All posts for the month February, 2020

This news story was originally published here:

Emerging Georgia metal band Irist has released the second single, “Severed,” from their highly anticipated album, Order of the Mind, which is out March 27th via Nuclear Blast. The band’s recent upward trajectory can be traced just a few short weeks back to the premiere of their crushing first single, “Burning Sage,” which set the metal scene ablaze with its rousing infusion of progressive metal and vitriol hardcore that “explore the endless avenues of technical, crafted facepunch, multilayered production approach, even bits of South American folklore” ( Now, the band follows with another massive track, ‘Severed’, that further demonstrates dynamic songwriting, lyrical depth and the power of their riffs on their “breathtaking debut” (

Discussing the meaning behind the new song, vocalist Rodrigo Carvalho says, “‘Severed’ is about transcendence. It is a dark song that talks about detachment from material things and connecting with nature. It’s supernatural vibe contrasts with aggressive elements that make for a moody yet commanding song.”

Stream “Severed” below.

Pre-order your copy of Order of the Mind here:
Stream / pre-save / pre-add ‘Burning Sage’ and the album here:

Watch the video for ‘Burning Sage’

The post Atlanta Metal Act IRIST Launch ‘Supernatural’ New Single “Severed” appeared first on Prog Sphere.

This news story was originally published here:

The Neal Morse Band are set to release their new live album – The Great Adventour – Live in BRNO 2019 on the 6th March 2020.

Today they launch a third clip from the release, and you can watch the band performing “Fighting With Destiny (Live in Brno 2019)” below.

Watch the previously released clips for “Dark Melody” and “Welcome to the World.”

Neal Morse, Mike Portnoy, Randy George, Bill Hubauer & Eric Gillette, released their latest album The Great Adventure at the beginning of 2019. This was the follow-up to their acclaimed 2016 concept album The Similitude of a Dream, and shortly after the band embarked on a European headline tour. The Great Adventour – Live in BRNO 2019 documents these shows, which saw them performing the album in full, and closing with the renowned “The Great Medley” – featuring tracks from across Neal’s solo career and each Neal Morse Band album.

Available as a 2CD + 2Blu-Ray Digipak, the set also features two tour documentaries from both the US & European runs, as well as the official music videos for the singles taken from The Great Adventure. You can pre-order now here.

As Randy George explains: “After the Similitude tour, expectations were really high, and we had more people coming to these shows than ever before. People were really excited to see it, so we had to make sure that we delivered.”

Performing The Great Adventure flawlessly and in its entirety 47 times in 2019, Neal Morse (vocals, keyboards and guitars), Mike Portnoy (drums, vocals and audience cheerleading), Randy George (bass), Bill Hubauer (keyboards and vocals) and Eric Gillette (guitars and vocals) brought audiences to their feet night after exhilarating night: “The tour delivered every night. We never got tired of playing it, and it always paid off”, says George.

One of the countries was the Czech Republic, and it was there in Brno that the band chose to film THE GREAT ADVENTOUR 2019 – LIVE IN BRNO, the definitive record of the tour, as George explains: “This was our first time playing in the Czech Republic and this venue had a different look and vibe: the audience also turned out to be very energetic. They loved it!”

THE GREAT ADVENTOUR 2019 – LIVE IN BRNO shows The Neal Morse Band at the very height of their powers: extraordinary, passionate, intense and intricate rock music played to perfection by five masters of their craft, backed by dramatic video illustrations by Christian Rios.



Cover photo by Robert Smith

The post THE NEAL MORSE BAND Launch Live Clip for “Fighting With Destiny (Live in Brno 2019)” appeared first on Prog Sphere.

This news story was originally published here:

From Martin Mendez, bassist of the ubiquitous Opeth comes White Stones, a solo death metal project. The band’s debut album named Kuarahy (pronounced Kwa-Ra-Hee) will be released on March 13th and today, the band have released the second single from the new album. Watch and listen to the official lyric video for “Drowned In Time” below.

Get the single digitally at

Pre-order for Kuarahy on CD, LP and digitally here.

The tracklist reads as follows:

1.Kuarahy (1:24)
2.Rusty Shell (4:25)
3.Worms (3:57)
4.Drowned In Time (5:17)
5.The One (4:34)
6.Guyra (4:45)
7.Ashes (4:04)
8.Infected Soul (5:59)
9.Taste Of Blood (4:10)
10.Jasy (2:48)

The creative process for White Stones’ debut album Kuarahy began during a year-long break Opeth took after the Sorceress tour, as a means of unwinding by exploring new avenues of creativity. Initially that’s all it was ever meant to be. “I’ve always written music at home but never had the confidence to do anything like this”, says Mendez, “I never wrote a song, never presented something I wrote for Mikael (Åkerfeldt, Opeth singer/songwriter)” he continues. “I didn’t have any direction, I came up with the first song for fun. White Stones has nothing to do with Opeth, I see no relation between the two. I played ‘Kuarahy’ to Mikael a few months ago, he really liked it and was happy for me. Everyone in the band has side projects, it’s important. We tour so much you can become consumed by it; it has been really nice to do something different. White Stones has renewed my strength and energy.

Named after his birthplace in Uruguay, the record represents a return to his roots, both familial and musically. By exploring the forgotten paths of his ancestors via the style of music that remains his one true love – death metal. “I feel strongly connected to Uruguay still”, he reflects. “I wanted to write music related to that – the sun on the Uruguayan flag I transformed into the White Stones logo; there are a lot of small things that connect the record to that place. Kuarahy is the native Uruguayan people’s word for ‘Sun’”, Mendez comments.

Kuarahy was recorded at the Farm Of Sounds studios in Barcelona and produced by Martin Mendez himself, while Jamie Gomez at the Orgone Studios in the UK was responsible for mixing and mastering.

The post WHITE STONES, Featuring OPETH Bassist, Release Lyric Video for “Drowned In Time” appeared first on Prog Sphere.

Northern Star 20th  February 2020.

Avulsion Indulgence !

Theme Pallas – Northern Star

  • Toehider – The death of Optimus Prime
  • ELP – Knife Edge
  • The Flaming Lips – Drug machine in heaven
  • Nine Inch nails – Hurt
  • Queensryche – Surgical Strike
  • Shadow Gallery – Pain
  • UFO – Doctor Doctor
  • Saul Blease – Blood
  • Weird Al Yankovic – Like Surgeon
  • Gentle Knife – Plans Askew
  • Tangent – DIY Surgery
  • Kansas – Under the Knife
  • Stanley Clarke – Mack The Knife
  • Gnidrolog – In spite of Harry’s Toenail
  • Knifeworld – Stench of Honey
  • Andrew Weatherall – All the little things ( that make life worth living )
  • Joni Mitchell – Goodbye Pork pie hat
  • Genesis – The Knife
  • Birdeatsbaby – Painkiller
  • Supertramp – Even In the Quietest moments
  • Eels – Hospital food
  • Snarky Puppy – Bent nails
  • Blind Melon – Toes Across the floor
  • Captain Beefheart & the Magic band – I Wanna Find a Woman That’ll Hold My Big Toe Till I Have To Go
  • Spiritualized – Medication
  • Blue Oyster cult – Black Blade
  • Porcupine Tree – Anesthetize

Direct stream:

Repeat Shows Tuesdays 00.00 am GMT  & 1.00pm GMT

Subscribe to the show here

Podcasts of all the shows are available here

If you have a requests or ideas about shows or anything else for that matter?

Contact me on

This news story was originally published here:

Reactivated Norwegian progressive metallers Conception, who feature in their ranks former Kamelot singer Roy Khan, will release their new album, State of Deception, on April 3. The band’s first full-length offering in over two decades follows on from 2018′s successful EP My Dark Symphony, and will once again be released via Conception‘s own Conception Sound Factory label. A full European tour will take place later in the year.

State Of Deception follows a 20-year interval during which bandmembers KhanTore ØstbyIngar Amlien and Arve Heimdal remained friends throughout, and the album release marks a full-circle evolution of the band.

Khan says: “The reception we’ve had from fans made recording a new album almost inevitable; they’d have rioted if we didn’t get this out. But we’re mightily proud of what we have put together here; I actually think it’s the best thing I’ve ever been involved in. We can’t wait to share it with everyone.

Reflecting Conception‘s desire for an entirely direct relationship with its fans, the album is wholly fan-funded. Moreover, State of Deception was wholly produced by the bandmembers themselves, with mixing duties handled by Stefan Glaumann (Rammstein, Within Temptation, Europe). The nine-song effort perfectly captures the band’s trademark breadth of progressive sound, from symphonic melodrama to rock riff utopia, and features a guest appearance by Amaranthe vocalist Elize Ryd.

Guitarist Tore Østby explains: “Producing this new album has been an emotional and exciting process, digging deeper into the heart and soul of the band than ever before. The result is dynamic and intense, it really feels like we managed to capture the state of Conception 2020.

We’ve always said that we have a need to do what we feel is right for our music. We couldn’t limit the musical scope of Conception even if we wanted to.

If we didn’t think we were capable of surpassing our previous work, we wouldn’t be here. We’re super proud of every single track on this album.

State of Deception track listing:

01. In Deception
02. Of Raven And Pigs
03. Waywardly Broken
04. No Rewind
05. The Mansion (featuring Elize Ryd)
06. By The Blues
07. Anybody Out There
08. She Dragoon
09. Feather Moves (remastered)

Regarding the decision to release the new album through Conception‘s own label, Khan says: “We’ve worked with record companies in the past, and by definition, the artist sits at arms length from their fanbase. We felt that was an unacceptable compromise.

For an artist to see the reaction from a fan the first time they hear a new song is an extraordinarily powerful experience,” offers Østby. “Whatever happens, these are shared encounters that will never leave us, band member or fan alike.

State of Deception is both a definitive album release statement, as it is also a career milestone, recognizing a lyrical depth that acknowledges the current social climate.

Says Khan: “The lyrics of the album revolve around human error and betrayal, hence the album title, but also touch upon everything from people’s facade to climate change, religion and politics.

Conception - State of Deception

The post Prog Metallers CONCEPTION Return With New Album in April appeared first on Prog Sphere.

This news story was originally published here:

There’s a revolution afoot, and you probably didn’t even know it. Coincidentally, I found out about it from two sources almost simultaneously: the album I’m not quite reviewing here, and an article posted by a friend on Facebook. And what is this revolution? That after almost two decades, MIDI 2.0 has been released. Released in 1983, MIDI 1.0 was fairly revolutionary itself, though in the same understated way that MIDI 2.0 is. That is to say, it’s a quiet revolution that may pass many people by. But just as MIDI 1.0 revolutionised the digitisation of music (which was not a new thing) by providing a universal standard, so does MIDI 2.0 by breaking that standard.

That last statement may seem counter-intuitive so let me attempt to explain. MIDI 1.0 digitises music by placing all musical qualities on a scale with 128 possible points. Now this is fine for most Western music, and Western instruments with a discrete scale such as keyboards. But there is a world of music outside traditional Western music, and even within Western music microtones are often used in, for example in jazz. MIDI 2.0 “breaks” the 128 point scale by ascribing all data to 32-bit values, rather than the 7-bit values of its predecessor. This higher resolution of MIDI 2.0 will allow the full textures, tonality and range of acoustic instruments. A world of music that has largely been difficult to communicate digitally can now be expressed with an ease that just did not exist before.

And why have I not yet even addressed the new album by Georgian artist, Giorgi Mikadze? Well, I’m getting there. Giorgi Mikadze plays a microtonal keyboard on his new album, Georgian Microjamz. I’ll admit, I didn’t even know such a thing existed, and it was when I was exploring the internet for information about this that I came across MIDI 2.0 – and then only a day or so later, saw my friend post an article about the same on Facebook. What I learnt is that analogue keyboards like pianos and organs are actually suitable for microtonal music after all, as their strings and pipes can be retuned as desired. That’s actually so obvious, I can’t believe it didn’t occur to me. Even though Mikadze uses a digital keyboard, which can also be retuned as desired (although sometimes more in theory than in practice, if it is a MIDI keyboard); the biggest problem in playing microtones on a keyboard is not the tuning, but the traditional keyboard design, and while there appear to be several ways of making this work, none look easy. Which makes Giorgi Mikadze’s microtonal keyboard playing even more impressive.

So that is the ‘Microjamz’ part of the album’s title. The ‘Georgian’ part is apparent from the very beginning, with the prelude of Metivuri showcasing the traditional Georgian folk that Mikadze has interpolated throughout the album and into his music, incorporating a vintage recording by Ilia Zakaidze. According to the the PR that came with the album, Georgian Microjamz is, as the title suggests, a hybrid of traditional Georgian folk music and progressive microtonal jazz. But the hybrid is quite clearly skewed toward Mikadze’s original compositions, with any traditional folk pieces serving only as inspiration, and only three tracks on the album being arrangements of traditional Georgian folk songs. I first investigated Georgian folk a few years back, after hearing Profusion’s rearrangement for the traditional song Tchuta Tchani on their debut album, RewoTower. Their reinterpretation is beautiful, but although different, it is still recognisable. (Compare Profusion’s version with, for example, Lela Tsurtsumia’s.) Mikadze deviates further from the source material, but it really doesn’t matter when the results are this good.

Dumba Damba is the first jazz piece, and it’s breathtaking. Mikadze’s keyboard playing is, of course, the main attraction, and though David Fiuczynski’s fretless guitar plays a prominent role, I can’t get over how good Sean Wright’s drumming is. It feels wrong to say it, since this is Mikadze’s album, but Wright’s drums are the highlight for me on this track. The YouTube video shows just how much joy the musicians are having playing this track, and it is equally enjoyable to listen to. After a short interlude (of which there is one between each main piece), Elesa is a more laid-back affair than Dumba Damba, but no less intense. Again, the interplay between Mikadze and Wright is amazing. Towards the end, the Basiani Ensemble provide vocals.

Interestingly, despite Georgian folk music being predominately vocal, there are very few vocals used on this album. However, this means that when they are used, they provide far greater effect than they would if they were more common. I love the sudden explosion of voice toward the end of Elesa. The following interlude is also the first traditional Georgian folk song to be rearranged for the album, and as per the above, is noticeably absent of vocals. If you want to compare with the original, the Basani Ensemble have a performance on YouTube, HERE.

The next song is a deliberate centrepiece of the album, and another track where the sparing vocals are used to incredible effect. Moaning is dedicated to the victims of the 2008 military conflict between Russia and Georgia, and the title is apt. The music, as well as the vocals, wail. Nana Valishvili’s vocals are a cry, and it is no wonder when she is singing a traditional lament for the dead. Moaning is a heavy listen, and definitely not enjoyable in the traditional sense. While I can find myself nodding my head or tapping my toes to the previous tracks, there is a palpable sadness and seriousness to Moaning. And it is almost a relief when it is over, and the next interlude (Racha) begins. It is a quiet and solemn piece, but not at all sad, and gives some respite from the heaviness of the preceding track. I hope I am not giving the impression I don’t like Moaning, as I definitely do. It may not be easy listening, but it is definitely worth listening to.

Maglonia is back to the upbeat sound, and I love Panagiotis Andreou’s fretless bass on this track. And after another short interlude, Kartlos Blues does indeed evoke a blues vibe, though it’s definitely not blues. In the PR, Mikadze states “as musicians it’s important that all the genres have come before us so that we can create something out of them that represents our own voice. Lately, though, genre has come to mean less to me than it used to. But my voice comes from my country.” And Kartlos Blues exemplifies this perfectly. It’s blues, but it’s not, but what it absolutely evokes is a sense of Georgia. The polyphony of Georgia is well documented, and the use of dissonance, drones and microtones in traditional Georgian folk manifests itself on every track of this album. It makes for a truly different listening experience.

The following interlude (Gurian Lullaby), and subsequent piece (Lazhghvash) are both rearrangements of traditional Georgian folk songs. I love the simple beauty of the Gurian Lullaby, followed by the return of the Basiani Ensemble for Lazhghvash. Before I started listening, this piece is what I was expecting the majority of the album to sound like, as it is the most overt blend of modern microtonal jazz and traditional polyphonic folk. I was surprised, but pleasantly so, that the album differed so greatly from my expectations. I was equally surprised when I first heard this track, as after all that had been, I guess even though this was what I had originally expected to hear, I no longer did. And although it is one of my favourite tracks on the album, I am glad the whole album is not of this ilk. The impact of Lazhghvash as the penultimate track is as great as the sparse and sporadic use of vocals. Less can definitely be more.

The final track, Tseruli, is a glorious finale, and so incredibly joyful I find it impossible to listen to without a large grin plastered on my face. Again, featuring the Basiani Ensemble, and sounding incredibly similar to the previous track, but so very different. It’s like a reprise of Lazhghvash on acid, the folk of the previous track taking a psychedelic trip. This is a such a perfect way to end the album, and once again (as I have throughout), I am in awe of how well the album has been sequenced, interludes and all. Overall, Georgian Microjamz is a vivid and vibrant journey through Georgia’s musical heritage, through a modern lens.

01. Metivuri (3:43)
02. Dumba Damba (9:34)
03. Shedzakhili (1:03)
04. Elesa (8:46)
05. Mirangula (1:10)
06. Moaning (7:08)
07. Racha (1:20)
08. Maglonia (7:25)
09. Gelato (0:35)
10. Kartlos Blues (5:52)
11. Gurian Lullaby (2:45)
12. Lazhghvash (4:22)
13. Tseruli (2:43)

Total Time – 56:00

Giorgi Mikadze – Microtonal Keyboards
David Fiuczynski – Fretless Guitars
Panagiotis Andreou – Fretless Bass
Sean Wright – Drums
~ with:
Basiani Ensemble – Vocals (tracks 4,12 & 13)
Nana Valishvili – Vocals (track 6)

Record Label: RareNoise Records
Catalogue#: RNR116
Country of Origin: Georgia
Date of Release 28th February 2020

Giorgi Mikadze – Website | Facebook

This news story was originally published here:

Reflectors of Light is a phrase from the lyrics of A Mead Hall in Winter, the same goes for Merchants of Light. Both phrases suggest the world of Big Big Train (BBT) and are therefore extremely suitable as a title for this release. The Reflectors of Light Blu-Ray was recorded during the band’s three performances at the very end of September 2017, including the additional matinee show on 1st October, at the Cadogan Hall in London. The recording features the best performances from the three shows and every track played across the shows is represented.

We see a top band at work, playing an anthology from their now extensive oeuvre, against the backdrop of a former church in the heart of London. A performance by Big Big Train is a truly wonderful experience, a delight for both eyes and ears. Goosebumps, every now and then. Impressive too, from start to finish; from the violin intro by Rachel Hall, bathed in blue light, for opening track Folklore to the drum intro by Nick D’Virgilio as a prelude to the popular Wassail at the end of the show.

A somewhat static performance, BBT is not a group of extravagant stage personalities, this fact is further enhanced by the fixed camera positions. I really miss some good close-up shot, emotions on faces, hands on instruments. However, that also means no camera crew jumping up and down right in front of you in the first couple of rows. Some musicians hardly come into the picture, such as bass player Greg Spawton and keyboard player Andy Poole. Surely this couldn’t have been the reason for the latter to leave shortly afterwards?

Perhaps the chosen venue is not particularly suitable for video recordings, the old church having its limitations in that respect. The images are somewhat dark, the band opts for a limited light show without large spotlights, which naturally has its repercussions on the video images. The supporting video footage, projected on the large screen above the stage, does not come across as well on the Blu-Ray as ‘live’ in the hall. Nevertheless, the recording crew makes a considerable effort to get a total picture with shots from the gallery. The overall intention is to portray the musicians as well as possible, an understandable choice: Big Big Train is mainly about substance over form.

As indicated earlier, the choice was made to select the best from three gigs; this is also visible in the musicians’ clothing, not really disturbing, more striking once you pay attention. And it also explains the somewhat strange fact that the individual tracks do not blend seamlessly; fade to black/fade outs being chosen, except for the odd song.

On the other hand, the sound is perfectly balanced, all instruments are perfectly audible individually or in combination in the total mix. Not so easy, given the complex song structures and the varied instrumentation of no less than thirteen musicians, including five wind players. This is already clearly audible on the previously mentioned audio CD Merchants of Light.

The lead roles are for the slightly more extrovert forces in the band, in particular singer David Longdon, violinist/singer Rachel Hall, guitarist/singer/keyboardist Rikard Sjöblom and, last but not least, drummer/singer Nick D’Virgilio. In this respect, the others just get a raw deal. Having said that, it becomes blatantly clear what a brilliant musician Dave Gregory is: the film director offers a good look at his hands when he is creating his magic. For me, song highlights are Brave Captain (brilliant prog rock), A Mead Hall in Winter, Swan Hunter (those heavenly horns!), East Coast Racer (magnificent piano intro/outro) and Victorian Brickwork.

It must have been a nightmare for a professional camera crew to deliver a coherent product under the aforementioned conditions: a static band, virtually no light, no room for close-ups, difficulties in properly managing both group and video screen in one shot. If you then have no option but to work with (a multitude of) fixed cameras, this surely does not benefit spontaneity and dynamics. Nevertheless, this is a beautiful and balanced visual document of an impressive performance by the band that is going from strength to strength.

All the more reason to eagerly look forward to the DVD/BluRay, which will undoubtedly be released at some point, with footage of BBT’s latest show at the Hackney Empire in London in early November last year. I estimate that this theatre is better suited for filming an intimate concert by these gents and one lady. Hopefully they won’t let us wait for another two years.

01. Folklore Overture
02. Folklore
03. Brave Captain
04. Last Train
05. London Plane
06. Meadowland
07. A Mead Hall In Winter
08. Experimental Gentlemen (Part Two)
09. Swan Hunter
10. Judas Unrepentant
11. The Transit Of Venus Across The Sun
12. East Coast Racer
13. Telling the Bees
14. Victorian Brickwork
15. Drums And Brass
16. Wassail
Bonus tracks:
The Transit of Venus Across the Sun (with reprise)
Summer’s Lease (recorded live at Real World studios)

Danny Manners – Keyboards
David Longdon – Vocals, Flute
Rikard Sjöblom – Guitars, Vocals, Keyboards
Nick D’Virgilio – Drums, Vocals
Dave Gregory – Guitars
Rachel Hall – Violin, Vocals
Greg Spawton – Bass, Bass Pedals
Andy Poole – Acoustic Guitars, Keyboards
– Brass section:
Dave Desmond – Trombone
Ben Godfrey – Trumpet
Nick Stones – French Horn
John Storey – Euphonium
Jon Truscott – Tuba

Record Label: English Electric Recordings
Catalogue#: EERBR002
Date of Release: 6th December 2019

– Reflectors of Light (2019)
– Grand Tour (2019)
– Merchants of Light (2018)
– Grimspound (2017)
– A Stone’s Throw From The Line (2016)
– Folklore (2016)
– From Stone and Steel (2016)
– Wassail (EP) (2015)
– Make Some Noise (EP) (2013)
– English Electric: Full Power (2013)
– English Electric Part Two (2013)
– English Electric Part One (2012)
– Far Skies Deep Time (EP) (2010)
– The Underfall Yard (2009)
– The Difference Machine (2007)
– Gathering Speed (2004)
– Bard (2002)
– English Boy Wonders (1997)
– Goodbye To The Age Of Steam (1994)

Big Big Train – Website | Facebook | Twitter

Edition 232 of Sounds That Can Be Made is now available as a podcast!


Leandro Fonseca – Pliny The Younger (from Paternoster)
Moon Halo – Awoken (from Chroma)
Hats Off Gentlemen It’s Adequate – Nostalgia For Infinity (from Nostalgia For Infinity)
John Holden – Ancestors and Satellites (from Rise and Fall)
Ulver – Russian Doll (from Russian Doll)
Phideaux – Chupacabras (from Chupacabras)
Van der Graaf Generator – Lost: The Dance In Sand And Sea/The Dance In The Frost (from H to He, Who Am the Only One)
Atomic Rooster – Broken WIngs (from Atomic Rooster)
Voyager – Runaway (from Colours in the Sun)
Osaka Punch – Drones (from Drones)
King Crimson – Discipline (from Discipline)
Eloy – Point of No Return (from Planets)
The Merlin Bird – Rhyme To Reason (from Reason And Rhyme)
Karda Estra – The Projected Future (from Constellations)
Shadowland – The Whistleblower (from Ring of Roses)
Casino – Crap Game (from Casino)
Black Sabbath – Planet Caravan (from Paranoid)
Nazareth – King is Dead (from Nazareth)
Pallas – Sacrifice (from XXV)
Parzivals Eye – Liar (from Defragments)
Yes – It Will Be A Good Day (The River) (from The Ladder)
Genesis – Congo (from Calling All Stations)
Bader Nana – 1917 Main Theme Rock Version (from 1917)

#progzillaradio #stcbm

This week on Prog-Watch my special guest is Colin Edwin, who is perhaps best known as the bassist for Porcupine Tree and O.R.k.! Colin and I chat about his illustrious career, and along the way I’ll be spinning lots of great music from his time with Porcupine Tree, his current band O.R.k., his collaboration with Lorenzo Feliciati, and his solo career, including a couple from his brand new album Infinite Regress!

708: In Conversation with Colin Edwin of Porcupine Tree and O.R.k.



This news story was originally published here:

Before the recent Katatonia performance at Izmir Arena in Izmir, Turkey on January 31st, guitarist Anders Nyström and singer Jonas Renkse talked with Moshpit Promotions’ Niko Savic about their upcoming studio album City Burials, released on April 24th on Peaceville Records. Watch the full video interview below. Pre-orders are opened here.

About his previous comments that City Burials is more direct and less progressive, Renkse explained: “It’s not anything deliberate that we are trying to be less progressive, it’s just that the songs took us on this kind of journey, and they wanted to become more direct. It’s not a decision from our side really. As we usually say they are just a set of new songs. Every album is different, we are always in a different mind-frame for every album. And this happened to be where we are right now. So it’s just a new set of Katatonia songs.

Whether or not City Burials in some way confronts expectations of Katatonia fans, Jonas said: “It’s very hard to say. We can only do what we think we do best. It is concentrating on the songs. We like emotional songs and we try to convey them as good as possible. And then it’s of course up to the audience in April to see what they think about it. From our perspective, we have done yet another very good Katatonia album.

Speaking about if there is an underlying concept behind City Burials, Renkse stated: “Not really, I wouldn’t say. We always have a loose concept. But it’s not something that we usually talk about afterwards, it’s more for our own creative process. We just toy around with a concept just to make it sort of easier for us to have an overview of what we’re doing. So it’s not a concept album.

Cover photo by Ester Segarra

The post KATATONIA’s JONAS RENKSE About “City Burials”: “We Have Done Yet Another Very Good Katatonia Album” [Video] appeared first on Prog Sphere.