Moon Safari – Crossed The Rubicon

Big Country – Dead on Arrival

Red Bazar – We Will Find You

Ars Nova – Fury: The Daughter of Simoom, After the Simoom

Joost Maglev – Angel

GU-RU – Kingdom Within

Skylake – Crossroads

Joost Maglev – Demon

Greenslade – Drum Folk

The Maybes? – Promise

Tim Bowness – Borderline

Ange – Docteur Man

Toehider – Death of Optimus Prime (excerpt)Bo

England – Three Piece Suite (1976 Olympic Studio Recording)

Focus – Hocus Pocus (US Single edition)

Franck Carducci – Alice’s Eerie Dream (radio edit)

I Am The Manic Whale – Circles (Show Love)

Stomu Yamashta – Rolling Nuns

Dec Burke – Destroy All Monsters

Circu5 – Strings

Jump – Free At Last (live)

Genesis – Can-Utility and the Coastliners

Edition 152 of THE PROG MILL for Progzilla Radio (372 in total), first broadcast Sunday 7th April, is now also available for you to steam any time or download as a mp3 file.

Quite a melodic show this week, so kick back, relax and listen to some amazing music.

This Week’s Playlist

1 Lonely Robot – Ancient Ascendant (Under Stars)
2 Millenium – Light Your Cigar (Reincarnations)
3 Alan Parsons – I Cant Get There From Here (Secret)
4 Red Bazar – Temple (Things as they Apear)
5 Grice – Steam (One Thousand Birds)
6 Vermillion Sands – The Love in the Cage (Water Blue)
7 Rob Cottingham – Hero (Orchestral) (Back Behind The Orchard Tree)
8 The Slambovian Circus of Dreams – Talking to the Buddha (A Box of Everything/Flapjacks from the Sky)
9 Mythology – Thilofushi (All The Planets Have Aligned)
10 Oliver Papke & Colin Powell – New Life (Moments in Time)
11 Mike Hyder – A Song For You (Wood & Steel)
12 Manfred Mann’s Earth Band – Father of Day Father of Night (Solar Fire)
13 Atomic Rooster – Nobody Else (Death Walks Behind You)
14 T – The End Where We Began – That Thought You Lost at Home (Solipsystemology)
15 The Enid – Someone Shall Rise (First Light)

You can hear The Prog Mill on Progzilla Radio at these times every week ( – via the tune in radio app and on internet radios):

Sundays 10pm – Midnight UK (2100UTC) – main broadcast
Tuesdays 0300-0500 UK (0200UTC) – For North America – Mon 7pm Pacific/10pm Eastern
Tuesdays 2300-0100UK (2200 UTC) – 1500 Pacific/1800 Eastern
Saturdays 6-8pm UK (1700 UTC) – Family friendly Saturday evening repeat

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

This news story was originally published here:

Swedish alternative rockers PORT NOIR are set to release their new album, ‘The New Routine’ on the 10th May 2019, their first for InsideOutMusic and the beginning of a new sound for the band.

Today they are pleased to launch the latest single, ‘Champagne’, the third track to be taken from the album. Watch the lyric video here:

The band comments: “For a long time we’ve been wanting to do something in the way of Zack de la Rocha and Jon Theodore’s project One Day as a Lion. Confident and powerful yet minimalistic with distorted analog synthesizers and pushy drums taking the lead role. However, we wanted to change things up with some melodic vocals and do our own thing. We believe we created something unique with ‘Champagne’ and it is just what this scene needs.

The band recently launched a video for the track ‘Young Bloods’. Watch the video here:

The new album sees the trio blending old-school rock with contemporary pop, R&B and hip-hop in a creative and minimalistic fashion. Inspired by bands such as Rage Against the Machine, Death from Above 1979, The Weeknd, Daft Punk, Queens of the Stone Age, ‘The New Routine’ is direct, energetic and intense.

‘The New Routine’ will be available as CD, LP + CD & as digital album, and is now available to pre-order here:

1. Old Fashioned
2. Flawless
3. Blow
4. Champagne
5. Low Lights
6. 13
7. Young Bloods
8. Define Us
9. Drive
10. Down For Delight
11. Out Of Line

Watch the video for the track ‘Old Fashioned’ (the album’s opening track) here:

Stream / download the single here:

Consisting of Love Andersson (bass, vocals), AW Wiberg (drums) and Andreas Hollstrand (guitar, keys and backing vocals) they’re a band that’s been around since 2011. During the years they’ve toured and played extensively through Europe supporting In Flames, Pain of Salvation, and Karnivool to name a few.

Their last album ‘Any Way The Wind Carries’ was released in 2016, with Metal Hammer UK commenting that it combined “aching melody with shuddering depth.” Recorded with Daniel Bergstrand, at a small mountain village in southern Spain instead of their native Sweden, ‘Any Way the Wind Carries’ was another bold statement from a band that defies pigeonholing in favour of embracing a vast array of influences and distilling these into smartly arranged, concise songs.

Andreas Wiberg
Love Andersson
Andreas Hollstrand

PORT NOIR online:



This news story was originally published here:

Lonely Robot, the project masterminded by producer, guitarist and singer/songwriter John Mitchell (Kino, Frost*, Arena, It Bites), is set to release their new album ‘Under Stars’ – due out 26th April 2019. Today sees the launch of the video for the albums second single, ‘How Bright Is the Sun ?’, which you can watch here: 

John comments: “How Bright Is The Sun? A cheery lament to our beautiful star. How much longer will she burn for? Will we even be around for half that time? Questions within questions. I hope you like it.”

It was recently announced that Lonely Robot will be teaming up with Space Rocks for a special launch event to celebrate the release of the new studio album. The event will take place on the 23rd April at the Everyman Cinema in King’s Cross, London, and will see John take part in a special Q&A session with Space Rocks co-founder Alexander Milas, discussing the influence of space and science fiction on his trilogy of albums under the Lonely Robot name. This will be followed by a talk by Space Rocks partner and European Space Agency (ESA) Senior Advisor for Science & Exploration, Mark McCaughrean. The event will feature an exclusive advance playback of the new album in full, accompanied by special imagery created using visuals inspired by the work of the European Space Agency. 

John comments: “Space and science fiction permeate throughout the trilogy of Lonely Robot albums and with Space Rocks, I can’t think of better people to team up with to celebrate the release of the final part of the astronaut’s story. It should be a very special evening.” 

Space Rocks co-founder Alexander Milas adds: “As headliners of our inaugural Space Rocks event in London last year, Lonely Robot and John are the personification of that inexorable link between art, music, and the great beyond. His music is the perfect bridge between those worlds. Roll on the 23rd!”

For more info head to 

Lonely Robot recently launched a video for ‘Ancient Ascendant’, the first single from the new album. Watch it now here: 

The album once again features drums by long-time collaborator Craig Blundell (Steven Wilson), plus bass contributions from Steve Vantsis (Fish). All other instrumentation on the album is performed by Mitchell himself.

John comments of the album: “It is the final part in the astronaut trilogy, and was recorded over an intensive month and a half period. This time I wanted to reference my love of 80s synthwave pop a little more – so beware the 808! The title is derived from the belief that we as humans spend far too much time not noticing the beauty around us and far too much time tethered to technology.” 

‘Under Stars’ will be released as a limited edition digipak CD (featuring 3 bonus tracks), gatefold 2LP + CD & as digital album. Pre-order now here: 

The track-listing is as follows:

  1. Terminal Earth
  2. Ancient Ascendant
  3. Icarus
  4. Under Stars
  5. Authorship Of Our Lives
  6. The Signal
  7. The Only Time I Don’t Belong Is Now
  8. When Gravity Fails
  9. How Bright Is The Sun?
  10. Inside This Machine
  11. An Ending
  12. How Bright Is The Sun? (Cosmic Mix)* CD / digital bonus track
  13. Under Stars (Cosmic Mix)* CD / digital bonus track
  14. Lonely Robot – Chapter One – Airlock* CD / digital bonus track

‘Under Stars’ is the final album in a trilogy for Lonely Robot, John Mitchell’s visionary project. This began in 2015 with the ‘Please Come Home’ album and continued two years later with ”The Big Dream’.

“I always saw this as a trilogy, and it feels like the third part of the Lonely Robot master plan has reached a natural conclusion.”

As with the two previous albums, there is a theme running across the songs here, as Mitchell explains. “On ‘Please Come Home’, the theme was about the idea that life on Earth didn’t originate from this planet, while for ‘The Big Dream’, I was really giving everyone the benefit of Zen musings according to John Mitchell. This time things are a little more down to earth. What I am doing is looking the millennial generation, and the fact that kids today are so tied to their phones and to technology. They really have no clue what is actually going on around them, and I find that worrying.”

John Mitchell is a man with a rich musical heritage and history – from musician and vocalist, to songwriter and producer. With bands like Arena, Frost*, Kino, It Bites and Lonely Robot, to name but a few, Mitchell has left his mark on the current progressive rock scene and has been involved in dozens of recordings. He is also a respected producer & mixer, running Outhouse Studios in the UK and working with artists as diverse as You Me At Six, Enter Shikari, Alter Bridge, Asia, Don Broco, Funeral For A Friend, McFly & much more.


SPACE ROCKS online: 


This news story was originally published here:


Persephone’s Dream, named after a Greek myth, is a six-piece Symphonic Neo-Prog band founded in 1993 by guitarist Rowen Poole and bassist Chris Siegle.  Hailing from Pittsburgh, Pa., the band has released five albums of all-original progressive music — not a cover tune among them! Their sound is reminiscent of such well-received artists as Hidria Spacefolk, Magenta, and Izz, and has been influenced by spacey greats such as Ozric Tentacles and progressive luminaries such as Rush and Genesis. 

In a statement from the band:
“This has been a great and energizing year for us so far, and we’re extremely thankful for everyone who’s supported our dream and its journey. Not only are we releasing our sixth album, Anomalous Propagation, but we now also have the distinct honor and high privilege of signing on with Melodic Revolution Records. It’s a Persephone’s Dream come true—we’re beyond excited to work with MRR and find out where this partnership and the music leads us!” 

Persephone’s Dream now have their next opus poised in the wings, just offstage. Music to our ears! They recently finished the recording of their upcoming album, Anomalous Propagation, and it’s due out in late 2019 on LP, CD, & digital.  Log in, friends, and get primed to listen — more details to be announced soon!

Persephone’s Dream Is…
Rowen Poole: guitars, synths, lyrics
Chris Siegle: bass, synths
Heidi Engel: vocals, lyrics
Jim Puskar: drums, percussion
Jason English: guitars, vocals
Laura Martin: pianos, keyboards, synths, vocals

Follow Persephone’s Dream
MRR Profile:

Melodic Revolution Records Online:

Melodic Revolution Records Spotify Playlists:

This news story was originally published here:

Glasgow’s ATLAS : EMPIRE is premiering their second live session video “It’s All In The Reflexes” via Prog Sphere today in support of their third Canadian tour this coming April (dates listed below). The track is off their debut album The Stratosphere Beneath Our Feet released this past December.

Watch the live session below.

Guitarist and vocalist Steven Gillies comments:

This is the second song from our recent live session with Papercrane Recordings, who are based in Kent, England. We recorded the session on an off day between shows in December. It’s the first live recording we’ve done in a few years, it was a lot of fun, but also pretty challenging – specifically for Jamie & I as we didn’t have monitors or headphones! “It’s All In The Reflexes” was our last single from the album, the song is about never giving up on what’s important to you, always growing and evolving, despite the obstacles thrown in your way. It’s become a microcosm for Atlas : Empire in general.

Weaving their way between the multitudes of different genres that influence them, the trio visits the worlds of heavy progressive rock and expansive ambient shoegaze. Crossing the Atlantic to North America, the proggers will be visiting Canada for their third time since their performances in Ontario in 2017, which included showcasing at Indie Week in Toronto.

Bassist Robert Hasebe adds:

We are unbelievably excited to cross the Atlantic for our third tour of Canada. This is an important tour for us as we will be touring our brand new album ‘The Stratosphere Beneath Our Feet’. We worked really hard on this record and are elated to share live versions of these songs with our Canadian fans. Touring here is by far one of the most enjoyable things about Atlas : Empire. The unique challenges and rewards of touring this part of the world are what makes Canadian artists and performers truly great. They are not only so wonderful to work with but also so friendly and exceptional at their craft. Canada produces so many good bands and such talented musicians that we are so fortunate and so grateful to be able to tour here regularly. Also, poutine…”

ATLAS : EMPIRE‘s latest album The Stratosphere Beneath Our Feet is available for stream and download on BandcampiTunes, and Spotify.

To date the band has released 3 EPs, To The Astronaut… (2012); Somnus (2013) and For the Satellites (2015) with The Stratosphere Beneath Our Feet as their 2018 debut full length.

Hasebe adds:

The Stratosphere Beneath Our Feet‘ is a concept album that explores what would happen to humanity if we became entirely reliant on technology/automation in every aspect of our lives – and more importantly, what happens when that system fails? Across its 10 tracks, we delve into different aspects of that very-possible future, with each song takes place before, during or after a mass technological collapse, from the perspective of a different ‘character’.

Atlas - Empire Canadian tour

For more info:

The post Exclusive: ATLAS : EMPIRE Share 2nd Live Session Video “It’s All In The Reflexes” appeared first on Prog Sphere.

The PROG MILL LONG ONES SPECIAL #11 (show 151 for Progzilla/371 in total) – first broadcast Sunday 31 March, is now also available to stream anytime you like or download as a mp3 file.

Just SIX epic progressive rock tracks in two hours. So kick back, find a comfy seat and a nice drink, and enjoy some of the best of today’s epic prog scene.

On This Week’s Show

1 Karfagen – Dragon Island Suite Part 1 (Echoes from Within Dragon Island) 17:16
2 All Traps on Earth – Bortglomda Gardor (A Drop of Light) 14:03
3 Magenta – Trojan (We Are Seven) 26:51
4 Kinetic Element – Face of Life (Face of Life) 19.35
5 Coma Rossi – Dream (Coma Rossi) 13:46
6 Machines Dream – Immunity (Revisionist History) 25:22

You can hear The Prog Mill on Progzilla Radio at these times every week ( – via the tune in radio app and on internet radios):

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

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

This news story was originally published here:

Witnesses is a doom band from New York City. The trio, featuring guitarist Matt Kozar, violinist Suvo Sur, and multi-instrumentalist Greg Schwan, has just released their new album titled ‘To Disappear and to Be Nothing.’

Schwan spoke for Prog Sphere about their work, the latest release, and more.

Define the mission of Witnesses.

“Mission” is an interesting word; I’ve never thought of art in those terms. To simplify the discussion, though, I just want to reach people. Every single person who comments that the music is beautiful or meaningful to them is a high for me. I think it’s bad faith to say that one does art for themself. At least in my case I know it’d be comically bad faith to say that. So I guess reaching people is the goal, and I derive particular satisfaction reaching people abroad. Breaking through cultural barriers with art reveals a kind of lingua franca, I guess. Surely the world could use more of that.

Tell me about the creative process that informed your recent album “To Disappear and to Be Nothing” and the themes it captures.

The creative process is a bit tough to explain. I write and arrange the songs, but allow the collaborators to express themselves with the constraint of making sure we do not stray too far from the original vision. As an example, I’d never imagine trying to write drum fills for Mark Zonder. That said, if a certain part is supposed to open up into a big groove, I do lay out that framework and will stick to it unless a compelling alternative reveals itself. Same goes for the other musicians, whether it be Matt’s additional guitar harmonies or Suvo’s violin lines. And this is especially the case for vocals. Telling Kody what to sing would have been a sure way to destroy these songs. But to be clear, the original progressions and arrangements are mine, and the goal is to have very strong collaborators pile on and complement this original vision.

Thematically, TDATBN focuses on a few key themes–namely, identity, loss, and history. I’ll have to leave it up to the listener from here, though.

What is the message you are trying to give with “To Disappear and to Be Nothing”?

I wouldn’t say there is a message. Something about an explicit message to me disempowers the listener; it potentially means they cannot interpret and think for themself. That said, the artist who developed our recent t-shirt design remarked that the despite the gloom, the album also had a lining of hope. I think that’s very fair. After all, we do end with a song that has “hold the light inside” in the title. But holding the light inside is in a “dark age”. I think there is a lot if ill in the world; I think there is a lot of very good reason to be pessimistic. But I wouldn’t completely eliminate hope. That’s about as close to a message as I can get, though.

Witnesses - To Disappear and to be Nothing

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

It depends on what you mean here. I certainly didn’t score the music; I don’t even know what chords and scales I am playing. I have no theory background to speak of, for better or for worse. So while I have some chords and such written down in tablature, that’s only because my memory is terrible. In terms of tracking the songs, that’s all just done in Logic on my end. I’m not entirely sure what DAWs everyone used, but since we were sharing WAV files it of course doesn’t matter.

Is the dynamic flow of the pieces carefully architected?

Yes. Dynamics are key–extremely key. I think I’ve actually gotten to an unhealthy place in terms of measuring DR. It’s just a number in the end, and while a very low DR has a clearly brickwalled sound, I don’t think it’s realistic to aim for Tchaikovsky-level dynamics. But music without dynamics at all I find very tiring. I’m a fan of a fair amount of extreme metal, but what I find as I get older is that after three songs I’m just exhausted. God forbid it’s a show with four extreme metal bands in a row and I’m standing in a big fire hazard mob of people. Anyway, the challenge is that we still have Blackstar amps cranking, so to some degree we’re boxed in. But we do have the arrangements at our disposal, and we certainly made an effort for a stark contrast between a quiet section immediately followed by something heavy. If those were the same volume it’d just be a travesty.

Describe the approach to recording the album.

The recording process for this album was in a sense very modern. I basically wrote the songs with scratch guitar and Toontrack–EZDrummer of course being for arrangement purposes, not to write specific fills or anything like that. We then hired Mark Zonder to track the drums out in his Hollywood studio. It’s a blur from there, but then in some order I can’t remember, Matt and I recorded live guitars, Suvo tracked his violin parts, and Kody Ternes tracked his vocals local in Tennessee. If it isn’t obvious, there was never any kind of band rehearsal or anything. I’ve never played a single riff off this album with anyone else.

In terms of mixing, I had intended to take it somewhere professional. But honestly, that got more complicated than I would have hoped, so I decided to just mix it myself. That brought with it some serious limitations; I had never mixed a band before, so just took a stab at it. The results obviously have a lot of room for improvement. But I think that’s OK; it’s out there, and the songs are I believe powerful.

How long “To Disappear and to Be Nothing” was in the making?

Too long. The songs were written in 2016 and I nearly gave up on them numerous times. The last I recall was over vocals. I just wasn’t having any luck finding the right singer for this music. I recall even deciding that the project was effectively on ice–and then I found Kody Ternes online I believe the following week. He wasn’t doing metal or anything remotely close. But it was clear his timbre was perfect. That saved the project, full stop. From there it was just a matter of time to get it all done. As an independent project we didn’t have any real time pressure.

Which bands or artists influenced your work on the release?

I try to shy away from being too forthright on this question as it relates to music, and will probably be a bit vague. But we certainly have an affinity for some of the earlier British doom acts. I’d prefer not to talk about specific bands and albums as that would reveal too much. But certainly if you want to learn about this era, just Googling “1990s British doom” will lead you down the path.

Otherwise, it’s really important to note that other bands/musicians are not the only influence. I’m a bit more forthcoming about this area, actually. From the category of film and television, most notable would be Twin Peaks and 2001: A Space Odyssey. And then from comics, The Sandman. Some of these references are very explicit, others less so. I hope listeners find them and discover the connections.

What is your view on technology in music?

With some caveats, I have zero concerns about technology. I am not a purist or luddite; I really just care about the outcome. I think things do get a tad questionable if you use technology for something you want to pull off live, and just end up embarrassing yourself. But if all you aim to do is a studio record, then I say game on. I truly do not care about using pitch and timing correction for a good result. If you use that to the point that thing sound inorganic and stale, well, that’s your own problem. But the technology is not bad in-itself.

I’d add that as a city dweller, technology has empowered me to a great deal. I’d love to fire up some ENGL amps in my home, but it’s not at all feasible. So Bias FX it is.

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

I certainly don’t view our music as pure entertainment. That sets an extremely low bar and to me sounds like some kind of escapism. I think art can be entertaining, but the two are certainly not synonymous. I think one of the ultimate experiences one can have with music is for it to be something of a soundtrack in their journey. There are certain albums for me that mark specific periods in my life. That is something extremely unique to me and also very powerful. If we can earn that place in the experience of listeners, it’d be truly amazing. And I think that is more powerful than entertainment. Don’t get me wrong, I can reminisce about when I saw certain silly movies in the 1980s, etc. But when I think about the years during which I was discovering Dead Can Dance, that association is something far more meaningful and profound.

What are your plans for the future?

We’ll have a follow up single hopefully this Summer, which will be in the style of TDATBN. Otherwise, we have two cinematic albums in the works and will do another full-length in the style of TDATBN. After that, I would like to do a dark folk album. This will of course span a few years, which means things could change. But from this vantage point and with the information I have now, it’ll look something like I’ve described.

To Disappear and to Be Nothing is out now; order it from Bandcamp. Follow Witnesses on Facebook and Instagram.

The post WITNESSES: A Lining of Hope appeared first on Prog Sphere.

This news story was originally published here:

Progarchives own Special Collaborator Kev Rowland have now released the first of his three books that chronicle all the reviews he wrote up until 2006. The books will all be published by Gonzo Multimedia.

For more information and various links about the case in hand, the press release is published, among other places, here: