ProgSphere

This news story was originally published here: http://www.prog-sphere.com/specials/salvations-end-album-exclusive-premiere/
Exclusive: Michigan Prog Metal Band SALVATION's END Present "The Divine Wrath of Existence"

Coming out this Saturday, September 22nd is a debut full-length album by Michigan progressive metal group Salvation’s End. Titled The Divine Wrath of Existence, the 12-track album is available for streaming in full exclusively via Prog Sphere ahead of its launch. Check it below.

Commented guitarist TJ Richardson, “The inspiration for ‘The Divine Wrath of Existence’ came from our love for bands within the progressive metal realm, and our desire to tell a good story. The creative process was pretty simple. I had a small collection of songs that had been written for the album and one bonus track. I sent the songs with rough drum ideas to Jeremy, who then programmed the drums, and once we finished drum tracking, Kane and I started to track guitars and bass in my home studio. After that, we brought in vocalist Rob Lundgren (who we discovered on YouTube) to sing on the album, which was awesome. He’s one of my favorite modern metal vocalists, and getting the chance to work with him was an honor.

The Divine Wrath of Existence is technically a concept album which tells the story of a being called the Traveler. He’s lived for centuries and has seen the rise and fall of humanity multiple times, only to repeat the cycle again. The album covers topics that we as people tend to go through in one form or another. “The End of Innocence” was written about suicide, while “Crimson Sunrise” is about fighting for what you believe in.

Salvation’s End already have a few things in the works, including a cover song the band did with singer Rob Lundgren which will be launched soon. The group already has plans for the next two releases.

We’ll be playing live as much as we can to support the record, and we hope to be able to tour and play some festival gigs soon,Richardson concludes.

The Divine Wrath of Existence is out on September 22nd and can be ordered from Amazon. For more information about Salvation’s End follow the band on Facebook and Instagram.

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Salvation's End - The Divine Wrath of Existence

The Divine Wrath of Existence Track Listing:

Death of Reason

Languorem

The End of Innocence

Crimson Sunrise

Separation of Mortality

Awakening

The Demon Within

The Crossroads of Chaos

Translucent Memory

Climb the Cross

The Storm of 1888

The Divine Wrath of Existence

About Salvation’s End:

A project that’s six years in the making, Salvation’s End is a dark spin on progressive power metal. Founded by ex-Halloween guitarist TJ Richardson, songwriting for what would become the band’s debut album “The Divine Wrath of Existence” began in 2012. Most of the guitars were written by the time Kane Bochatyn joined in 2016 on bass and the rhythm section was fleshed out.

For the next two years, revisions and recording were completed and illustrious vocalist Rob Lundgren was brought in to complete the vocal tracks that appear on the debut. In 2018, Shane Baker was enlisted as the band’s drummer and the roster was complete.

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

Technical death metal act from Seattle, Orator launched their debut album ‘Kallipolis’ in July, inspired by Plato’s ‘Republic.’ Guitarist and singer Isaac McCormick talks with Prog Sphere about the record’s grand concept, influences, and more.

Define the mission of Orator.

Isaac: We’re here to write metal that we ourselves would want to hear from an upcoming band. We serve the music first and our egos last. We know what it’s like to hear an album and to connect with it in almost a psudeo-spritual manner. Music is the hand that lifts you up when life tears you down. It is the friend that is always there for you, understands you in ways that no other seems to; True satisfaction is knowing that we’ve written something worth listening to for years to come that will engrain itself in another’s soul, not something that we can flaunt like a merit badge for a few weeks as the flavor of the month then have it fade from memory. We’re here to grow as musicians and artists, not find what works, habituate, and rehash it until we fade away from irrelevance. We wish everyone to know we understand and value the time and attention spans necessary for people to give in order to listen to and digest music, and we assure you we’ve only just begun.

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

I had just written a rough lyrical sketch I titled Disposable Youth when one of my friends put a copy of Plato’s Republic in my hands; I hadn’t read anything for a year or so, something I’m displeased with to this day, and once I started reading I devoured the book, taking every opportunity I could to read even if I was just standing in line waiting to order food. Once I finished the book I was revisiting the lyrical sketch, refining and building upon it, and the bulk of Emperor practically flowed from my brain through my pen as if I was merely observing the idea create itself. The rest of the concept was the same, that is, it practically created itself. Maybe that is redundant to hear, but the ancient Greeks believed that the muses were responsible for all creative successes; poets, musicians, playwrites, etc. would appeal to them before every creative endeavor in hopes that they might bless them with a masterpiece. Writing the music was the most difficult part as I refused to write anything that couldn’t or wouldn’t separate us from the general run of the mill.

Thematically, the titles/topics of the songs descend from the most powerful in a society to the least. The lyrics speak in advocacy of personal responsibility, as well as reason and resonablity. They also condemn the will to power and greed, as well as those that would embrace and pursue such. Plato states very clearly that no society will be free from its ills until the citizens of such free themselves from their selfishly superficial desires and tendencies, their lowest of natures. The album is titled Kallipolis, Kalli meaning ideal and polis meaning city-state or society, as a jest to the world we live in, where many would have us believe we live in the best society possible, and yet that couldn’t be further from the case.

Orator - Kallipolis

What is the message you are trying to give with Kallipolis?  

There are things vastly more important than yourself. So much is as it is because, short of self preservation, so many opt for complacency or ignorance rather than confronting that which plagues us head on. People would sooner stroke their egos than spend a minute, an hour, a day to try and improve even one less fortunate person’s existence. There is much that must be done, true, and one is no more than one human, but change always starts with what’s closest to ones reality and moves outward from there.

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

Lyrics were always pen to paper, and I worked through at least 5, probably closer to 10 drafts for each track.

Musically I used my D.A.W (digital audio workstation) to record ideas as I worked them out, and then puzzle pieced them together as I heard things in my head. As with the lyrics I went through about 10 drafts for each track, usually starting with a foundational idea in the first and second and building on it with each following draft. Once I recognized I had the bulk of the song figured out I’d add lyrics and that would always help me finish the song.

Is the dynamic flow of the pieces carefully architected?

Definitely to a degree, though not as much as it will be with our next effort. I refused to have each track feel the exact same as it would dilute the impact of each individual track. If one is to pay attention, one will notice references in Perceiver to the songs that came before it, which also ties into the conceptual them, though that is the only instance of such.

Describe the approach to recording the album.

Marco had already recorded and sent us his drum parts, and we prepared all parts via demos before entering the studio. There was nothing that wasn’t already written when we entered, as we knew well ahead of time that our budget was extremely limited and could not afford to waste precious time on that which wasn’t written; in the end we could only afford a maximum of 20 hours, though I think it was actually 18. Thus it was necessary for us to have all parts practiced to a meticulous degree, and we spent many hours over many weeks prior to the studio practicing until our fingers bled.

How long was Kallipolis in the making?

From the time when I first knew exactly what the concept was to the final note being recorded in the studio, it took us about a year and a half. I spent a lot of time writing just lyrics, which were mostly finished by the time I realized I had a lot of preparation to do as a musician before confronting the lofty goals I had set for Kallipolis. I do not feel like I will have to do as much preliminary work for the next effort, though there is still some that is necessary for me to grow as a musician in preparation for the even loftier goals I have set for what’s next.

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Which bands or artists influenced your work on the release?

My influential mainstays for certain, BehemothEvangelion, Cattle DecapitationThe Anthropocene Extinction, Fleshgod ApocalypseAgony; I went and learned the entirety of Master of Puppets by Metallica as part of the preparation process and am sure that had an influence on the release. I also attended many a Seattle Symphony performance and found those very conducive to working through creative blocks or refining many an idea. A scale run in the “Perceiver” solo was directly influenced by Paganini. In that same line of thought, the composers I listen to most, Tchaikovsky, Beethoven, Chopin, and Prokofiev, greatly influenced how I approached song writing and song structure. It helped me transform ideas from a cycling of riffs into what I feel are compositions.

What is your view on technology in music?

I think it is entirely necessary at this point; how else are artists supposed to record music other than in analog, which is still a form of technology? I feel the question is asking if artists rely too much on technology when creating, to which I would say yes. It is often obvious to me when artists copy paste parts in studio rather than record them live. This I feel is cutting corners, and unless made necessary due to budget limitations, is just lazy. However, technology also enables many an emerging artist to create, release, and reach vastly larger audiences with their music in ways that were never possible before, and the gear necessary to do so is only becoming more and more affordable. Someone with internet connection in the furthest reaches of fucking Antartica could look up and listen to Kallipolis! Though technology is a double edged sword and has enabled the oversaturation of all music scenes/communities, as it is easier for one who is merely going through the motions to put something together, promote and release it, I’m certain matters will sort themselves out, and it is a necessary “evil” in order to create the circumstances necessary for those that write music “deserving” of being heard to reach as many people as possible.

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

I  certainly intend for it to and hope that it does! I advocated for taking better care of our environment and earth in general before listening to Cattle Decapitation‘s The Anthropocene Extinction, but after hearing that monster of a release, reading the lyrics, and realizing just how truely abhorrent our tendencies towards waste and pollution are I went from casual environmentalist to almost militant environmentalist. I would hope that everyone would read the lyrics I’ve written, and if even one person changes their mindset for the better because if it then that will be a success for me. As much as I might like to, I find it nearly impossible to write lyrics that aren’t about the present state of the world, as to make music is to invite an audience, and I feel to invite an audience and not direct attention to that which I feel ails us most is to direct attention away from such. There are many others that speak of the ills of society, just as there are many that don’t, and so my hopes is that when listening to our music people also feel compelled to think about their world and wether or not it is acceptable, or if they have just accepted what they’re told to accept.

What are your plans for the future?

Our main goal is to tour, and once we begin, save for regular health and sanity maintenance, never stop. Shorter term, we will have a lyric video releasing soon, if not released already, we are putting together a music video, and we have begun brainstorming for our next release hopefully to be out by the end of next year, budget and time constraints permitting. Personally, we intend to spend as much time as possible working to grow and evolve as musicians so that we can create the best music possible.

Grab a copy of Kallipolis from Orator’s Bandcamp profile, and follow the band on Facebook.

This news story was originally published here: http://www.prog-sphere.com/specials/iomair-self-titled-album-exclusive-premiere/
Exclusive: Toronto Prog Metallers IOMAIR Stream Self-Titled Debut Album via Prog Sphere

Inching near the release of their debut self-titled album on September 21st, Toronto’s newest progressive metal band IOMAIR are sharing with fans the full length’s full stream via Prog Sphere. Founded by drummer/vocalist Dylan Gowan, the album features a cast of characters from several well-known Toronto metal bands including Vesperia, Asaroth Incarnate, Völur, Hallows Die, Sludgehammer, Bloodmoon Collective and The Silence Factory.

Combining haunting violin work with blackened growls, melodic singing, heavy riffs and thundering drums, IOMAIR creates a style that’s unique for all members involved. Their self-titled album was written by Gowan in 2017 as a way to cope with the personal challenges he faced throughout the year.  The nine-song release is a collection of musical stories that center on the universal themes of love, yearning, trials of life and self-reflection. Spanning a multitude of influences including folk metal, melodic death metal, prog and even Latin music, IOMAIR aims to delight listeners with often unexpected twists while offering an outlet for hardship.

IOMAIR are suggested for fans of Opeth, Devin Townsend, Porcupine Tree and anyone who enjoys heavy, melodic progressive metal.

Gowan comments:

All the lyrics involved are about personal struggles, relationships and the trials of life. These experiences inspired me to write so that I could walk away from those experiences intact rather than broken. All of the tracks on the album are all about the personal struggles we all go through in life, and I hope people will find comfort in these songs knowing that they are not alone.”.

IOMAIR‘s self-titled debut album is set to be released worldwide on September 21, 2018 via Infamous Butcher Records and available for order here.

Listen to the full stream below.

For more info:

This news story was originally published here: http://www.prog-sphere.com/interviews/devcord-interview/
Peter Royburger (Devcord)

Devcord is a one-man progressive death metal project by composer and multi-instrumentalist from Spillern in Austria, Peter Royburger, who on September 1st launched its debut album entitled ‘Dysthymia.’ Peter spoke for Prog Sphere about his vision for the project, creative process behind the album, influences, and more.

Define the mission of Devcord.

On the one hand, my first intention was to create music that I like listening to. On the other hand, the more people enjoy the album Dysthymia, the happier I’m with it. So, it was never really about making money or becoming famous. I never had any intentions to become big which isn’t easy in that genre anyway. Therefore, Devcord’s mission is rather humble.

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

Well, the initial goal was to compose a progressive album. That was clear, but there was no definite concept. More or less, I thought: “Let’s see what happens.” Normally, songs are completely arranged before you start recording. In Devcord’s case, most of the tunes developed spontaneously while recording – bit by bit, so to say. That made the creative process especially exciting for me!

What is the message you are trying to give with Dysthymia?

The word “dysthymia” describes a form of depression. This is why most of the music sounds dark and conveys a spooky, gruesome atmosphere. After the tunes were finished, I tried to find lyrics to underline the mood. All in all, it wasn’t really about a certain message, but rather about the right ambiance.

Devcord - Dysthymia

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

As I said, most of it came to my mind spontaneously while recording. Sometimes I made something up during the day, so I simply took my guitar and recorded it with my phone. I am just too lazy to write down the notes.

Is the dynamic flow of the pieces carefully architected?

It was one of my priorities to cater for dynamics in the songs. This is also true for the order on the album, afterwards. In my opinion, this kind of music needs calmer parts as well, especially, because the songs are quite long. For example, the song “Melancholia” serves as such a breathing pause.

Describe the approach to recording the album.

I didn’t have special approaches or expectations. I just started this project without any idea where it could end up. My only target was to produce a progressive death metal album which I would buy if I hadn´t done it by myself. I wasn´t even sure if I should publish it. But as you see, things worked out well and I did.

How long Dysthymia was in the making?

This is quite difficult to answer, because the work in the studio was no continuous process. Sometimes, weeks passed before I could proceed with a song. Additionally, I have other studio projects on which I work now and then. Unfortunately, I can’t work on my projects on a daily basis as I’m employed and I also play in two other bands. But I can say that the first recordings of Dysthymia were about four years ago.

Which bands or artists influenced your work on the release?

Obviously, I can’t deny that Opeth had a big influence on the album. But bands like Wilderun, Extol, The Faceless, Fleshkiller, Haken or Porcupine Tree also played a role in the making.

What is your view on technology in music?

The fast development of new technologies is a blessing as well as a curse. On the one hand, it gives hobby musicians like me the chance to get good results with home recording without having to invest a large sum of money. On the other hand, small well-equipped studios with professional staff die out. Personally, I experienced that two very good local music studios had to close down for that reason.
 Additionally, I have to say that I am a big fan of CDs and vinyls and that I don’t like the development of online music providers. I still prefer albums including a nice booklet to heartless downloads, because I think it completes the CD as an artwork.

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

No. I just try to tell stories packed in atmospheric songs.

What are your plans for the future?

That’s easy – to reach lots of people with my music and obviously to produce a second album!

Dysthymia is available from Bandcamp as digital album and in CD format.

This news story was originally published here: https://www.prog-sphere.com/interviews/devcord-interview/
Peter Royburger (Devcord)

Devcord is a one-man progressive death metal project by composer and multi-instrumentalist from Spillern in Austria, Peter Royburger, who on September 1st launched its debut album entitled ‘Dysthymia.’ Peter spoke for Prog Sphere about his vision for the project, creative process behind the album, influences, and more.

Define the mission of Devcord.

On the one hand, my first intention was to create music that I like listening to. On the other hand, the more people enjoy the album Dysthymia, the happier I’m with it. So, it was never really about making money or becoming famous. I never had any intentions to become big which isn’t easy in that genre anyway. Therefore, Devcord’s mission is rather humble.

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

Well, the initial goal was to compose a progressive album. That was clear, but there was no definite concept. More or less, I thought: “Let’s see what happens.” Normally, songs are completely arranged before you start recording. In Devcord’s case, most of the tunes developed spontaneously while recording – bit by bit, so to say. That made the creative process especially exciting for me!

What is the message you are trying to give with Dysthymia?

The word “dysthymia” describes a form of depression. This is why most of the music sounds dark and conveys a spooky, gruesome atmosphere. After the tunes were finished, I tried to find lyrics to underline the mood. All in all, it wasn’t really about a certain message, but rather about the right ambiance.

Devcord - Dysthymia

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

As I said, most of it came to my mind spontaneously while recording. Sometimes I made something up during the day, so I simply took my guitar and recorded it with my phone. I am just too lazy to write down the notes.

Is the dynamic flow of the pieces carefully architected?

It was one of my priorities to cater for dynamics in the songs. This is also true for the order on the album, afterwards. In my opinion, this kind of music needs calmer parts as well, especially, because the songs are quite long. For example, the song “Melancholia” serves as such a breathing pause.

Describe the approach to recording the album.

I didn’t have special approaches or expectations. I just started this project without any idea where it could end up. My only target was to produce a progressive death metal album which I would buy if I hadn´t done it by myself. I wasn´t even sure if I should publish it. But as you see, things worked out well and I did.

How long Dysthymia was in the making?

This is quite difficult to answer, because the work in the studio was no continuous process. Sometimes, weeks passed before I could proceed with a song. Additionally, I have other studio projects on which I work now and then. Unfortunately, I can’t work on my projects on a daily basis as I’m employed and I also play in two other bands. But I can say that the first recordings of Dysthymia were about four years ago.

Which bands or artists influenced your work on the release?

Obviously, I can’t deny that Opeth had a big influence on the album. But bands like Wilderun, Extol, The Faceless, Fleshkiller, Haken or Porcupine Tree also played a role in the making.

What is your view on technology in music?

The fast development of new technologies is a blessing as well as a curse. On the one hand, it gives hobby musicians like me the chance to get good results with home recording without having to invest a large sum of money. On the other hand, small well-equipped studios with professional staff die out. Personally, I experienced that two very good local music studios had to close down for that reason.
 Additionally, I have to say that I am a big fan of CDs and vinyls and that I don’t like the development of online music providers. I still prefer albums including a nice booklet to heartless downloads, because I think it completes the CD as an artwork.

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

No. I just try to tell stories packed in atmospheric songs.

What are your plans for the future?

That’s easy – to reach lots of people with my music and obviously to produce a second album!

Dysthymia is available from Bandcamp as digital album and in CD format.

This news story was originally published here: http://www.prog-sphere.com/reviews/sinnrs-profound-review/
Sinnrs

Strong and powerful death metal with a nice modern metal twist and partly some black and symphonic metal influences hits my ears. The vocals are raw, loud and brutal, but understandable and easy to listen to. Good job, Sinnrs! The sound and production of Danish duo’s debut album entitled Profound is fat, but certainly not overproduced. All the instruments and the vocals are well balanced and are served as a delicious blend. Most of the songs are fast and packed with heavy elements. The tracks like “Lift My Bones” and “No Promise to Mankind” are some of the slower songs, but for me two of the highlights of the album. It’s melodic, catchy and filled with some great instrumentation.

Sinnrs - Profound

The faster and heavier songs including “To Derive Eden’s Flame,” “The Storm of I” and “Et Sic Incipit” are kicking in aggressive. It continues with stomping riffs and rhythms alternated by melodic symphonic keys, catchy guitar solos and blast beats. Sinnrs recorded an awesome album. It’s fresh and renewing in a certain way, because of the variety of different metal styles. Compliments!

Sinnrs are on Facebook.

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This news story was originally published here: https://www.prog-sphere.com/reviews/sinnrs-profound-review/
Sinnrs

Strong and powerful death metal with a nice modern metal twist and partly some black and symphonic metal influences hits my ears. The vocals are raw, loud and brutal, but understandable and easy to listen to. Good job, Sinnrs! The sound and production of Danish duo’s debut album entitled Profound is fat, but certainly not overproduced. All the instruments and the vocals are well balanced and are served as a delicious blend. Most of the songs are fast and packed with heavy elements. The tracks like “Lift My Bones” and “No Promise to Mankind” are some of the slower songs, but for me two of the highlights of the album. It’s melodic, catchy and filled with some great instrumentation.

Sinnrs - Profound

The faster and heavier songs including “To Derive Eden’s Flame,” “The Storm of I” and “Et Sic Incipit” are kicking in aggressive. It continues with stomping riffs and rhythms alternated by melodic symphonic keys, catchy guitar solos and blast beats. Sinnrs recorded an awesome album. It’s fresh and renewing in a certain way, because of the variety of different metal styles. Compliments!

Sinnrs are on Facebook.

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