- Napier’s bones – The heights
- Delta Sleep – Sans Soleil
- BABAL – The involuntary reflex of the terminal bastard
- Edensong – End times in retrospect
- Phideaux – The Order of protection (One)
- The Hypersonic Factor – The intergalactic Treehugger
- Halo Tora – Unthank https://halotora.bandcamp.com/
- Koenji Hyakkei – Phlesstitighas
- Galasphere 347 – The voice of beauty Drowned
- Ambiazok – Bird King
- Hawkwind – The age of the micro man
- Sanguine Hum – The View Pt 2
- ARW (yes) – Awaken
Direct stream: http://stream1.hippynet.co.uk:8005/live
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Progressive rock instrumentalists GÖSTA BERLINGS SAGA from Stockholm, Sweden will be releasing their newest, 5th studio album effort entitled”ET EX” on October 12th, 2018 via InsideOutMusic worldwide.
Therefore, GBS are now launching a new single entitled “The Shortcomings of Efficiency”, which also features acclaimed Swedish guitarist Henrik Palm (formerly of In Solitude, Ghost, etc.) as special guest.
Check it out here: https://youtu.be/aUuGW9GWsnU
Or here: https://gostaberlingssaga.lnk.to/ETEX
GBS commented about the track as follows:
“During a period of time back in 2017 with no permanent guitar player, we had a series of productive and inspirational writing and recording sessions together with our friend Henrik Palm, known for his work in bands such as In Solitude, Ghost, Pig Eyes and most recently his awesome solo stuff under his own name. By adding Henrik’s 10,000W brain and genre defying guitar playing to the mix, the music was instantly led to darker places, creating an interesting synergy effect of energy and melodic outbursts.
To top everything off we asked Michael Berdan from the amazing NYC noise/industrial/hardcore duo Uniform (recently turned into a trio with the addition of Greg Fox of Liturgy and Zs) contribute with something out of the ordinary to push the song over the edge.
GÖSTA BERLINGS SAGA’s second single off the forthcoming album “ET EX” (release date Oct 12) – The Shortcomings of Efficiency – is one of the band’s most energetic songs to date, building on top of a different pillar than the first single while creating a whole of the eclectic GBS sound.”
Previously, GBS launched the album’s first single “Capercaillie Lammergeyer Cassowary & Repeat“ here: https://youtu.be/C9114EuateI
The “ET EX“ album was recorded throughout a year-long period from May 2017 until May 2018 in various studios with the help of producer Daniel Fagerström and mastered by Heba Kadry at Timeless Mastering (Björk, The Mars Volta). The album’s final track-listing reads as follows:
GÖSTA BERLINGS SAGA – “ET EX”:
1. Veras tema
2. The Shortcomings of Efficiency
3. Square 5
4. Over and Out
6. Capercaillie Lammergeyer Cassowary & Repeat
7. Brus från stan
Next to an initial Digipak CD format and the Digital Album format, “ET EX“ will also be available as 180gr. LP (with the entire album on CD as bonus) on black vinyl, but also as strictly limited runs on clear vinyl (100x copies via IOM webshop / CM Distro) and on silver vinyl (200x copies via the band directly).
Pre-order “ET EX“ it its various formats here: https://gostaberlingssaga.lnk.to/ETEX
Or here from the IOM shop: https://www.insideoutshop.de/Category/ET_EX/231?Page=1&PageSize=25&Sort=13
The music of GÖSTA BERLINGS SAGA is an incredibly dynamic Nordic instrumental adventure, tilting from melodic, starkly beautiful lines shimmering like an aurora borealis over the desolate Arctic tundra, to powerful and aggressive riffs reminiscent of glacier calves crashing into rugged Scandinavian fjords. Over the years the band’s music has been compared to King Crimson, Goblin and Radiohead, mixed into their very own and peculiar sonic universe.
GÖSTA BERLINGS SAGA was formed in 2000 in the Stockholm suburb of Vällingby, taking its bandname from one of the most famous works in Swedish literature, the debut novel of Swedish author Selma Lagerlöf, which was published in 1891. To date GBS have released 4 albums as follows: “Tid Är Ljud” (translated “Time Is Sound”) in 2006, “Detta Har Hänt” (translated “This Has Happened”) in 2009, “Glue Works“ in 2011 and most recentlly “Sersophane” in late 2016. While the latest release came out through the band’s own label Icosahedron Music, GBS have now teamed up with InsideOutMusic as new worldwide label partner to launch their upcoming, fifth studio album entitled “ET EX” on October 12th, 2018.
Stay tuned for more news on GÖSTA BERLINGS SAGA coming soon…
GÖSTA BERLINGS SAGA – Live 2018:
Sept 8 – Tivedstorp, Sweden – Electric Moon Fest
Oct 5 – Stockholm, Sweden – Slaktkyrkan
Oct 6 – Göteborg, Sweden – Truckstop Alaska
Dec 2 – Stockholm, Sweden – Södra Teatern + Henrik Palm
More dates to be announced soon…
GÖSTA BERLINGS SAGA – Line-Up:
Alexander Skepp – Drums & Percussion
David Lundberg – Fender Rhodes, Mellotron & Synthesizers
Gabriel Tapper – Bass Guitar & Moog Taurus
Rasmus Booberg – Guitars & Synthesizers
GÖSTA BERLINGS SAGA Online:
“Lament”, the new single off the upcoming, seventh studio album “Wasteland” (Out on InsideOutMusic next week, on September 28th, 2018) by Polish Rock masters RIVERSIDE is being launched today.
Check out “Lament” in a stunning video clip created by Tomasz Pulsakowski / Sightsphere here: https://youtu.be/4Wqlts7QWA8
Or stream the song here: https://Riverside.lnk.to/Wasteland
RIVERSIDE’s line-up and the credits for “Lament” are as follows:
Mariusz Duda – vocal, acoustic and electric guitar, bass, piccolo bass, banjo
Michal Lapaj – keyboards and Hammond Organ
Piotr Kozieradzki – drums
Music and lyrics by Mariusz Duda
Artwork by Travis Smith
Vider by Tomasz Pulsakowski / Sightsphere
You can also still listen to the album’s first single “Vale Of Tears” here:
And the second single “River Down Below” (full album version!) is available here: https://youtu.be/ZS1crIkpnwc
The track-listing for RIVERSIDE “Wasteland” album reads as follows:
RIVERSIDE – “Wasteland”:
1. The Day After
2. Acid Rain
3. Vale Of Tears
4. Guardian Angel
6. The Struggle For Survival
7. River Down Below
9. The Night Before
Next to the standard edition of “Wasteland“ as Jewelcase CD and Digital Album, the release will also be available as limited edition Mediabook CD (with extended booklet, a bonus track radio edit version of “River Down Below“ and a set of 3 stickers) and as Gatefold 2LP (on 180gr. vinyl with the album on CD as bonus and an Etching of the D-Side).
The various editions and limitations of the vinyl release are as follows:
Black 2LP+CD: Unlimited
Clear 2LP+CD: 100x copies / IOM Webshop Europe (Sold out!)
Silver 2LP+CD: 100x copies / IOM Webshop Europe (Sold out!)
Golden 2LP+CD: 100x copies / Laser’s Edge – IOM Webshop USA (Sold out!)
Lilac 2LP+CD: 200x copies / JPC Germany (Sold out!)
Dark Green 2LP+CD: 300x copies / Burning Shed UK (Sold out!)
White 2LP+CD: 300x copies / CM Distro Europe (Sold out!)
Pre-order “Wasteland“ in your format of choice of choice from the IOM webstore here:
Or from other locations here: https://Riverside.lnk.to/Wasteland
RIVERSIDE’s “Wasteland” marks the first studio album effort with newly composed music after the tragic passing of founding member and guitarist Piotr Grudzinski on February 21st, 2016.
RIVERSIDE will be embarking on the “Wasteland 2018 Tour” in October/November to support the release of their upcoming album. Here are the dates:
RIVERSIDE – “Wasteland 2018 Tour”:
12.10.2018 Gdansk (Poland) – B90
13.10.2018 Poznan (Poland) – Tama
14.10.2018 Wroclaw (Poland) – A2
16.10.2018 Katowice (Poland) – Miasto Ogrodów
17.10.2018 Lódz (Poland) – Magnetofon
18.10.2018 Torun (Poland) – Od Nowa
20.10.2018 Kraków (Poland) – Studio
21.10.2018 Warszawa (Poland) – Hala Kolo
30.10.2018 Berlin (Germany) – Kesselhaus
31.10.2018 Schorndorf (Germany) – Manufaktur
03.11.2018 Lisbon (Portugal) – LAV
04.11.2018 Madrid (Spain) – MON LIVE
05.11.2018 Barcelona (Spain) – Salamandra 1
06.11.2018 Lyon (France) – CCO
07.11.2018 Paris (France) – La Machine
09.11.2018 Manchester (UK) – Academy 2
10.11.2018 London (UK) – The Electric Ballroom
11.11.2018 Sint-Niklaas (Belgium) – Casino
12.11.2018 Utrecht (The Netherlands) – TivoliVredenburg
14.11.2018 Hamburg (Germany) – Markthalle
15.11.2018 Oberhausen (Germany) – Turbinenhalle 2
16.11.2018 Pratteln (Switzerland) – Z7
17.11.2018 Neunkirchen (Germany) – Gloomaar Festival
RIVERSIDE – Festivals 2019:
04.-09.02.2019 Tampa to Key West & Cozumel – Cruise To The Edge
More dates to follow soon…
Look out for RIVERSIDE’s “Wasteland” to come out next week…
Technical death metal act from Seattle, Orator launched their debut album ‘Kallipolis’ in July, inspired by Plato’s ‘Republic.’ Guitarist and singer Isaac McCormick talks with Prog Sphere about the record’s grand concept, influences, and more.
Define the mission of Orator.
Isaac: We’re here to write metal that we ourselves would want to hear from an upcoming band. We serve the music first and our egos last. We know what it’s like to hear an album and to connect with it in almost a psudeo-spritual manner. Music is the hand that lifts you up when life tears you down. It is the friend that is always there for you, understands you in ways that no other seems to; True satisfaction is knowing that we’ve written something worth listening to for years to come that will engrain itself in another’s soul, not something that we can flaunt like a merit badge for a few weeks as the flavor of the month then have it fade from memory. We’re here to grow as musicians and artists, not find what works, habituate, and rehash it until we fade away from irrelevance. We wish everyone to know we understand and value the time and attention spans necessary for people to give in order to listen to and digest music, and we assure you we’ve only just begun.
Tell me about the creative process that informed your recent album Kallipolis and the themes it captures.
I had just written a rough lyrical sketch I titled Disposable Youth when one of my friends put a copy of Plato’s Republic in my hands; I hadn’t read anything for a year or so, something I’m displeased with to this day, and once I started reading I devoured the book, taking every opportunity I could to read even if I was just standing in line waiting to order food. Once I finished the book I was revisiting the lyrical sketch, refining and building upon it, and the bulk of Emperor practically flowed from my brain through my pen as if I was merely observing the idea create itself. The rest of the concept was the same, that is, it practically created itself. Maybe that is redundant to hear, but the ancient Greeks believed that the muses were responsible for all creative successes; poets, musicians, playwrites, etc. would appeal to them before every creative endeavor in hopes that they might bless them with a masterpiece. Writing the music was the most difficult part as I refused to write anything that couldn’t or wouldn’t separate us from the general run of the mill.
Thematically, the titles/topics of the songs descend from the most powerful in a society to the least. The lyrics speak in advocacy of personal responsibility, as well as reason and resonablity. They also condemn the will to power and greed, as well as those that would embrace and pursue such. Plato states very clearly that no society will be free from its ills until the citizens of such free themselves from their selfishly superficial desires and tendencies, their lowest of natures. The album is titled Kallipolis, Kalli meaning ideal and polis meaning city-state or society, as a jest to the world we live in, where many would have us believe we live in the best society possible, and yet that couldn’t be further from the case.
What is the message you are trying to give with Kallipolis?
There are things vastly more important than yourself. So much is as it is because, short of self preservation, so many opt for complacency or ignorance rather than confronting that which plagues us head on. People would sooner stroke their egos than spend a minute, an hour, a day to try and improve even one less fortunate person’s existence. There is much that must be done, true, and one is no more than one human, but change always starts with what’s closest to ones reality and moves outward from there.
How did you document the music while it was being formulated?
Lyrics were always pen to paper, and I worked through at least 5, probably closer to 10 drafts for each track.
Musically I used my D.A.W (digital audio workstation) to record ideas as I worked them out, and then puzzle pieced them together as I heard things in my head. As with the lyrics I went through about 10 drafts for each track, usually starting with a foundational idea in the first and second and building on it with each following draft. Once I recognized I had the bulk of the song figured out I’d add lyrics and that would always help me finish the song.
Is the dynamic flow of the pieces carefully architected?
Definitely to a degree, though not as much as it will be with our next effort. I refused to have each track feel the exact same as it would dilute the impact of each individual track. If one is to pay attention, one will notice references in Perceiver to the songs that came before it, which also ties into the conceptual them, though that is the only instance of such.
Describe the approach to recording the album.
Marco had already recorded and sent us his drum parts, and we prepared all parts via demos before entering the studio. There was nothing that wasn’t already written when we entered, as we knew well ahead of time that our budget was extremely limited and could not afford to waste precious time on that which wasn’t written; in the end we could only afford a maximum of 20 hours, though I think it was actually 18. Thus it was necessary for us to have all parts practiced to a meticulous degree, and we spent many hours over many weeks prior to the studio practicing until our fingers bled.
How long was Kallipolis in the making?
From the time when I first knew exactly what the concept was to the final note being recorded in the studio, it took us about a year and a half. I spent a lot of time writing just lyrics, which were mostly finished by the time I realized I had a lot of preparation to do as a musician before confronting the lofty goals I had set for Kallipolis. I do not feel like I will have to do as much preliminary work for the next effort, though there is still some that is necessary for me to grow as a musician in preparation for the even loftier goals I have set for what’s next.
Which bands or artists influenced your work on the release?
My influential mainstays for certain, Behemoth – Evangelion, Cattle Decapitation – The Anthropocene Extinction, Fleshgod Apocalypse – Agony; I went and learned the entirety of Master of Puppets by Metallica as part of the preparation process and am sure that had an influence on the release. I also attended many a Seattle Symphony performance and found those very conducive to working through creative blocks or refining many an idea. A scale run in the “Perceiver” solo was directly influenced by Paganini. In that same line of thought, the composers I listen to most, Tchaikovsky, Beethoven, Chopin, and Prokofiev, greatly influenced how I approached song writing and song structure. It helped me transform ideas from a cycling of riffs into what I feel are compositions.
What is your view on technology in music?
I think it is entirely necessary at this point; how else are artists supposed to record music other than in analog, which is still a form of technology? I feel the question is asking if artists rely too much on technology when creating, to which I would say yes. It is often obvious to me when artists copy paste parts in studio rather than record them live. This I feel is cutting corners, and unless made necessary due to budget limitations, is just lazy. However, technology also enables many an emerging artist to create, release, and reach vastly larger audiences with their music in ways that were never possible before, and the gear necessary to do so is only becoming more and more affordable. Someone with internet connection in the furthest reaches of fucking Antartica could look up and listen to Kallipolis! Though technology is a double edged sword and has enabled the oversaturation of all music scenes/communities, as it is easier for one who is merely going through the motions to put something together, promote and release it, I’m certain matters will sort themselves out, and it is a necessary “evil” in order to create the circumstances necessary for those that write music “deserving” of being heard to reach as many people as possible.
Do you see your music as serving a purpose beyond music?
I certainly intend for it to and hope that it does! I advocated for taking better care of our environment and earth in general before listening to Cattle Decapitation‘s The Anthropocene Extinction, but after hearing that monster of a release, reading the lyrics, and realizing just how truely abhorrent our tendencies towards waste and pollution are I went from casual environmentalist to almost militant environmentalist. I would hope that everyone would read the lyrics I’ve written, and if even one person changes their mindset for the better because if it then that will be a success for me. As much as I might like to, I find it nearly impossible to write lyrics that aren’t about the present state of the world, as to make music is to invite an audience, and I feel to invite an audience and not direct attention to that which I feel ails us most is to direct attention away from such. There are many others that speak of the ills of society, just as there are many that don’t, and so my hopes is that when listening to our music people also feel compelled to think about their world and wether or not it is acceptable, or if they have just accepted what they’re told to accept.
What are your plans for the future?
Our main goal is to tour, and once we begin, save for regular health and sanity maintenance, never stop. Shorter term, we will have a lyric video releasing soon, if not released already, we are putting together a music video, and we have begun brainstorming for our next release hopefully to be out by the end of next year, budget and time constraints permitting. Personally, we intend to spend as much time as possible working to grow and evolve as musicians so that we can create the best music possible.