All posts for the month November, 2020

This news story was originally published here:

KARNIVOOL are set to return to Europe and the UK in 2021.

The band will embark on a full European and UK tour in September and October 2021. The Regeneration Tour will cross Denmark, Norway, Sweden, Germany, Czech Republic, France, Netherlands and the UK.

KARNIVOOL, one of the most original forces in modern progressive music, are renowned for their breath-taking live shows, and will bring their full Australian set to Europe for what will be a streak of more unforgettable performances.

The band were originally set to complete this tour in late 2020, but were forced to move their international plans, including touring, back one year.

Vocalist Ian Kenny says, “Third time is a charm, right? As Covid plays havoc with or plans to reach our fans, we can only try again – setting our sights back on Europe. Feels like the world needs to hear something good..Truly hope to see you all soon!

The tour is the first dates in Europe since 2015, when they were supporting the release of the bands last studio album “Asymmetry” (2013). The album’s vast soundscapes, complex rhythms and emotive melodies was the latest chapter in the development of this extraordinary band. Produced Nick DiDia (Rage Against The Machine, Mastodon) at Byron Bay’s Studios 301, ‘Asymmetry’ became the bands first #1 album, outselling all other artists combined in the Australian top ten and saw them pick up their first ever ARIA award and it went on to be one of the most acclaimed albums of 2013, achieving gold status in a just ten days.

2014 and 2015 saw playing to their ever expanding global fanbase with shows from Melbourne to Moscow, Sofia to Sydney, Pune to Perth; highlights including a sold out headline show at the 3000 capacity Roundhouse in London, selling 12,000 tickets across 2 shows in India, their first ever gigs in South Africa and becoming festival favourites across the world with show stealing performances at the likes of Sonisphere in France (80,000 people), Download in the UK (130,000 people), Greenfield in Switzerland (45,000 people) and the Hurricane and Southside Festivals in Germany (60,000 people at each festival). 

The band recently released their first three albums – “Asymmetry”, “Sound Awake” (2009) and “Themata” (2005) – on vinyl for the first time ever. 

Sound Awake:

The Regeneration Tour dates are below:

07.09.2021 – (DK) Copenhagen, Pumpehuset
08.09.2021 – (NO) Oslo, John Dee
09.09.2021 – (SE) Gothenburg, Valand
10.09.2021 – (SE) Stockholm, Nalen Klubb
11.09.2021 – (SE) Malmo, KB Halle
13.09.2021 – (DE) Hamburg, Markthalle
14.09.2021 – (DE) Ludwigsburg, Scala
15.09.2021 – (DE) Frankfurt, Batschkapp
17.09.2021 – (DE) Berlin, Huxleys Neue Welt
18.09.2021 – (DE) Cologne, Live Music Hall
19.09.2021 – (CZ) Prague, Akropolis
20.09.2021 – (DE) Munich, Backstage Werk
22.09.2021 – (FR) Paris, Bataclan
23.09.2021 – (NL) Tilburg, 013
25.09.2021 – (UK) Birmingham, Institute
26.09.2021 – (UK) Leeds, Stylus
27.09.2021 – (UK) Garage, Glasgow
29.09.2021 – (UK) Manchester, Academy 11
30.09.2021 – (UK) London, Forum
01.10.2021 – (UK) Bristol, SXW

Tickets go onsale at 9am GMT Friday 27th November 2020. For tickets please go to 


This news story was originally published here:

A new album from Mike Vennart is certainly something to get excited about, and an unexpected one released with little build up – only a week after it was announced – is even more of a treat. In the Dead, Dead Wood marks the third chapter in the ex-Oceansize man’s solo career, seeing him strike out anew with particularly satisfying results.

The blurb points to songs being “written quickly during lockdown 2020, with some forgotten bits exhumed and rescued from years ago”, which suggests something cobbled together. Not so: this is skilfully crafted stuff, full of excellent diversions that both cast your mind back to Vennart’s former band and also project it forward to a tinsel and glitter future of wonderfulness.

From the off, Silhouette rises majestically on an elegant guitar figure, Joe Lazarus’ drums pitching in as Vennart launches into the verse. It crackles with energy as the chorus punches through, a fine opener with Mike on top form, big and brash in a staticy blast of fuzzed guitars and subtle keyboards. If this doesn’t open the show when Vennart and band are once again able to tread the boards, there’s something else wrong with the world. Jerky bristles of bass and guitar jump in on punky drums as Super Sleuth snaps and bites at your ankles. Again, Mike’s swaggering vocal is superb, the winning and groovesome chorus built on a massive riff. The drop into Charlie Barnes’ delicate piano melody is perfectly judged, then a thumping section of pitching and weaving guitars that could have come from Oceansize’s angsty Self Preserved While the Bodies Float Up, Mike’s trademark screams ramping up the tension. The acknowledgement “Singing recorded at home. Thank you neighbours” is rightly directed.

Phew! It’s as heavy as a grand piano in a lift shaft, but put together with a refreshing lightness of touch. Elemental pulls things back, the pace slowed with piano adding a beautiful restraint. This is a different kettle of fish entirely, wistful and reserved, delivered with engaging emotion, the complete antithesis of what has gone before, at least until the buzzing guitars take hold and Mike’s voice rises. The undulating piano returns though, add in a guitar solo with rough edges retained and it’s a fabulously dynamic listen, the vocal almost intoned in the quiet moments, brooding power unleashed around these calm oases. Very nicely done.

This is an album that lends itself to a good ol’ fashioned track by track, Lancelot changing the direction with a foundation of sparse electric piano supporting the voice, until driving drum patterns picks things up. Guitars and synths work around each other, the melodic side rising gracefully over a busy bass. It’s fragile and fragmented, a hint of Cardiacs spite sliding in with the demonic vocal. Deftly delivered, it’s a real palate cleanser, growing in intensity towards the end as an epic melody emerges, heavy but held back from fully putting the boot in.

The title track is as spooky as its name suggests, glowering synths weighing down like a ghostly fog. The epic quality remains, images of Dracula’s castle appearing from the gloom, all towering and malevolent stone, but is it a mirage, smoke and mirrors to baffle the senses? This is unlike anything in Mike’s catalogue, setting a whole new tone, and forming a nice end to the first half, from which Weight In Gold picks up, suggesting that ‘Side Two’ has started. These final tracks are longer, the pace slow. From the plaintive guitar intro, things soon morph into power trio stadium rock with amps fully cranked. Mike sings forcefully in his high registers, tipping over into shrieks of emotion with more expansive Oceansize tones, melody lines emerging from the fuzzy wall of sound, an intense thing of charged beauty.

Mourning on the Range suggests wild west gunfights, the tension held by the drums. Another fine and characterful vocal with the sweep of descending keys opening the horizon whilst also making everything strangely claustrophobic, like falling down a well. A chugging riff emerges as the vocal goes off-piste with more busy bass. There’s room for frenzied soloing, the measured vocal holding it all together in a song of many phases – all of them noteworthy.

Finally, Forc in the Road, distant guitars emerging from slow, disjointed drums, coloured with distinctive piano flavours. There’s a sedate lift off, the lightness carrying through into a vocal so airy it needs ropes to hold it down, but it still escapes, floating out of reach on mesmerising gossamer touches, fragile and intriguing. There’s just as much power here as in the thunderous earlier tracks, but the buzzing guitars that slowly appear roll beautifully, massive and intensely melodic as the pace doesn’t waver, measured power with the piano line flowing beneath the menacing darkness, giving way to the sunshine of trebly picked bass.

Jaw dropping. This is the parachuting aftermath of the earlier tornado blowing your house away and casting you spinning over the rainbow. An album to play LOUD. But there’s more; Forc in the Road is not the 12-minute epic it appears, it is appended by the cunningly veiled bonus Concierge where piano and harmonium sway over ’60-tinged bass. It’s the perfect comedown, optimistic and upbeat, almost dreamlike, Mike imperious amid the swirling sounds.

What a fucking album this is.

The writing is succinct and on point, focused on achieving its goals, and Mike’s vocal performance is probably his best ever, showing huge variety and versatility amid a veritable shit-ton of interesting musical avenues. This is sure to keep his supporters not only happy but jumping up and down with delight.

Oceansize fans, rejoice. Vennart fans, rejoice. New fans who don’t realise that they’re fans yet – Rejoice!

The cohesion and sheer heft undoubtedly produce Vennart’s finest solo work to date, deftly covering a lot of ground to provide an experience both visceral and intoxicatingly beautiful, more rounded and full than The Demon Joke, less angular and ‘out there’ than To Cure A Blizzard Upon A Plastic Sea. If this suggests where Mike’s solo career is going, then good times are ahead, his confidence knows no bounds and he’s clearly enjoying his creative freedoms.

Alternative sounds, metal scope, mathy intensity and psychedelic bursts of colour are moulded into something mature and masterful, dripping with melody and gut-punch heaviosity. My boat is completely floated, it’s a long time overdue for this man’s talents to be more widely recognised.

01. Silhouette (4:29)
02. Super Sleuth (4:44)
03. Elemental (4:06)
04. Lancelot (4:37)
05. In the Dead, Dead Wood (3:06)
06. Weight In Gold (5:10)
07. Mourning on the Range (6:48)
08. Forc in the Road (12:37) (including hidden track Concierge)

Total Time – 45:37

Mike Vennart – Vocals, Guitars, Bass, Keyboards
Joe Lazarus – Drums
Charlie Barnes – Upright Piano
Ben Griffiths – Bass (tracks 1,2 & 6)
Richard “Gambler” Ingram – Additional Keyboards (tracks 2,4,7 & 8)

Record Label: Independent
Country of Origin: U.K.
Date of Release: 6th November 2020

Vennart – Website | Facebook | Bandcamp


An interview with Matthew Parmenter, of Discipline. Playing the Unfolded Like Staircase album. We chat about side-projects, collaborations and solo work, and generally have a fun time. Join us, won’t you?


1. Canto IV (Limbo)
2. Crutches
3. Into The Dream
4. Before The Storm pt1
5. Before The Storm pt2



Prog?  Progressive Rock?  Neither was a common descriptor in 1970.

But ‘Art Rock’ was.

Time marches on…and many albums turning 50 this year deserve some love before this tumultuous year ends.

So it’s all 1970 this week!

Feel free to contact me any time via email:

And remember, you can access podcasts of any previous Progressive Tracks Show at: (there are over 220 podcasts now!).

Most importantly, SUBSCRIBE TO THE PODCAST below, so you’ll have it delivered to your fingertips weekly! ˅˅˅˅˅˅˅˅

The Progressive Rock show Sunday 22nd November 2020 – a 1979 Special

Artist Title Time
Brand X Don’t Make Waves 5:31
Dixie Dregs Long Slow Distance 6:44
Joni Mitchell A Chair In The Sky 6:37
Talking Heads I Zimba 3:07
Peter Hammill Careering 4:03
Vangelis The Plum Blossom 2:33
The Enid Gallavant 7:15
Tony Banks A Curious Feeling 3:51
Frank Zappa Filthy Habits 7:32
Supertramp Goodbye Stranger 5:45
Camel Hymn To Her 5:34
Univers Zero Jack The Ripper 13:13
Jethro Tull Flying Dutchman 7:38
Renaissance Forever Changing 4:46
Steve Hackett Every Day 6:08
Henry Cow Industry 6:55
Barclay James Harvest Play To The World 7:01

If you would like to contact Graham, please email

This news story was originally published here:

‘Compassion’ sounds like a warm and fuzzy word. And yet, when you think about it, it is almost the opposite. Compassion is essentially the sympathetic consciousness of and concern for the suffering, distress and misfortunes of others. Its Latin roots translate it almost literally as “suffer with”. Not so warm and fuzzy then? I mention this because it is something I hadn’t thought about before listening to Compasionizer’s debut album, Caress of Compassion. I was expecting something cosy and comfortable, warm and inviting, and what I heard did not always match those expectations. So, then a ‘Caress of Suffering’, an almost paradoxical combination of ugliness and beauty wrapped up in twelve exquisite and atmospheric tracks, at once subtle and grandiose.

The album pulls the listener in gently with the quite beautiful yet vaguely unsettling Whole. There’s a quote about compassion that I’ve seen do the rounds on social media several times over the year. It wasn’t too hard to find an example, and this is what it said: “I don’t just listen to your words. I listen to your use of words, your tone, your body movements, your eyes, your subtle face expressions. I interpret your silences. I can hear everything you don’t say.” Whole seems to be as much about what isn’t present, than is. So while it might declare itself to be ‘Whole’, it leaves me feeling that it isn’t. “I’m fine”, it declares in words, while all other cues suggest otherwise. It’s an absolutely fabulous opening number.

At this point, I should point out that the files I received did not have complete names, so ‘Whole’ was indeed not at all whole, as it is actually The Whole Creation Travaileth in Pain Together. So I reviewed an album based upon what I was hearing, and inferring, and it seemed to match the titles of the tracks. Yet they were not the full titles. I wondered whether to start the review again with this new knowledge, but instead merely inserted this paragraph as explanation.

The blurb I received declared Caress of Compassion to be “Melodic Atmospheric World Avant Music”, and one aspect that I love about this is the various textures and tones provided by using instruments from both the west and the east. As Whole progressed, it started to remind me of the recent album from 3,14 which fused the instruments and instrumentation of west and east in a musical representation of the various peoples and cultures spread along the length of the legendary Silk Road. And yet, the ghost of Roz Vitalis (from which Ivan Rozmainsky of Compassionizer will no doubt be better known) is ever present, giving Compassionizer an avant edge missing from that descriptive blurb.

Street feels like a somnambulant walk down familiar roads, which I am prone to doing on routes so well known I can walk them on autopilot. There’s a sense of haze and daze, and the beat is almost hypnotic, disappearing at times, the way I can be conscious of my footsteps, then not, as I drift away in my thoughts while continuing to walk. It’s over before I know it – just like those walks down those familiar streets. I had to check if it were just an interlude, because it seemed to be only a minute or so long. But actually, it’s almost three-and-a-half minutes long.

The intriguingly titled How Poems is beautifully minimal, and yet very much present. Unlike Street’s sleepwalking quality, How Poems booms and resonates in a quiet fashion, that precludes passive listening. I love what I assume is a bass clarinet in this number. It’s absolutely wonderful. But further delights are not at all far away! Caress #1 begins with a delicate, almost Disney-like melody. It’s the most beautiful passage so far, not seeming to have an undercurrent of something not so beautiful. This doesn’t last too long, though, as it becomes less assured. The chiming delicacy of this Caress is irresistible.

Beware begins in a suitably spooky and ominous manner. The beat that kicks in comes as a complete surprise (though not a jump scare), and it’s almost like listening to psychedelic-era Porcupine Tree, mixed with soundtrack-era Ulver. It’s a trick and a treat – and it’s a glorious and unexpected one. So much so, that when the darkness returns with Heart (heart of darkness?), I suddenly realise I have been as incautious as Red Riding Hood, and forgotten to heed my warning. Beware? I heard no wolves (unless you count the aforementioned Ulver). Heart sounds almost like an admonishment, nevertheless. It almost comes across as a conversation between two parties – one of which is giving the other some truths. There’s a back and forth movement to the piece, but one half of this is definitely in a stronger position than the other.

I’m only halfway through the album. I could go on, but I feel like this is something that, if you’ve read this far and are still interested, you’re already caught in the Sinkhole. Compassion can be misguided, and I’m well aware that I’m quite possibly reading into the music ideas which come from my own personal circumstances. Caress of Compassion feels like an album that will make every person feel something different, but will also without doubt make the listener think. This is the compassion, I feel, as the listener is drawn to think about what the music is telling them (or, as I alluded to earlier on, not telling them). Caress of Compassion is not a passive listening experience. It is not always a comfortable listening experience. But it is always a beautiful listening experience, and part of that beauty is the empathy the listener has for the music. This might well be Ivan Rozmainsky’s best work yet! Wow!

01. The Whole Creation Travaileth in Pain Together (7:16)
02. Street Out of Sleep (3:22)
03. How Poems Lose Relevance (4:15)
04. Caress of Compassion (Part 1) (3:22)
05. Beware of Evil Workers (3:47)
06. Heart to Heart Talk (4:04)
07. Sinkhole (3:29)
08. Caress of Compassion (Part 2) (2:13)
09. 1907 (5:14)
10. When It Is Too Late to Love (3:06)
11. My Soul as a Thirsty Land (5:13)
12. Caress of Compassion (Part 3) (3:04)

Serghei Liubcenco – Guitar, Doira, Rubab, Recording
Leonid Perevalov – Clarinets, Bass Clarinets, Recording
Ivan Rozmainsky – Conception, Keyboards, Percussion, Recording
~ With:
Natalia Fyodorova – Gusli
Yurii Groiser – Drums & Programming
Stanislava Malakhovskaya – Harp
Oleg Prilutsky – Trumpet

Record Label: ArtBeat Music
Country of Origin: Russia
Date of Release: 18th September 2020

Compassionizer – Facebook | Bandcamp

The Ancient One is pleased to say that the podcast for Show No 148 is now available. This is one of the series of shows classed a s “Mixed Bag” which means anything goes, and this is Volume 14 which features music from the years 1970-1975.


1 Greenslade – Spirit Of The Dance (excerpt from the Recollections CD used as the Intro)
2 Premiata Forneria Marconi – Il Banchetto (Photos Of Ghosts 1973)
3 Genesis – Firth Of Fifth (Selling England By The Pound 1973)
4 Fruupp – Sheba’s Song (Modern Masquerades 1975)
5 Jethro Tull – Baker Street Muse (Minstrel In The Gallery 1975)
6 Rare Bird – Epic Forest (Epic Forest 1972)
7 Magna Carta – Lord Of The Ages (Lord Of The Ages 1973)
8 Khan – Driving To Amsterdam (Space Shanty 1972)
9 Pete Sinfield – Envelopes Of Yesterday (Still 1973)
10 Steve Hackett – Shadow Of The Hierophant ( Voyage Of The Acolyte 1975)
11 Gryphon – Midnite Mushrumps (Midnite Mushrumps 1974)
12 Barclay James Harvest – Child Of The Universe (Everyone Is Somebody Else 1974)
13 Pink Floyd – Shine On You Crazy Diamond Pt 1-9 (Wish You Were Here 1975)
14 Beggar’s Opera – Raymond’s Road (Act One 1971)
15 Yes – Wondrous Stories (Going For The One 1977)
16 Supersister – No Tree Will Grow (The Highest Bidder 1972)
17 Greenslade – Joie De Vivre (excerpt from the Recollections CD used as Outro)

Edition 236 of THE PROG MILL for Progzilla Radio (456 in total), first broadcast 22 November 2020, is now also available to listen to anytime or download as a mp3 file.

As usual we bring you another two hours of superb melodic and symphonic progressive rock, plus this weeks review from The Progressive Aspect in which Mel Allen takes a listen to the latest Motorpsycho album, and our fun quick fire quiz where we ask… “How Proggy Are You?!”

Here’s this week’s playlist (just scroll straight to the bottom and press play or download if you don’t want to know in advance!)

1 Millenium – Pride (The Sin)
2 The Adekaem – The Tightrope Walker (Exile EP)
3 Violent Silence – Lunar Sunrise (Twilight Furies)
4 Naryan – The End/You Are The One (The Withering)
5 IT – The Working Man (Live at Progdreams VIII)
6 Phil Doran – Hit The Sky (Into the Unknown)
7 Heads in the Sky – Three Isle My Land (Heads in the Sky)
8 Motorpsycho – N.O.X. – 1 Circles Around the Sun Pt 1 (The All Is One)
9 Geof Whitely Project – Frozen Innocence (Luna Ad Insania Convertunt)
10 Gregorian Rock – Caelum/Who Rides The Clouds (Atmosphere)
11 Pallas – Atlantis (The Sentinel)
12 Synaesthesia – Noumenon (Synaesthesia)
13 Red Bazar – Ride on a Wing (Connection 2020)

You can hear The Prog Mill on Progzilla Radio at these times every week ( – via the tune in and other internet radio apps and platforms – or ask your smart speaker to “Play Radio Progzilla on Tune-In”) :

Sundays 10pm – Midnight UK (2200UTC) – main broadcast
Tuesdays 0300-0500 UK (0300UTC) – For North America – Mon 7pm Pacific/10pm Eastern
Tuesdays 2300-0100UK (2300 UTC) – 1500 Pacific/1800 Eastern
Saturdays 6-8pm UK (1800 UTC) – Family friendly Saturday evening repeat

Plus: A podcast of the show which you can stream anytime or download as a mp3 file is normally online by Monday evening each week, with links here and at

Your melodic and symphonic progressive rock music suggestions for the show are very welcome. Just email, or message via twitter @shaunontheair or


Broadcast 23rd  Nov 2020

Show 137

1.    Won’t Get Fooled Again Pete Townshend
2.    Mr. Sunshine Little Days
3.    Overture John Miles
4.    Lay Down Strawbs
5.    Fat Man Jethro Tull
6.    American Pie Don McLean
7.    Opened the Door Journey
8.    Fair Exchange Kansas
9.    Time Stand Still Rush
10. Silver Spoon/Diana Pt. 1 Paul Kantner / Grace Slick
Powerful Women 6-Pack
11. See You Sometime Joni Mitchell
12. Beautiful Carole King
13. Falling In and Out of Love Lita Ford
14. Never Wanna Leave You Pat Benatar
15. Pleasure Victim Terri Nunn and Berlin
16. We Three Patti Smith
17. Jigsaw Marillion
18. Manmade A Flock of Seagulls
19. Black Velvet Stallion Budgie
20. Easy Money King Crimson
21. In The Time of Our Lives Iron Butterfly
SIAS; Arlo Guthrie – Alice’s Restaurant released 3 years ago TODAY
22. Alice’s Restaurant Masacree Arlo Guthrie
Deep Divin’ includes a French Lesson!
23. Home Town Man Joy of Cooking
24. Sail Away Mason Proffit
25. Pourquoi M’Aimes -Tu Pas? Doug Kershaw
26. Desert Horizon Norton Buffalo
27. Come Together Beatles
28. 2,000 Light Years from Home Rolling Stones
29. Journey from Eden Steve Miller Band
30. Waiter, There’s a Yawn in My Ear Manfred Mann
31. Boomerang Paul Motian Band
32. Yin The 11th House w/Larry Coryell
33. The Sauce Lee Ritenour
34. Secret Messages Electric Light Orchestra
35. Steppin’ In A Slide Zone Moody Blues
36. Hard Hearted Woman Barclay James Harvest
37. Oner of a Lonely Heart Yes
Chillin Down
38. Diamond Girl Seals & Crofts
39. Taxi Harry Chapin
40. Suddenly Billy Ocean
41. Birmingham Randy Newman
42. Funny How Time Slips Away Al Green



If you want to get in touch with Alan about requests or the show please use

This news story was originally published here:

Following the release of their acclaimed new studio album “PANTHER”, Sweden’s progressive Metal innovators Pain of Salvation now present a special re-issue edition for their “The Perfect Element, Pt. I” album from 2000. Celebrating the 20th anniversary of the band’s third album, the re-issue version is entitled “The Perfect Element, Pt. I (Anniversary Mix 2020)” and is released today via InsideOutMusic.

Check out the album’s digital singles for a better idea of the new mixes:

“Ashes (Anniversary Mix 2020)”:

“Used (Anniversary Mix 2020)”: 

Following on from the widely praised remix of the classic Pain of Salvation album “Remedy Lane” in 2016, “The Perfect Element, Pt. I (Anniversary Mix 2020)” comes completely remixed by Pontus Lindmark as well as mastered by Thor Legvold / Sonovo. The release, which features slightly revised artwork as well as new liner-notes, will be available as limited 2CD Digipak and Digital Album (with a total of 8 bonus tracks) as well as in the Gatefold 2LP format on 180g. vinyl with the entire remixed album as bonus CD.

Pain of Salvation – “The Perfect Element, Pt. I (Anniversary Mix 2020)” 2CD tracklisting:

Main CD (76:23):
1. Used (Anniversary Mix 2020) (05:23)
2. In the Flesh (Anniversary Mix 2020) (08:39)
3. Ashes (Anniversary Mix 2020) (04:27)
4. Morning on Earth (Anniversary Mix 2020) (04:35)
5. Idioglossia (Anniversary Mix 2020) (08:30)
6. Her Voices (Anniversary Mix 2020) (07:56)
7. Dedication (Anniversary Mix 2020) (04:02)
8. King of Loss (Anniversary Mix 2020) (09:51)
9. Reconciliation (Anniversary Mix 2020) (04:30)
10. Song for the Innocent (Anniversary Mix 2020) (03:03)
11. Falling (Anniversary Mix 2020) (01:53)
12. The Perfect Element (Anniversary Mix 2020) (10:13)
13. Epilogue (Anniversary Mix 2020) (03:14) * Bonus Track

Bonus CD (31:00):
1. Used (Live 2018) (05:54)
2. Ashes (Live 2017) (05:48)
3. Falling (Live 2018) (02:30)
4. The Perfect Element (Live 2018) (10:10)
5. Her Voices (and only that) (01:21)
6. Absolute Kromata (00:31)
7. Ashes [your language here] (04:42)

Pain of Salvation- “The Perfect Element, Pt. I (Anniversary Mix 2020)” 2LP tracklisting:

Side A:
1. Used (Anniversary Mix 2020) (05:23)
2. In the Flesh (Anniversary Mix 2020) (08:39)
3. Ashes (Anniversary Mix 2020) (04:27)
4. Morning on Earth (Anniversary Mix 2020) (04:35)
Side B:
1. Idioglossia (Anniversary Mix 2020) (08:30)
2. Her Voices (Anniversary Mix 2020) (07:56)

Side C:
1. Dedication (Anniversary Mix 2020) (04:02)
2. King of Loss (Anniversary Mix 2020) (09:51)

Side D:
1. Reconciliation (Anniversary Mix 2020) (04:30)
2. Song for the Innocent (Anniversary Mix 2020) (03:03)
3. Falling (Anniversary Mix 2020) (01:53)
4. The Perfect Element (Anniversary Mix 2020) (10:13)
5. Epilogue (Anniversary Mix 2020) (03:14) * Bonus Track

Note: The Gatefold 2LP comes with the entire remixed album (13 songs / 76 minutes) as bonus CD.
Next to the unlimited 2LP black vinyl version, “The Perfect Element, Pt. I (Anniversary Mix 2020)” is also available in the following limited coloured vinyl options:

Yellow 2LP: 100x copies (IOM Webshop)
Orange 2LP: 200x copies (CM Distro) 
Creamy White 2LP: 100x (Band exclusive)
Red 2LP: 100x (Band exclusive)

You can order the release in its various formats starts here:

Pain of Salvation have recently released the studio album “PANTHER”, which managed to enter various international sales charts including the following: Germany # 19, Switzerland # 18, Austria # 43, Belgium (Wallonia) # 42, France # 125, UK Rock Album Chart # 12 as well as # 21 in the “Current Hard Music Albums” chart in the USA.

To further promote the release, Pain of Salvation have now also launched a lyric-video created by Felipe Rolli / for the title-track “PANTHER”, which features animated artwork with images by André Meister / from the PANTHER booklet to complement the lyrics.

Check it out here:

Check out these videos for Pain of Salvation’s “PANTHER” album:
“UNFUTURE” Lyric Video: 
“RESTLESS BOY” Drum Playthrough: 
“PANTHER” Album Trailer:

Next to the standard CD and the Digital Album formats, ”PANTHER” is also available as limited 2CD Mediabook (Including expanded artwork and the following 4 bonus tracks on a separate disc (15:41): “PANTHER (demo)” (04:09), “KEEN TO A FAULT (demo)” (05:31), “FIFI GRUFFI” (03:32) and “UNFOREVER” (02:27)) and as 180g. Gatefold 2LP (Including the 4 bonus tracks on Side D and album on CD as bonus).

You can order “PANTHER” in its various formats here:

Stay tuned for more Pain of Salvation news coming soon…

Pain of Salvation online: