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All posts for the month January, 2019

Edition 177 of Sounds That Can Be Made is now available as a podcast!

Playlist:

Albion – You’ll Be Mine (from You’ll Be Mine)
Lo Moon – All In (from Lo Moon)
Mauricio Ibáñez – Land Of The Fools (from Off To A Better Place)
The Dark Third – The Dreams of Lesser Men (from Even As the Light Grows)
Bomber Goggles – Land Of Plastic (from Gyreland)
Anubis – Hitchhiking to Byzantium (from Different Stories)
Midas Fall – Glue (from Evaporate)
Lux Terminus – The Courage to Be (from The Courage to Be)
Jet Black Sea – Escape Velocity (from The Overview Effect)
Electric Mud – Through The Gates (from The Deconstruction of Light)
Echoes of Giants – Stand Beside Me (from The Way To Us)
Gazpacho – Sky Burial (from Soyuz)
Kingcrow – Everything Goes (from The Persistence)
Coma Rossi – Jomolungma Is Far Away (from Coma Rossi)
Oak – These are the Stars We’re Aiming For (from False Memory Archive)
IO Earth – Madness (from Solitude)
Antimatter – Between the Atoms (from Black Market Enlightenment)
Crippled Black Phoenix – Slow Motion Breakdown (from Great Escape)
Anima Mundi – Her Song (from Insomnia)
Auri – Aphrodite Rising (from Auri)
Zoungla – Tune Out the World (from There Will Be Dub)

This news story was originally published here: http://www.insideoutmusic.com/newsdetailed.aspx?IdNews=22601&IdCompany=8

Canadian heavy music artist Devin Townsend has recently announced the release of his forthcoming new album ‘EMPATH’ for the 29th March 2019.

He also revealed that in the lead up to the album’s release, Devin will walk fans through how Empath came together with a series of documentary episodes recorded as phone conversations during the course of the albums recording.

Watch the first episode of that series here: https://youtu.be/y4sJ8odko2Y

Devin previously commented: “Hello everybody, this is Devin Townsend and I would like to formally announce that after almost a year and a half of working, I have finished Empath. Now this record has taken me down a lot of very interesting psychological and technical avenues and the process was documented from the very get-go by a series of documentary videos that I have done, that outline everything from the gestation of the idea to the actualisation of it, through all the existential ups and downs that went on. As such this record is different to any record that I have released thus far, and trying to get people on board for what it is versus what it isn’t, I think needs to be dealt with in a different way.
Stay tuned for the making of Empath – the video series.”

Over the past few years, the success that Devin has slowly worked for has fortunately come with the power to control his own creative destiny. The recent successes with the DVD from a sold-out Royal Albert hall, or his 2012 ‘Retinal Circus’, or last year’s ‘Ocean Machine’ live DVD with the Orchestra and Choir of State Opera Plovdiv has put him in a position where with the new album ‘EMPATH’, he will once and for all define himself as a musical force outside of any particular genre classification.

On this album Devin has decided to see what would happen if all the styles that make up his current interests were finally represented in one place. To finally shake the fear of expectation, and just do what it is he was meant to do creatively, EMPATH, true to the name, is about allowing the audience a feeling for a variety of musical emotions. The musical dynamics represented on this single album are broad, challenging, and immense. To approach this sort of work with a long history of what makes heavy music ‘heavy’, allows this to be done with a type of power rarely heard.

Joining Devin on this album is Frank Zappa alumni Mike Keneally as music director, as well as Morgan Ågren (Mats And Morgan, Frank Zappa, Fredrik Thordendal), Anup Sastry (Monuments, Periphery), Samus Paulicelli (Decrepit Birth, Abigail Williams), Nathan Navarro, Elliot Desagnes, Steve Vai, Chad Kroeger, Anneke Van Giersbergen, Ché Aimee Dorval, Ryan Dhale and the Elektra Women’s Choir.

A bold statement with massive production values and dynamic, uncompromised musicality. This is a statement about not only pursuing creative freedom in a conservative scene, but also trying to show that heavy music is truly a valid musical tool.

‘EMPATH’ will be released on Limited 2 CD Digipak (including an entire disc of bonus material), Standard CD Jewelcase, Gatefold 180G 2LP Vinyl + CD + LP-booklet & as digital album. The full track-listing is as follows:

  1. Castaway
    2. Genesis
    3. Spirits Will Collide
    4. Evermore
    5. Sprite
    6. Hear Me
    7. Why
    8. Borderlands
    9. Requiem
    10. Singularity Part 1 – Adrift
    11. Singularity Part 2 – I Am I
    12. Singularity Part 3 – There Be Monsters
    13. Singularity Part 4 – Curious Gods
    14. Singularity Part 5 – Silicon Scientists
    15. Singularity Part 6 – Here Comes The Sun


Last year Devin announced a special ‘An Evening With’ tour that would see him performing acoustically, as well as taking part in a fan Q&A at each show.

The full list of dates are as follows, many of which are already sold out:
7th March – The Piano Man Jazz Club, New Delhi, India SOLD OUT
8th March – Levi’s Lounge, Mumbai, India SOLD OUT
29th March – Savoy Theater, Helsinki, Finland SOLD OUT
30th March – Savoy Theater, Helsinki, Finland SOLD OUT
31st March – Sodra Teatern, Stockholm, Sweden SOLD OUT
1st April – Edderkoppen, Oslo, Norway SOLD OUT
2nd April – Bremen Theater, Copenhagen, Denmark
4th April – PassionKirchhe, Berlin, Germany
5th April – Stodola, Warsaw, Poland
6th April – La Fabrica, Prague, Czech Republic SOLD OUT
7th April – Freiheiz, Munich, Germany SOLD OUT
9th April – Kulturkirche, Cologne, Germany SOLD OUT
10th April – Grunspan, Hamburg, Germany
11th April – Bravo Kerk, Haarlem, Netherlands SOLD OUT
13th April – Reading 3, Tel Aviv, Israel
24th April – Bush Hall, London, UK SOLD OUT
25th April – Bush Hall, London, UK SOLD OUT
26th April – St George’s, Bristol, UK SOLD OUT
27th April – City Varieties, Leeds, UK SOLD OUT
29th April – Jam House, Edinburgh, UK SOLD OUT
30th April – Glee Club, Birmingham, UK SOLD OUT

Remaining tickets can be found here: https://bnds.us/hotp9q

Devin’s varied back catalogue is also being celebrated with lavish vinyl box-sets under the name of ERAS. Having already released parts 1 and 2 earlier in early 2018, the end of the year saw the release of part 3, which features some of his most recent work with Devin Townsend Project, including the albums ‘Accelerated Evolution’, ‘Epicloud’, ‘Sky Blue’, ‘Transcendence’ & the first ever vinyl release of the second part of the DTP’s now legendary Royal Albert Hall show. Order your copy of this deluxe 10 LP box-set here: https://devintownsendproject.lnk.to/ErasIII

DEVIN TOWNSEND online:
http://www.hevydevy.com
http://www.facebook.com/dvntownsend
http://www.omerch.com
https://twitter.com/dvntownsend
https://www.instagram.com/dvntownsend/
https://www.youtube.com/user/poopynuggeteer/featured

INSIDEOUTMUSIC online:
www.insideoutmusic.com
www.youtube.com/InsideOutMusicTV
www.facebook.com/InsideOutMusic
www.twitter.com/insideouteu
www.insideoutshop.de

Use the online HTML, CSS, JS tool collection to make websites like a piece of cake.

Edition 176 of Sounds That Can Be Made is now available as a podcast!

Playlist:

2001: Marillion – This Is The 21st Century (from Anoraknophobia)
2002: Porcupine Tree – Trains (from In Absentia)
2003: Mostly Autumn – Passengers (from Passengers)
2004: Blackfield – Blackfield (from Blackfield)
2005: Spock’s Beard – The Ballet Of The Impact (from Octane)
2006: The Dear Hunter – 1878 (from Act I : The Lake South The River North)
2007: Mystery – Beneath The Veil Of Winter’s Face (from Beneath The Veil Of Winter’s Face)
2008: Frost* – Pocket Sun (from Experiments In Mass Appeal)
2009: Breathing Space – Questioning Eyes (from Below the Radar)
2010: The Pineapple Thief – 3000 Days (from Someone Here Is Missing)
2011: Touchstone – The City Sleeps (from The City Sleeps)
2012: Riversea – Out Of An Ancient World (from Out Of An Ancient World)
2013: Cosmograf – The Man Left in Space (from The Man Left in Space)
2014: IQ – The Road Of Bones (from The Road Of Bones)
2015: Gazpacho – Molok Rising (from Molok)
2016: Kyros – Technology Killed the Kids II (from Vox Humana)
2017: IT – The Path Of Least Resistance (from We’re All In This Together)
2018: Shineback – Kill Devil Hills (from Dial)

It gives me great pleasure to say that The Ancient One Show No 99 is now available as a podcast. This is part 1 of The Ancient One’s Best of 2018..The Long Ones.

Playlist

1 The Nice – Brandenburger (excerpt use as the intro) (The Immediate Collection 3cd boxset)
2 The Windmill – The Tree (Tribus 2018)
3 Damanek – Big Eastern Pt 1-3 (In Flight 2018)
4 Malady – Nurja Puoli (Toinen Toista 2018)
5 Sunchild – Victory Voyager (Messages From Afar 2018)
6 Ring Van Mobius – Past The Evening Sun (Past The Evening Sun 2018)
7 Yuka and Chronoship- Argo Pt 1-7 (Ship 2018)
8 The Tangent – Excerpt From Eco-Oceans 2018)
9 The Nice – Brandenburger (excerpt use as the outro) (The Immediate Collection 3cd boxset)

THE PROGRESSIVE TRACKS SHOW #296 
(Music That Will Change You)

Music has the power to change you… if you only listen.

This week’s playlist contains powerful tunes that will suck you in, and leave you… well, different.

Remember, you can access podcasts of any previous Progressive Tracks Show at: http://www.progzilla.com/?s=progressive+tracks (there are 135 now!).

PLAYLIST:

  • Patrick Grant – “To Find A Form That Accommodates The Mess” from A Sequence of Waves on Peppergreen Media
  • Resurrecting Id – “Deep and Wide” from Ephemera on Resurrecting id
  • Kanaan – “The Groke” from Windborne on El Paraiso Records
  • Deep Space Destructors – “Psyche Remade” from Visions From The Void on Deep Space Destructors
  • Onségen Ensemble – “Dogma MMSVIII” from Duel on Onségen Ensemble
  • Nik Bärtsch’s Ronin – “Modul 58” from Awase on Ronin Rhythm Records
  • Onségen Ensemble – “Think Neither Good Nor Evil” from Duel on Onségen Ensemble
  • Resurrecting Id – “Red Queen” from Ephemera on Resurrecting id
  • Kanaan – “A. Hausenbecker” from Windborne on El Paraiso Records
  • Patrick Grant – “One Note Samba” from A Sequence of Waves on Peppergreen Media

If you have comments or suggestions for show topics/ music (always welcome), feel free to contact me any time via email:  ProgTracks@KPTZ.org

But first… enjoy the show!

Mike “ProgTracks” Pollack

P.S.  You can skip looking for these posts each week by subscribing to the podcast below!

Edition 141 of THE PROG MILL – first broadcast on Progzilla adio on Sunday 20th January, is now also available to stream anytime or download as a mp3 file.

Two hours of simply amazing melodic and symphonic progressive rock.

Here’s this week’s playlist

The playlist for last night’s PROG MILL (edition 141 for Progzilla Radio and 361 in total) was:

1 Seventh Dimension – Empty Days (The Corrupted Lullaby)
2 Barock Project – Happy to See You (Detachment)
3 Cellar Noise – Underground (Alight)
4 Riven earth – Darkness (Project One)
5 Donella Del Monaco – pi-greco (Rosa Rosae)
6 Apostles of Chaos – In Your Eyes (Single)
7 RPWL – Give Birth to the Sun (Tales from Outer Space)
8 Kingcrow – Folding Paper Dreams (The Persistence)
9 Face the Day – With Faith On My Side (Stuck in the Present)
10 Light – In Your Debt (Light)
11 Beggars Opera – MacArthur Park (Pathfinder)
12 Martin Barre – And The Band Plays Only For Me (Roads Less Travelled)
13 Kinetic Element – All Open Eyes (The Face of Life)

Full broadcast times for The Prog Mill on Progzilla Radio:
Sundays 10pm – Midnight UK (2200UTC) – MAIN BROADCAST
Tuesdays 0300-0500 UK (0300UTC) – For North America (Monday 7pm in LA and 10pm in NYC)
Tuesdays 11pm-1am UK (2300UTC)
Saturdays 6-8pm UK (1800UTC) – nice and easy family friendly repeat time

Your suggestions of music for the show are very welcome – just email shaun@progzilla.com or message via facebook.com/theprogmill or twitter @shaunontheair

It gives me great pleasure to say that The Ancient One Show No 98 is now available as a podcast. This is one of the “Mixed Bag” series Vol 5.

Playlist

1 The Nice – Brandenburger (excerpt used as intro) (The Immediate Collection 3cd set)
2 La Torre Dell’Alchimista – Risveglio Procreazione e Dubbio (Neo 2007)
3 Cellar Noise – Temple (Alright 2018)
4 All Traps On Earth – Bortglomda Gardar (A Drop Of Light 2018)
5 Maneige – Les Porche De Notre Dame Pt 1-6 (Les Porches 1975)
6 Octavarium – World Reborn (Dystopia 2018)
7 Phog – Foggy Day (Communication 2018)
8 Armonite – And The Stars Above (And The Stars Above 2018)
9 Overhead – Gone Too Far (Haydenspark 2018)
10 The Mighty Bard – I Know (Blue God and Other Stories 2015)
11 Salva – The Ghost of Fives (Off The Deep End 2018)
12 Big Big Train – Brooklands Sequence (Second Brightest Star 2017)
13 Ring Van Mobius – When The Sea And The Universe (2 track EP 2018)
14 La Coscienza Di Zeno – Il Paradiso Degli Altri (La Coscienza Di Zeno 2011)
15 La Torre Dell’Alchimista – Acquario (La Torre Dell’Alchimista 2001)
16 The Nice – Brandenburger (excerpt used as outro) (The Immediate Collection 3cd set)

This news story was originally published here: https://www.prog-sphere.com/interviews/chine-interview/
CHINE

Self-proclaimed Dystopian Death Metal metallers from Sweden, CHINE are on the verge of launching their new EP release. Titled “Like Vultures,” it is scheduled for the March 2nd, 2019 release, and it brings four new tracks of uncompromising death metal sound intercepted with technical excursions. In an interview for Prog Sphere, Swedes talk about the upcoming release and more.

Define the mission of CHINE.

We’re striving towards delivering brutal music with substans and a character of it’s own, and with our own liking in mind before anyone else’s.

This is the goal, getting there is of course something else.

Tell me about the creative process that informed your upcoming EP “Like Vultures” and the themes it captures.

You know, you gather a lot of stuff from your everyday life not necessarily involving you directly, but still. You end up giving a lot of thought to subjects that you’re being exposed to, and there’s a lot of awful stuff constantly happening around us. It’s a smorgasbord, just take a pick or several.

What is the message you are trying to give with “Like Vultures”?

Each song has it’s own meaning, even though it started out as a concept album. It ended up being four different tracks handling subjects as being pushed beyond your boundaries leading you towards your end, being proud of who you are even if the world is against your ways, but also questioning if you really like yourself and the person you have become. A lot of people can probably relate to these things, so the message I guess is that there are more people like you out there, no matter who you are. This can be interpreted as either a good or a bad thing.

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

We put a lot of work into our pre productions, which we still ended up changing quite a bit in comparison to the final product this time. I usually come up with an idea and the backbone of riffs and arrangement, then we usually try it out in the rehearsal room and swop the parts to where it feels “locked into place” when you actually play it with some volume, and the energy of syncing together with other people. Nowadays it all ends up in Pro Tools quite early in the process, but it starts with little bits and pieces from the iPhone, humming and hammering on stuff in random places where something might have popped up in your head.

Is the dynamic flow of the pieces carefully architected?

I would say that it actually is. I mean even if it doesn’t always sound that way, we try a lot of combinations to make the different parts fit. Using dynamics is a great way of keeping the song interesting for the listener.

Describe the approach to recording the album.

As with every new album you feel that “this is the one, these are the best songs we’ve ever written and we now have better circumstances than ever compared to previous album recordings”, and this might later show itself to be true or not, but when you stop getting this feeling with your new stuff its probably time to question if you should keep on doing it. For us that point hasn’t come yet, despite that we have played together as Chine since 2005.

CHINE - Like Vultures

How long “Like Vultures” was in the making?

If you count the actual recording I would say a few months. Unfortunately It’s not a very glamorous thing to record an album for us, and the band members are never in the studio at the same time, more like two at a time; the one that is pressing the rec button and the other one thats being taped. We live in cities quite far apart from each other so it’s sort of a long distance relationship.

Where does “Like Vultures” stand in comparison with previous releases “Immanent” (2015), “Betray Your Own Kind” (2012), and your debut “Repulsive Sonatas”?

Since our albums has been released with some time in between they differ a lot from each other. With ‘Immanent’ I think our song writing improved, and if you look at ‘Like Vultures’ we have been writing together more than ever before which has been very developing. Sure it’s a matter of compromise at times, but it feels quite good to let someone else decide which way to go, and to just trust that person instead of having to be a part of every single detail and “winning” the creative arguments.

Which bands or artists influenced your work on the new EP?

Sometimes I think that would be for the impartial listener to decide. We like bands like Gojira, The Haunted, Soilwork from our home town Helsingborg, but I doubt that we sound that much like them. Parts here and there perhaps. You can always count on someone outside the band to have references to other bands, a lot of times that you’ve never heard of. I often try to just place my fingers randomly on the fretboard and see if any interesting and eerie harmonies comes up, after that you can start building tempo, groove and foundation of rhythms. Of course a lot of stuff is common riffing, which can be found in a million other metal bands. A vision is, as I said earlier, to make truly original stuff, but we are not there yet and maybe never will be. The easiest way to be original nowadays is to go back in time to the 70′s or 80′s and play on peoples nostalgia.

What is your view on technology in music?

Well, feel free to use it as much as you like if you find it to be enhancing. I know that we have tried to walk a more old school way before, but you can’t deny the awesome features that technology brings, and it keeps on improving at an escalating pace. I know that we will look into it a lot more than before on upcoming productions.

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

It’s hard to defend a purpose beyond music for other people than ourselves, considering the amount of all the similar music that is being released every day. For me and hopefully the rest of the guys in the band it provides the greatest feeling available in life, creating and performing music that you’ve put together. I get extremely happy and grateful when showed appreciation from someone that has heard Chine and liked it. One positive comment and I feel good for days, but one mustn’t forget that negative response also serve a purpose and indicates that someone actually bothered to express something, even if it is bad.

What are your plans for the future?

We do this pretty much in the present, but among upcoming things in a near future are a couple of videos, release party with hopefully the opportunity to sell a bunch of our newly pressed 10″ vinyls, very nice product to have in stock as a band. We are going to focus a lot on ‘Like Vultures’ and promoting each of the tracks separately giving it the attention it deserves considering the energy, time and money we spent on writing and recording it. You wouldn’t want to make the mistake of releasing it all at once and letting it become a thing of the past in just a couple of days.

Follow CHINE on Facebook for future updates.

This news story was originally published here: http://www.prog-sphere.com/interviews/chine-interview/
CHINE

Self-proclaimed Dystopian Death Metal metallers from Sweden, CHINE are on the verge of launching their new EP release. Titled “Like Vultures,” it is scheduled for the March 2nd, 2019 release, and it brings four new tracks of uncompromising death metal sound intercepted with technical excursions. In an interview for Prog Sphere, Swedes talk about the upcoming release and more.

Define the mission of CHINE.

We’re striving towards delivering brutal music with substans and a character of it’s own, and with our own liking in mind before anyone else’s.

This is the goal, getting there is of course something else.

Tell me about the creative process that informed your upcoming EP “Like Vultures” and the themes it captures.

You know, you gather a lot of stuff from your everyday life not necessarily involving you directly, but still. You end up giving a lot of thought to subjects that you’re being exposed to, and there’s a lot of awful stuff constantly happening around us. It’s a smorgasbord, just take a pick or several.

What is the message you are trying to give with “Like Vultures”?

Each song has it’s own meaning, even though it started out as a concept album. It ended up being four different tracks handling subjects as being pushed beyond your boundaries leading you towards your end, being proud of who you are even if the world is against your ways, but also questioning if you really like yourself and the person you have become. A lot of people can probably relate to these things, so the message I guess is that there are more people like you out there, no matter who you are. This can be interpreted as either a good or a bad thing.

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

We put a lot of work into our pre productions, which we still ended up changing quite a bit in comparison to the final product this time. I usually come up with an idea and the backbone of riffs and arrangement, then we usually try it out in the rehearsal room and swop the parts to where it feels “locked into place” when you actually play it with some volume, and the energy of syncing together with other people. Nowadays it all ends up in Pro Tools quite early in the process, but it starts with little bits and pieces from the iPhone, humming and hammering on stuff in random places where something might have popped up in your head.

Is the dynamic flow of the pieces carefully architected?

I would say that it actually is. I mean even if it doesn’t always sound that way, we try a lot of combinations to make the different parts fit. Using dynamics is a great way of keeping the song interesting for the listener.

Describe the approach to recording the album.

As with every new album you feel that “this is the one, these are the best songs we’ve ever written and we now have better circumstances than ever compared to previous album recordings”, and this might later show itself to be true or not, but when you stop getting this feeling with your new stuff its probably time to question if you should keep on doing it. For us that point hasn’t come yet, despite that we have played together as Chine since 2005.

CHINE - Like Vultures

How long “Like Vultures” was in the making?

If you count the actual recording I would say a few months. Unfortunately It’s not a very glamorous thing to record an album for us, and the band members are never in the studio at the same time, more like two at a time; the one that is pressing the rec button and the other one thats being taped. We live in cities quite far apart from each other so it’s sort of a long distance relationship.

Where does “Like Vultures” stand in comparison with previous releases “Immanent” (2015), “Betray Your Own Kind” (2012), and your debut “Repulsive Sonatas”?

Since our albums has been released with some time in between they differ a lot from each other. With ‘Immanent’ I think our song writing improved, and if you look at ‘Like Vultures’ we have been writing together more than ever before which has been very developing. Sure it’s a matter of compromise at times, but it feels quite good to let someone else decide which way to go, and to just trust that person instead of having to be a part of every single detail and “winning” the creative arguments.

Which bands or artists influenced your work on the new EP?

Sometimes I think that would be for the impartial listener to decide. We like bands like Gojira, The Haunted, Soilwork from our home town Helsingborg, but I doubt that we sound that much like them. Parts here and there perhaps. You can always count on someone outside the band to have references to other bands, a lot of times that you’ve never heard of. I often try to just place my fingers randomly on the fretboard and see if any interesting and eerie harmonies comes up, after that you can start building tempo, groove and foundation of rhythms. Of course a lot of stuff is common riffing, which can be found in a million other metal bands. A vision is, as I said earlier, to make truly original stuff, but we are not there yet and maybe never will be. The easiest way to be original nowadays is to go back in time to the 70′s or 80′s and play on peoples nostalgia.

What is your view on technology in music?

Well, feel free to use it as much as you like if you find it to be enhancing. I know that we have tried to walk a more old school way before, but you can’t deny the awesome features that technology brings, and it keeps on improving at an escalating pace. I know that we will look into it a lot more than before on upcoming productions.

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

It’s hard to defend a purpose beyond music for other people than ourselves, considering the amount of all the similar music that is being released every day. For me and hopefully the rest of the guys in the band it provides the greatest feeling available in life, creating and performing music that you’ve put together. I get extremely happy and grateful when showed appreciation from someone that has heard Chine and liked it. One positive comment and I feel good for days, but one mustn’t forget that negative response also serve a purpose and indicates that someone actually bothered to express something, even if it is bad.

What are your plans for the future?

We do this pretty much in the present, but among upcoming things in a near future are a couple of videos, release party with hopefully the opportunity to sell a bunch of our newly pressed 10″ vinyls, very nice product to have in stock as a band. We are going to focus a lot on ‘Like Vultures’ and promoting each of the tracks separately giving it the attention it deserves considering the energy, time and money we spent on writing and recording it. You wouldn’t want to make the mistake of releasing it all at once and letting it become a thing of the past in just a couple of days.

Follow CHINE on Facebook for future updates.

This news story was originally published here: http://feedproxy.google.com/~r/ProgNewsProgarchives/~3/Ht332e7SHOs/forum_posts.asp

New album Strawberry Melt our today! The download is free on Bandcamp. This album is listed under The Michael Zucker Ensemble but if you look for my other albums on PA they will typically just be listed with my name as the artist.

Instrumental with drums/bass/guitars/sax. Very jazzy, fusion sections with some free jazz as well. Check it out fellow prog heads!

https://michaelzucker.bandcamp.com/album/strawberry-melt