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

Hailing from Montreal, Fayne is a progressive metal five-piece with a goal of “delivering their own blend of heavy-driven drums with crushing guitar riffs and basslines, topped off with a powerful mix of clean and screamed vocals.” Back in November 2018, the group released their new album titled ‘Journals‘ which was mixed and mastered by Jamie King of The Basement Recording (The Contortionist, Between the Buried and Me). Singer Justin Furtado spoke for Prog Sphere about the album.

Define the mission of Fayne.

To make music that’s as much about you as it is about us.

Tell me about the creative process that informed your recent album “Journals” and the themes it captures.

Well, we talk a lot about death, but we feel that we’ve approached it uniquely. Each song is about what we would think or feel in our last 5 minutes on this planet and every song is about a different feeling, or person, if that’s easier to interpret. The idea that we all walk different paths in life to inevitably all end up in the same place is something that we can think humbles us and teaches us to respect each other’s decisions. The lyrics may not be the easiest to decipher but they actually talk about things that are quite inclusive like loss, knowing purpose, and how to cope with these challenges. We swear the message is somewhere underneath the metaphorical nonsense.

Fayne - Journals

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

During the writing process I had begun writing the lyrics based on how a person feels in the last 5 minutes of their life, which was inspired by a short film I had come across on the internet and based on my own mortality as well. A few songs in, I started to see that the themes I was writing about related to pretty much everyone and not just myself. We will all experience that final 5 minutes one day, regardless of how we feel in that moment and regardless of everything we’ve done in our lives prior. The whole idea is dark and at times very metaphorical (and I can’t help it) but it sends a positive message that no matter how different we all may be, we all end up in the same place in the end. So be kind to each other, even when you don’t want to be.

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

Some song ideas were documented with mobile phone videos but the most part were done via Reaper. When the songs were brought to the jam space, the live rehearsals were recorded to gauge how they sounded in the field and adjusted accordingly.

Is the dynamic flow of the pieces carefully architected?

The songs inherently had a cohesiveness to them as they stemmed from the same/similar headspace and mindset. There was a lot of discussion on how the album track list should be and this was decided on the “feel” of the songs, in addition to the lyrical content. Stimpak acting as the “mid-point” of the album were the rest has a more groove-prog oriented vibe and of course…darker :D .

Describe the approach to recording the album.

Most, if not all songs were initially created by Alex, where the drums, bass and, guitars were presented to the band and later worked on and refined. They foresaw many changes, especially once we integrated vocals after the fact. All the demos were done in Reaper using Superior Drummer and LePou cab sims and went through several revisions as time passed. “Holding on” to demos for some time before actually entering the pre-prod phase is very helpful to gauge perspective and to let them “sink in”. Although unintentional, the songs definitely took a better form in our opinion due to this.

How long “Journals” was in the making?

We started to focus on the idea of making a new record back in 2016, but some ideas and riffs on the album date back even before then! There were a couple of hiccups along the way, so to give you a rounded number, we’d say about 3 years in a very staggered way.

Which bands or artists influenced your work on the release?

We can all agree that The Contortionist have been a big influence on our band’s release. We’ve seen them evolve from this deathcore band to a prog-rock band. They still continue to inspire us as musicians and as people. They’ve helped us explore beyond our boundaries and push the bar when it comes to writing music.

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What is your view on technology in music?

We fully support anything to facilitate the music writing process. We continue to write music in its most organic form however, we feel it’s easier to layout ideas using software like Reaper and Superior Drummer than it is to guess what’s going on in your guitar player’s head. We stick within our boundaries as musicians as well. We won’t write music at 300 bpm if we can’t play it live.

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

We’ve always tried to send a message to whoever is listening. Most of the time we’re trying to invoke awareness, whether it be a message about anxiety, death, social issues, and the constant struggle within. If it can help start a conversation between us and our listeners, then our purpose beyond the music has been achieved.

What are your plans for the future?

We’re working on a live studio performance video for one of the songs off of Journals, booking shows, writing new songs, and trying as many different ways as we can to get our music out there. Touring will always be necessary, but there are other corners of the music industry that metal bands can explore, and we’d like to experiment with that.

“Journals” is available from Bandcamp. Follow Fayne on Facebook

This news story was originally published here: http://www.prog-sphere.com/news/periphery-hail-stan-out-april-5/
PERIPHERY Release "Periphery IV: Hail Stan" on April 5

Periphery release their fifth album, Periphery IV: HAIL STAN, on April 5 via their own 3DOT Recordings.

Sirius XM Liquid Metal host Jose Mangin debuted the album’s first single, “Blood Eagle,” yesterday. Guitar player Mark Holcomb said of the six-minute track: “We’ve known since the late stages of P4 writing sessions that ‘Blood Eagle’ would be the first song we released. It’s an unrelenting song that, even while we were writing it, we could say to ourselves: ‘We NEED to play this live.’ The original demo was vastly different, and through the songwriting process, it took on this kind of violent, explosive nature that is always hard to synthesize. That energy excited us and we knew it’d be the first thing we’d let you all hear.

Periphery IV: HAIL STAN marks two significant firsts for the band: the first Periphery release on their recently formed label, 3DOT Recordings, as well as a change in the way they approached writing and recording. “We finally spent a year on a record,” explains guitar player/programmer Jake Bowen. “We’ve never been able to do that. The quality and pacing of the work show we took our time with this one. That’s an important note about this. We really got to do everything we wanted to do in the space we had to do it.” Mark adds, “I think you can hear the adventurous intent behind much of this material as a result. We’re all the happiest we’ve ever been with a release, and it’s no coincidence. Can’t wait for you all to hear it.

Pre-orders, which include several limited-edition vinyl and merch bundles, are available now via https://store.3dotrecordings.com/ (physical) and digitally via iTunes (smarturl.it/hailstan_it). Digital pre-orders include an immediate download of “Blood Eagle,” which can be streamed now via Spotify (smarturl.it/bloodeagle_sp).

Periphery IV: HAIL STAN is the first release to follow the band’s 2017 GRAMMY Award nomination in the “Best Metal Performance” category, for Periphery III: Select Difficulty album opener “The Price Is Wrong.” The 2016 album tallied 35 million cumulative streams and marked their third consecutive debut in the Top 25 of the Billboard Top 200. It represented the apex of a tireless decade-long grind. Along the way, the band graced the covers of Guitar World, Revolver, Modern Drummer, Bass Player and more. In between the touring, endorsements and appearances, they also launched a summer camp of their own, “Periphery Summer Jam.

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Periphery IV - Hail Stan

Periphery IV: HAIL STAN tracklist:

Reptile
Blood Eagle
CHVRCH BVRNER
Garden In The Bones
It’s Only Smiles
Follow Your Ghost
Crush
Sentient Glow
Satellites

Periphery embarks on a brief tour to coincide with the release, joining Dance Gavin Dance for a 15-date North American trek on March 30.

Periphery tour dates (all dates with Dance Gavin Dance):

March 30 Anaheim, CA City National Grove of Anaheim #
March 31 San Francisco, CA The Regency
April 2 Las Vegas, NV Brooklyn Bowl
April 3 Phoenix, AZ Van Buren
April 5 Dallas, TX South Side Music Hall
April 6 San Antonio, TX Alamo City Music
April 7 Houston, TX Warehouse Live
April 9 Ft. Lauderdale, FL Revolution
April 11 Silver Springs, MD The Fillmore
April 12 New York, NY Playstation Theater SOLD OUT
April 13 Philadelphia, PA Franklin Music Hall
April 14 Worcester, MA Palladium
April 16 Cleveland, OH Agora
April 17 Detroit, MI Royal Oak
April 18 Chicago, IL House of Blues SOLD OUT
April 19 Chicago, IL House of Blues SOLD OUT
April 20 Columbus, OH Newport Music Hall

This news story was originally published here: http://www.prog-sphere.com/interviews/endworld-halos-interview/
EH

Finnish dark progressive rock trio Endworld Halos launched their self-titled debut album in October 2018 which, according to themselves, is a versatile and ambitious slab of Finnish prog-infused rock, that can be described as a shady fusion of modern and old-fashioned soundscapes. Toni Jarvinen and Kimmo Utriainen answered our questionnaire about their mission, the record, technology, and more.

Define the mission of Endworld Halos.

Toni: I haven’t set any particular milestones or missions set for the band. For me, music has gradually become the best method to channel my emotions and it functions as an intermediate for learning about life and myself.

Kimmo: I concur to some extent. The topmost reason for me to write music is self-expression, to convey things I see and things I can’t understand otherwise. Still, I’d say that together we have also managed to extract something tangible from the essence of this age, a portrait of the world’s status quo and current direction, as seen by two Finns with a different but somehow similar mindset. So it’s not something completely self-centered, as self-expression and art are a very strong connection to the outside – the world, nature and other people. I do hope our work will find (and move) as many people as possible, as I feel what we’ve created ended up being something quite beautiful, but I wouldn’t call promoting it a mission. I guess our music is no more or no less than stone age cave paintings. It’s a scar from this era that will find its purpose and bear its impact on people in its due time, if it’s bound to do so. And I’m sure it will.

Tell me about the creative process that informed your recent self-titled debut album and the themes it captures.

Toni: I see it as a tableau of how I experience the man-made world. I’d say that anyone who is able and willing to observe their surroundings from different perspectives will sometimes witness very unnatural behavior by their fellow men, and very often by yourself, as I feel we all have our crosses to carry. It can make you feel distressed when dreaming on how things could be different and how the world might be more beautiful. Most of the time you just accept that things are exactly the way they are meant to be. With this mindset as the basis, the album is a trip from the twilight of man to metropolitan cities, via deserts to a sunset and eventually to silence.

Kimmo: The album captures different aspects on the world we live in, pessimistic and optimistic, hideous and beautiful. While it may seem that we are plummeting towards our end, we are also witnessing unimaginable miracles and beneficial progress taking place around us. We assume we are becoming more detached from our origins and nature, but we’re still extremely close to the archaic species that have been around for millenniums, which is tearing us apart. There’s beauty and hope in everything we see as something dreadful, and the other way around. We see ourselves as the greatest and wisest species on earth, but is that even close to the truth? It’s the dichotomy, conflict, impossibility and fascination of the world that has forced me – and I think us – to take this musical excursion.

Endworld Halos album art

What is the message you are trying to give with “Endworld Halos”?

Toni: I’d encourage everyone to observe themselves and their own actions from various perspectives, not just from the self-centered point of view. Looking at the stars, for example, is a simple way to achieve and understand a different angle.

Kimmo: People who claim they are right frighten me the most, so if there is a message to be sent, I’d like people to question their place in the world and their good intentions, and at the same time, have mercy and forgiveness for themselves, if required. Also, remember to feel small every now and then.

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

Kimmo: We both had some ideas old and new we thought we could incorporate to this project. Thus, we assembled the bits and pieces and started farming riffs and ideas. From there, things slowly started to take form, and we began to see what kind of a sound and themes the band could be all about.

Toni: I recorded melodies played with my guitar or just hummed them on the phone. I usually carry a piece of paper and a pen with me for making notes, about everything that passes my mind.

Kimmo: As modern men, we also bounced ideas there and back using email and Dropbox, occasionally taking things to the practice space for a guitar session. Followed by more digital documentation, email, Dropbox and guitar sessions. Rinse. Repeat.

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Is the dynamic flow of the pieces carefully architected?

Kimmo: The general flow and “layout” of the album is always very vital to me. I often come up with song themes and titles and then write the songs around them, just to make the album sound like an album and not just an irrational collection of songs. This was the case with this album, as well. From dawn to sundown, dusk and silence; we created a thematic backbone, and the music just grew around it.

Describe the approach to recording the album.

Toni: Beside bouncing the ideas and writing the songs, I feel we didn’t really practice the songs much before starting the recordings.

Kimmo: We kind of mastered the nature of the songs while recording them, writing the remainder bits in studio, too.

Toni: We recorded the album in small portions, taking the typical path: drums first, then the strings, and so forth. The recordings were done at the practice space and our homes with equipment we could access at the moment. Nothing too fancy, just basic microphones and audio interfaces.

Kimmo: Not too much gear porn, but necessities for self-expression. Sonic survivalism.

How long “Endworld Halos” was in the making?

Toni: From early 2014 to mid 2018. There was no rush, so we gave it all the time it needed. The mixing process took a very long time, as it came with many new things for me to learn. In the middle of the process I suffered a burn-out – because of various reasons – and I almost completely lost my health. But in the end, many things are done right and some things will be done differently next time.

Kimmo: Which is the way it goes with every record.

Which bands or artists influenced your work on the release?

Toni: I’m not able to mention any specific bands. Some bits and pieces I wrote sound a bit like Rush, some 70′s progressive rock and modern progressive rock.

Kimmo: In the end, I feel like we managed to steer our from creating a pastiche. Albeit its very, very varied nature, the album does sound like, well, Endworld Halos. Of course, you can never avoid becoming influenced by stuff you like. My primary influences in the field of proggy music include Kingston Wall, Pink Floyd, old Genesis, Yes and so forth. Vintage rock stuff like Led Zeppelin etc. have always been important to me, not to forget heavy metal.

What is your view on technology in music?

Toni: I prefer the real instruments but don’t care much about the plugin vs. hardware etc. battles. I just use what interests me and what I’m able to get at the moment.

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

Toni: Definitely. If someone else is able to see that behind all these beautiful melodies there’s a pretty dark album, that’s great. I’d also encourage people to concentrate on the lyrics.

Kimmo: Always, as to me music is never just melodies and rhymes combined. There has to be something that arouses thoughts, brings up questions. But what that is, I’d rather let the listener decipher and interpret that. There’s no one right way to unravel the album. I also endorse reading the lyrics, as they’re definitely among the strongest aspects of this album. If someone else can interpret one of the songs in a different way we saw it, I think that would be just awesome. I think even me and Toni saw a few things differently while co-writing the lyrics?

What are your plans for the future?

Toni: To compose new material. Life is pretty good at the moment, so I’m just trying to keep it that way.

Kimmo: Yes, we’ll approach a set of new tunes in the near future, hopefully resulting in a new album or EP in a few years time! A lot of ideas and themes in the pool already, so you should hear more from us sooner or later.

“Endworld Halos” is available from Bandcamp. Follow the band on Facebook.

This news story was originally published here: http://www.prog-sphere.com/reviews/review-diagoras-enigma/
Diagoras - Enigma

Diagoras is a progressive death metal band haling from Gothenburg, Sweden, and back in October 2018 the band put out their debut EP titled “Enigma.”

The album contains strong blasting riffs, which are otherwise both catchy and technical, and actually suit the vocalist incredibly well. They are bludgeoning when paired with vicious screams and brutal gutturals of Erik Olans. He simply has such an intense level of passion and energy, like he pours his heart and soul into the music. The best example of this can be heard throughout the EP, but as highlights I would mentioned title track, “Hails of Torment” and “Agent of Manipulation.”

The masterful use of the heavy verse/melodic chorus style of songwriting makes this release incredibly varied. “Enigma” is all about balance of heaviness and melody. The instrumentation on the album is brought to perfection, and although the band’s technical skills are easy to notice, the band members work in favor of displaying a balance between masterful craftsmanship and performance.

“Enigma” is one of those release that is just as good the first time you listen to it as it is the fiftieth. It’s one of those rare cases where it never gets old, yet it doesn’t take any time to grow on you. Whether you’re a seasoned metal listener or someone who is just discovering heavy music, this album will appeal to you in some way or another. It’s incredibly technical and precise in its execution, yet it allows enough melody in to keep it from sounding like a typical instrumental wank fest.

Follow Diagoras on Facebook.

This news story was originally published here: http://www.prog-sphere.com/interviews/infirmum-interview/
Timo Solonen

Infirmum (former Kuolonkoura) is a one-man death/doom metal project from Jyvaskyla in Finland, founded by multi-instrumentalist and composer Timo Solonen. In December 2018 he launched a debut EP and is already working on its full-length follow-up. Solonen spoke for Prog Sphere about the project in the interview below.

Define the mission of Infirmum.

To deliver feelings and thoughts persons may go through in a one single day. Am I successful or not. I hope I am but you can tell me.

Tell me about the creative process that informed your recent EP “Infirmum” and the themes it captures.

What you see and what you hear. What happened globally and caught my eye or something that happened locally. If there was something that make me feel strongly was unfair.

Themes? Well anger could be it. Everything else is developed from that feeling in ”Infirmum”.

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

Honesty. For yourself.

Don’t live life of other’s, make your life to be your own. Never give up. If you make mistakes learn from them don’t pity yourself. Get up and do it better next time. Even if something hits you time after time get up when you have the strength but don’t wait too long. Follow your instincts, you notice sooner or later if you are not doing something what you ”Soul” ”self” want you to do. Can not find better word than ”soul” but it is not meant to be as it is in a religion context. Every song have it’s own story but all songs are connected to each other.

Kuolonkoura

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

Every time I had a chance, I recorded riffs on my phone. Sometimes riffs just will not go away if I do not record them. Lyrics came much later. It was quite easy to write lyrics in Finnish only problem was try to avoid too aggressive or depressive lyrics. I just tried to find right mood to write.

Is the dynamic flow of the pieces carefully architected?

Not really, I just let everything out and let my guitar tell a story :) To be honest, after I listened what kind of music came through me, I started to think the song as a whole with lyrics. What to add and what to remove. How to capture the feeling and atmosphere I want to express. How something would make the song to tell a story the way I wanted

Sometimes it took day or two or week I had chance to listen riffs or ideas for whole song.

Describe the approach to recording the EP.

This is my first recording, if we don’t count demoes from the beginning of 90’s. There was feeling I have to do this and I still had something to give. Nothing to loose-mentality musically. If I don’t try it I’ll regret it when I am old and sit on my rocking chair.

So I just tried to learn my DAW and ”do my best and see what happens”.

How long “Infirmum” was in the making?

It took less than three months to complete Infirmum. I already had lots of riffs recorded. Lots of time took to program drums and to record some tracks again and again and again. When mixer was satisfied I was quite tired and thought I would never do this again. Next morning I was thinking about new release ;) It was hard school but I am grateful Samu Oittinen at Fantom Studio helped and taught me and had time to answer my stupid questions.

Which bands or artists influenced your work on the release?

Hard to say. I really wasn’t listening any bands or artists when I was composing or writing lyrics. I just listened radio, not metal- or hard rock-channels because I didn’t want to be influenced by any one too much.

Well I bought one David Bowie cd and listened it once, I also bought ”Satanist” and ”I loved you at your darkest” by Behemoth. Those CDs I also listened once. Loved them but I couldn’t listen more to avoid influence. Maybe atmosphere is something I got from Behemoth’s cds.

Other influences I do not know, if there are something it must have been subconscious.

For example, one friend of miner told me one song remind him of a band I even never heard of :)

Timo Solonen (photo: Jouni Schuurman)

Timo Solonen (photo: Jouni Schuurman)

What is your view on technology in music?

Without technology EP would not exist. I recorded songs at home and send files to mixer who mixed and mastered at his studio when he had time.

So most things technology brings to music is positive but too much is too much. If you let technology to be your master in composing and so on, are you really the one who creates your music?

Technology in general is mostly beneficial to human kind. But of course it could do harm in wrong hands. In small scale for example auto-reply is great but also could be with scripts really annoying.

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

I want to deliver different kind of feelings from aggression to deep depression and between. Hopefully someone finds comfort from my songs and don’t do stupid things. I also hope people start to think and don’t take everything that is written/told true.

If my songs deliver more good than bad, them I am satisfied.

What are your plans for the future?

First of all I want to finish next album. I hired a session drummer for this album. It is recorded in two parts. Kind of first A-side and then B-side. I’m from old Vinyl LP time. Of course Kuolonkoura, now known as Infirmum, should be proper band as it was meant to be. So hopefully soon there are more than one in this band ;) And perhaps we have chance to play somewhere next summer. I am also designin logo for Infirmum with my friend. Logo should be in a way like me. Simple.

Check out Infirmum on Bandcamp.

Cover photo by Jouni Schuurman

This news story was originally published here: http://www.prog-sphere.com/interviews/umae-interview/
UMÆ Release "Turn Back Time" Single, Feat. John Wesley (Porcupine Tree) and Conner Green (Haken)

Progressive rock trio UMÆ emerged in 2017, and in the early days of January 2019 the band digitally released their debut album ‘Lost in the View’, which sees the core trio comprised of Anthony Cliplef (guitar, vocals), Guðjón Sveinsson (vocals, guitar) and Samy-George Salib (drums) collaborating with number of musicians including John Wesley (Porcupine Tree), Conner Green (Haken), Adam Holzman (Steven Wilson), and Eric Gillette (Neal Morse Band).

The trio answered our questions about the album, inspiration, and more.

Hello! First of all, I’d like to thank you for taking the time to answer this interview. How are you?

Samy: Living the dream.

Anth: Great, thanks. Thank you for having us.

Guðjón: Good, good!

Where did you get your band’s name from?

Anth: The characters are Icelandic, but the name is gibberish. Guðjón and I settled on this gibberish, which is also an inside joke, because it sounded good to us. The cool thing about using a name with no meaning attaches to it is that our band gets to define it entirely by our music.

If you had to describe your band’s sound in short terms, how would you?

Anth: It’s all over the place, but collected, haha.

What are the bands that have inspired you most with regards to your own music?

Anth: For me, Dream Theater, Transatlantic, Yes, Genesis, Rush, King Crimson, Steven Wilson… basically just a whole lot of Prog.

Samy: I’m actually inspired by drummers that have the right balance of emotion and technique, including Steve Gadd,  Gavin Harrison, Todd Sucherman, Charlie Adams and Matt Garstka for example.  This has opened me up to a variety of genres, as they make the drums “sing” and are able to play to the song without “hijacking” it.

Guðjón: I remember sending Anth 4 albums initially when discussing influences for the project; “Act IV” by The Dear Hunter, “Plains of the Purple Buffalo” by shels*, “A Long Time Listening” by Agent Fresco, and “The Tief, the Tide, and the River’s End” by Caligula’s Horse. I’m pretty sure these influences seeped into it, as well as more artists in that vein.

What’s the story behind the formation of UMÆ?

Anth: I met my bandmates for the first time on stage, playing unrehearsed covers of Dream Theater and Steven Wilson songs, down in Florida.

When I got home to Canada, I felt inspired and wanted to do something with the musicians I had played with. So, I sent them some midi programmed demo song files I had made. It wasn’t long before Guðjón got back to me about collaborating on some music.

Guðjón: Before I knew, he was sitting in my apartment and we started making noise. Best 6-week home invasion I’ve ever had.

Anth: Once G and I had a rough idea for the album and demos to send, we sent it off to Samy to listen to. Once Samy agreed to incorporate and perform the drums, we were 3. Then it was a matter of tracking down all those guests to fill out the rest of the band.

Samy: When we realized the scope of the project, we brought on other musicians to complete the album, including some world-class performers.  However, for the purpose of this album, the three of us made a conscious decision to remain as a trio – at least until the album was completed.

UMAE - Lost in the View

You have just launched your debut album. What do you have to say on the concept behind “Lost in the View”?

Anth: For me, it’s mainly about various aspects of the past and how it affects us, how we hold onto it, and how we move forward with or from it.

Guðjón: To me it’s more of a thematic album than a concept album, even though in my head I have fairly detailed stories for the characters. Overall that is left up to interpretation though.

How do you think the music interacts or reflects on the themes you’re touching on in this album?

Anth: I feel like, because the music existed before the lyrics for most of what was written, the lyrical themes are actually more of a reflection of the music. For me, that’s almost always the case. I’ll write a piece of music, and let the lyrics flow out of that. I hope that gives a bit of insight into that interaction.

What went into the writing process of “Lost in the View”?

Anth: with my parts, I generally hear what I want to write in my head, then I figure it out on guitar and/or chart it out in a midi program. So, that’s what I was doing mainly.

As far as writing together goes, I would have a part of a song, a full song, or a full structure of a song with just guitar written, or Guðjón would have something like that as well, and we just sort of fed off each other’s ideas, essentially doing rough demos of everything into Pro Tools.

Sometimes I’d have a part and G would have a part, we’d order them, then connect them by filling in the middle. We just did a whole lot of that sort of stuff.

Guðjón: The core writing was actually done pretty fast over Anth’s initial 6-week stay in Iceland. We developed the ideas and arrangements over the course of the following year, and you could even say up until the very final mixes. Since we were working cross-continents, correspondence with Samy and Anth was pretty much constant throughout the process.

The album features guest appearances from John Wesley, Conner Green, Adam Holzman and Eric Gillette, among many other musicians. What was it like working with them?

Anth: It was really cool. They are all really down-to-earth sort of people, and all very enthusiastic. Everyone involved in the album really just emanated musicianship and passion for such, and I feel that it really shows in their contributions to the album.

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What’s the idea behind the artwork?

Anth: When I was staying in Iceland for the first time, I was taken aback by all the scenery. Environment and atmosphere plays a big part in creativity for me. So, one morning, I sat at the dining room table at Guðjón’s’ family’s home and was looking out the window at this little mountain called Þorbjörn, and I decided to sketch it.

At some point, we were discussing album artwork, and my sketch came up. It seemed fitting to us. I like it because, to me, it represented letting go and moving forward from the past and just taking in something fresh and new. I know it will mean different things for different people, but that’s how it was for me.

Guðjón: It’s sort of the opposite for me. *laughs* I recently moved out of the country, away from that very mountain, to start something new. It ties into the concept in a nice way.

What advice might you have for other musicians, whether from a creative or business perspective?

Anth: Don’t wait for things to just happen. If you want your music to go anywhere at all, you have to start researching and learning everything you need to do, organize it into logical steps, then start executing it. You need to treat it like a full time job that you are not only not getting paid for, but actually investing time and money into. Lastly, you need to love it, otherwise you won’t be able to do all of the above for it.

Guðjón: Do it. Then do it some more.

Stay tuned with UMÆ on Facebook.

This news story was originally published here: http://www.prog-sphere.com/specials/king-crimson-2019-tour-dates/
KING CRIMSON Announces 2019 Tour Dates In Celebration of 50 Years

In celebration of 50 years, King Crimson announces 50 Concerts for 2019. The current eight musician line-up will perform 50 concerts across three continents as part of their 2019 Celebration tour.

Dates confirmed so far, are as follows:

King Crimson 2019 Tour Dates:
JUN 10, 2019 – HAUS AUENSEE, Leipzig
JUN 12, 2019 – JAHRHUNDERTHALLE, Frankfurt
JUN 13, 2019 – JAHRHUNDERTHALLE, Frankfurt
JUN 15, 2019 – LIEDERHALLE, Stuttgart
JUN 16, 2019 – LIEDERHALLE, Stuttgart
JUN 18, 2019 – ROYAL ALBERT HALL, London
JUN 19, 2019 – ROYAL ALBERT HALL, London
JUN 20, 2019 – ROYAL ALBERT HALL, London
JUN 22, 2019 – DE VEREENIGING, Nijmegen
JUN 23, 2019 – DE VEREENIGING, Nijmegen
JUN 26, 2019 – TEATR ROMA, Warsaw
JUN 27, 2019 – TEATR ROMA, Warsaw
JUN 29, 2019 – ZITADELLE, Berlin
JUL 04, 2019 – ROMISCHES THEATER AUGUSTA RAURICA, Basel
JUL 08, 2019 – ARENA DI VERONA, Verona
JUL 10, 2019 – STUPINIGI SONIC PARK, Torino
JUL 12, 2019 – DOCTOR MUSIC FESTIVAL, Escalarre
JUL 13, 2019 – DOCTOR MUSIC FESTIVAL, Escalarre
JUL 14, 2019 – DOCTOR MUSIC FESTIVAL, Escalarre
JUL 18, 2019 – ARENA SANTA GIULIANA, Perugia
AUG 23, 2019 – TEATRO METROPOLITAN, Mexico City
AUG 24, 2019 – TEATRO METROPOLITAN, Mexico City
AUG 27, 2019 – TEATRO DIANA, Guadalajara
AUG 29, 2019 – TEATRO METROPOLITAN, Mexico City
SEP 03, 2019 – GREEK THEATRE, Los Angeles
SEP 05, 2019 – FOX THEATER, Oakland
SEP 06, 2019 – FOX THEATER, Oakland
SEP 08, 2019 – PARAMOUNT THEATER, Denver
SEP 10, 2019 – AUDITORIUM THEATRE OF ROOSEVELT UNIVERSITY, Chicago
SEP 12, 2019 – WARNER THEATRE, Washington D.C.
SEP 14, 2019 – BUDWEISER STAGE, Toronto
SEP 17, 2019 – ST DENIS THEATRE, Montreal
SEP 19, 2019 – BOCH CENTER WANG THEATER, Boston
SEP 21, 2019 – RADIO CITY MUSIC HALL, New York City
SEP 23, 2019 – THE MET, Philidelphia
SEP 25, 2019 – HARD ROCK ROCKSINO, Cleveland
SEP 27, 2019 – THE RYMAN AUDITORIUM, Nashville
SEP 29, 2019 – THE COBB CENTER, Atlanta
OCT 06, 2019 – SUNSET STAGE ROCK IN RIO – Rio de Janeiro

KC2019

Since the band’s return to live performance in 2014, with critically acclaimed sell-out shows all over the world including two defining shows at the Roman amphitheatre in Pompeii, the audience has been reinvented, as much as the band itself:

“In Pompeii, a large percentage of the audience was young couples; KC moved into the mainstream in Italy. I walked onstage knowing that this band’s position in the world has changed level.” Robert Fripp

The band’s packed three-hour shows regularly include material from twelve of their thirteen studio albums, including many of the songs from their seminal 1969 album In The Court of the Crimson King, described by Pete Townshend, as an “uncanny masterpiece”. The new 8-piece line-up plays many historic pieces which Crimson have never played live, as well as new arrangements of Crimson classics – “the music is new whenever it was written”. There are also new instrumentals and songs, as well as the compositions by the three drummers, Pat Mastelotto, Gavin Harrison and Jeremy Stacey, which are a regular highlight. A unique show, where eight of the best musicians in the world play music without distraction or adornment.

King Crimson

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: https://www.prog-sphere.com/specials/acidiun-insight-video-premiere/
Exclusive: ACIDIUN Launch Music Video for Riff-Laden "Insight"

Uppsala, Sweden’s metalcore five-piece ACIDIUN released their full-length debut album The Coalescence in September last year. Teaming up with Prog Sphere, the band is launching a music video for the song “Insight” taken from the mentioned release. Watch it below.

Commented the band: “The lyrics of ‘Insight’ represent the aftermath of one’s decision when you realize what you’ve done and you’re left with the consequences. In the album’s storyline the protagonist is dealing with his thoughts after committing to a murder. Shooting this video was so much fun since we just did what we normally do when we hit the stage… We go out with full energy and have the best of times. This video truly captures Acidiun and our will to just headbang and give it our all.

The Coalescence is a concept album about a fictive character with a deranged mind, coping with the opposing forces in his head. Two singles — “Urges” and “Burn Bright” — were launched prior the release.

With a blend of hardcore, thrash and death metal Acidiun write songs that are driven by ferocious riffs and everchanging transitions with an organic flow. The music and songs are diverse and Acidiun keeps the brutality in the music along with grooves, blastbeats and breakdowns.

The Coalescence is available from Spotify, iTunes, Google Play and Deezer. For more from ACIDIUN follow the band on Facebook and Instagram.

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Acidiun - The Coalescence