ProgSphere

This news story was originally published here: http://www.prog-sphere.com/specials/sina-yes-roundabout-drum-cover/
Watch: Young Girl's Drum Cover of YES' "Roundabout"

Sina is a young drummer who seems to be very inspired by the progressive rock genre and some of its greats. She started drumming at the age of 10, and her most recent video is a cover version of Yes‘ classic “Roundabout.”

Sina commented: “‘Roundabout’ by YES is another song that was requested a lot. Figuring out Bill Bruford parts was kinda tricky but when I listened to the song a lot I realised how important the incredible bass playing of Chris Squire has been for the band. R.I.P. Chris.

You can watch the video below.

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

Chon have just launched their new album ‘Homey’ via Sumerian Records, and the instrumental trio from San Diego has also launched a tour in support of it. Guitarist Erick Hansel did a short interview for Prog Sphere, and here is what he had to say.

Define the mission of Chon.

To bring fresh music that we create and like to others.

Homey seems to be quite a challenging work. Lead me through the creative process that informed the release.

We did everything basically how we always have. Mario and I write the songs on guitar and record it at home. We have a rough idea of how the songs will go from just guitars. Then once we’re in the studio bass and drums are improvised in a sense. And whatever hell else sounds we want.

Chon - Homey

Where was the album recorded, and how long it took you to complete the work on it?

The album was recorded at Palmquist Studios in LA, California. Once in the studio it took about a month to get everything tracked. However, we spent most parts of the year writing it all before hitting the studio.

Speaking of challenges, is there a creative challenge to deal with in that the band members occupy similar sonic spectrums? What were the biggest challenges you faced when working on the album?

No one is ever like, “I want the solo in this song” or whatever. [laughs] We just play what we feel is good and are capable of doing. Biggest challenges are probably deadlines. Having that feeling that you’re not gonna finish the album on time sucks.

The title of the new album is sort of a homage to San Diego and California. Elaborate on that.

Well, we’re all from San Diego. And we say Homey alot already. So it seemed like the perfect choice for an album title.

Have you managed to make any new discoveries as the time passed during the creative process for Homey? Do you think that at some point of that process your writing approach changed drastically?

Yeah, there’s songs on this album like we’ve never done before. The collaboration songs stand out mostly. It’s great knowing that a group of people who’ve never met before can accomplish great things.

Chon live

What have you been listening during the songwriting process of Homey, and in which measure it shaped the album’s final structure?

I listen to a lot of electronic music. Always playing some Soundcloud shit. I feel like we all listen to that stuff and it did second handedly help us create these songs. Hence, the electronic tracks. [laughs]

What types of change this music can initiate, in your opinion?

I feel like maybe if you’re feeling down or something and you listen to “Wave Bounce” it could possibly cheer you up, but I don’t know.

Where do you draw the inspiration from and how do you go about channeling it into writing?

From a good burrito. [laughs] But anything. Good food, surroundings, tv shows, video games. Everyday life shit. By channeling it, just sit down and write when it hits. Record it on your phone or whatever else and listen to it a lot and make changes as you go.

What is your viewpoint on the struggle bands are facing today as they try to monetize their output?

It’s tough. But you do that so you can keep making more of the music that you want to hear.

What does the future hold for Chon?

More solos. And jams. And clothing.

Homey is available now; order it here. For tour dates and more info visit Chon’s official website.

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This news story was originally published here: http://www.prog-sphere.com/news/soul-enema-stream-new-album/
SOUL ENEMA Premiere New Album Ahead of Release via Prog

Israeli prog metal quintet Soul Enema has teamed up with Prog magazine for an exclusive premiere of their sophomore album Of Clans and Clones and Clowns, out on June 23rd. The album can be streamed from this location.

About the record, the band stated: “We are delighted and proud to present you our new album ‘Of Clans and Clones and Clowns’ in its full length! A hard, prolonged and intense work of many people, that has finally resulted in a 73 minutes of this crazy, funny, sad, colorful, expressive, rocking, exciting slice of our world, our hearts, our souls. A myriad of styles, moods, emotions, influences, experiences. Looking at the golden age of rock music, at its best representatives, it was about the great songwriting, pushing the boundaries, taking chances and setting the trends instead of following them. About depth and impressive substance. We attempted to capture these principles, the way we see it fit for a modern times, and we hope that you will find a multicolored  world we present here, deserving of a long-term interest. We’d like to thank everyone involved in album production, the fans, the friends, the supporters—you made it happen. Time to enjoy the music!

Of Clans and Clones And Clowns features guest contributions from Ayreon’s Arjen Lucassen, Yossi Sassi (ex-Orphaned Land, Yossi Sassi Band), Sergey Kalugin and Yuri Ruslanov (from leading Russian proggers Orgia Pravednikov). The record was mixed and mastered by Jens Bogren at the Fascination Street Studios in Sweden.

Head over to Prog to stream the album in its entirety, and pre-order the record from Bandcamp or iTunes.

Of Clans and Clones And Clowns Track Listing:

  1. Omon Ra 
  2. Cannibalissimo Ltd. 
  3. Spymania 
  4. Breaking the Waves 
  5. The Age of Cosmic Baboon 
  6. In Bed With an Enemy (ft. Y. Ruslanov, S. Kalugin)
  7. Last Days of Rome 
  8. Dear Bollock (Was a Sensitive Man) 
  9. Aral Sea I – Feeding Hand 
  10. Aral Sea II – Dustbin of History (ft. Yossi Sassi) 
  11. Aral Sea III – Epilogue(ft. Sergey Kalugin) 
  12. Octopus Song     
  13. Eternal Child (ft. Arjen Lucassen)  
  14. Of Clans and Clones and Clowns

Soul Enema line-up:

Noa Gruman – vocals

Yoel Genin – guitars

Michael Rosenfeld – bass, sitar, violin

Dor Levin – drums

Constantin Glantz – keyboards, programming, songwriting, production

Soul Enema online:

Official Website

Bandcamp

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This news story was originally published here: http://www.prog-sphere.com/specials/roger-waters-copyright-infringement/
Hear ROGER WATERS' New Song "Déjà Vu"

The Tribunal of Milan has blocked the physical and digital sales of Roger Waters‘ latest solo album Is This the Life We Really Want? due to concerns of copyright infringement.

As CoS reports, the cover bears a resemblance to the conceptual work and “erasure technique” of Italian artist Emilio Isgro.

Emilio described the cover as “a blatant plagiarism of my works.”

The source further reports that Waters‘ label Columbia/Sony will have the opportunity to appeal the governmental block during a hearing set for June 27.

Roger Waters Accused of Ripping Off Artwork, New Album Blocked in Italy

This news story was originally published here: http://www.prog-sphere.com/interviews/exist-max-phelps-interview/
Exist

Exist have returned with the release of their sophomore studio album titled ‘So True, So Bound,’ a follow-up to 2014’s ‘Sunlight.’ ‘So True, So Bound’ features drummer Hannes Grossmann, and was mixed by Periphery‘s Adam “Nolly” Getgood and mastered by Ermin Hamidovic. The trio led by singer, guitarist and composer Max Phelps is currently on a North American tour supporting Gorguts. We teamed up with Max for an interview, and he walked us through the creative process of the new record.

So True, So Bound seems to be quite a challenging work. Lead me through the creative process that informed the release.

The overall creative process was fairly similar to Sunlight, the ideas stem from intuition and come fairly easily. The bigger challenge sometimes is in the arrangement. The main difference in this album is that we weren’t rehearsing in the room together, we laid everything directly down in pre-production and sort of recorded as we went vs. playing through the songs as a full band. With Sunlight, we had already rehearsed everything and played the material live when we recorded. With So True, So Bound this process was all done through demoing in studio together. The core band members were working on the songs together in the same room but often not playing our instruments together at the same time, if that makes sense.

Where was the album recorded, and how long it took you to complete the work on it?

Guitars and bass were recorded in our own home studios, primarily with our other guitarist, Matthew Rossa. Hannes Grossmann tracked drums in his own studio in Nuremberg, Germany (Mordor Studios) and vocals were tracked at Mystery Ton Studios here in Maryland. We spent the better part of a year doing pre-production which was sort of simultaneous with a lot of the writing process, and then about six months recording and a month for Nolly (Adam Getgood) to mix.

Exist - So True, So Bound

Speaking of challenges, is there a creative challenge to deal with in that the band members occupy similar sonic spectrums?

Not really, I do most of the composition and most of the main ideas are pre-conceived even before we’re touching our instruments. I transcribe a lot of it as well and sometimes Alex (Weber) helps me transcribe drum parts. There’s a layer of their performances that then goes over that. Improvisation in the bass lines and drums, added guitar parts to layer with textures etc. etc. Alex primarily wrote “To Sever The Strings.” If there are challenges it’s more in relation to the arrangements, not the orchestration of the instruments. Everyone generally understands the importance of supporting the song and that the individual parts are generally less important than the sum of everything.

Delve deeper into what “So True” and “So Bound” songs are communicating.

Themes include innovation vs. imitation, vanity and the effort of portraying one’s self a certain way, and the permanant human condition of discontent. That’s the most basic summary at least, there’s a lot of stuff in there.

Have you managed to make any new discoveries as the time passed during the creative process? Do you think that at some point of that process your writing approach changed drastically?

I’m sure there were plenty of smaller discoveries in terms of what works better or what doesn’t work better when recording the instruments or listening to the arrangements as a whole. All in all the writing process hasn’t (and didn’t?) changed dramatically, I generally have a pretty good idea of what I want going in. Of course there are lots of surprises along the way, but the overall shape of the album and structures of the songs tend to be very focused and we’re able to stay committed to that the whole time.

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What have you been listening during the songwriting process of So True, So Bound, and in which measure it shaped the album’s final structure?

Oh tons. Everything from death metal and weird ECM records to pop. The writing process was nearly a year and I’m always trying to check out new stuff (although I think I’ve slowed down in my listening in the last few years compared to how it used to be). I don’t really know to what extent it directly impacted the album.

Where do you draw the inspiration from and how do you go about channeling it into writing?

I’m inspired by tons, from music, humor, other arts, personal interactions, maybe even teaching music. I don’t know about channeling it into writing though. While I’m sure it all does influence writing, this isn’t a conscious effort that I try to make. Music is pretty abstract, I try to just let it happen and go for what I want to hear. The things that come out which inspire me the most are generally the more effortless ideas.

What is your viewpoint on the struggle bands are facing today as they try to monetize their output?

It is what it is I guess. Sure, it would probably have been better if we had been doing this 15 years ago, but there’s nothing you can do to change it. The best you can do is accept it and then do what you can within the realm of what’s worthwhile for you. It’s also important to be able to separate the art aspect from the business. Ideally they aren’t related and I think if you end up letting the business inform the art you run the risk of doing something dishonest.

What does the future hold for Exist?

Currently we’re on tour with Gorguts. I’d like to get started on the next album (which is largely written already) before the end of the year. I’d imagine we’ll be doing more tours, if not in 2017 then in 2018. I guess we’ll see.

So True, So Bound is out now; order it from Bandcamp.

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This news story was originally published here: http://www.prog-sphere.com/news/soul-enema-release-new-album/
SOUL ENEMA to Release New Album on June 23; Featuring ARJEN LUCASSEN, YOSSI SASSI & More

Israel-based Progressive Metal band Soul Enema is announcing a release date of the upcoming album  titled Of Clans and Clones and Clowns. Out on June 23, the album is now available for pre-order from Bandcamp and iTunes.

The promising band’s second album represents an interesting and varied combination of influences, including 14 tracks mixed an mastered by legendary Jens Bogren (Opeth, Devin Townsend, Paradise Lost, Symphony X).

Soul Enema has issued a statement on the forthcoming album saying:

Looking back, it took a lot of time and effort to create ‘Of Clans and Clones and Clowns,’ and the final result brings the feeling of a real accomplishment. It was a long, complicated process, constantly laden with a myriad of good reasons to give up or compromise. It probably couldn’t be any different, as our goal was a mature, well-produced statement, consistent in quality throughout, and at the same time versatile enough in its various moods, styles and approaches.

A creative and diverse Rock/Metal album, exploring vast melodic and rhythmic territories — from ABBA to Zappa, from King Crimson to King Diamond, between East and West and way beyond — in true progressive fashion. Like any reflection of the world we live in, it takes a wild ride over a wide emotional spectrum: sad, funny, perfectly sane, totally insane, very direct, quite obscure, and everything in between.

Of Clans and Clones and Clowns also features guest contributions from Ayreon’s Arjen Lucassen, Yossi Sassi (ex-Orphaned Land, Yossi Sassi Band), Sergey Kalugin and Yuri Ruslanov (from leading Russian proggers Orgia Pravednikov).

The band commented: “We had a great honor of featuring the instrumental talents of these,  as well as other wonderful musicians. Our next aim was to ensure that all of these components  work in the final picture, and that’s the reason why we welcomed one of the best guys on the list to mix and master this work — Jens Bogren. It deserved the best possible treatment, just as you as a listener deserve the best possible quality. The mixing process was far from trivial, and it took some effort to shape everything our way – clear and powerful enough, yet not overproduced. So, if you like what you hear, please order yourself a CD, or the highest quality digital download, to have it the way we really meant it to sound – full-scale and uncompromising. We hope you will have your own exciting experience with the album!

Soul Enema released a few singles from Of Clans and Clones and Clowns, you can check them below.

Of Clans and Clones and Clowns is out on June 23th, and it can be pre-ordered from Bandcamp or iTunes. Visit Soul Enema’s official website for more information, and follow them on Facebook.

Of Clans and Clones and Clowns Track Listing:

1. Omon Ra

2. Cannibalissimo Ltd.

3. Spymania

4. Breaking the Waves

5. The Age of Cosmic Baboon

6. In Bed With an Enemy (ft. Y. Ruslanov, S. Kalugin)

7. Last Days of Rome

8. Dear Bollock (Was a Sensitive Man)

9. Aral Sea I – Feeding Hand

10. Aral Sea II – Dustbin of History (ft. Yossi Sassi)

11. Aral Sea III – Epilogue(ft. Sergey Kalugin)

12. Octopus Song

13. Eternal Child (ft. Arjen Lucassen)

14. Of Clans and Clones and Clowns

Of Clans and Clones and Clowns

Soul Enema line-up:

Noa Gruman – vocals

Yoel Genin – guitars

Michael Rosenfeld – bass, sitar, violin

Dor Levin – drums

Constantin Glantz – keyboards, programming, songwriting, production

About Soul Enema:

Soul Enema has been active since 2001. The band combines conventional melodic rock aspects with a different, occasionally more experimental way of writing. Their music is influenced by progressive rock and metal, ethnic, psychedelic, jazz-fusion, sympho-rock elements etc., with a somewhat theatrical approach to the lyrics. In the fall of 2009 the work on debut album named Thin Ice Crawling was completed. The album was released in April 2010 via MALS/Musea Records, to very positive international reception. It was nominated for the Prog Award in the Best Debut Album category, also peaking at the Prog Archives 20 Best Records of 2010 chart by the end of year. In the following years, while writing new material for the band’s second release, Constantin Glantz gathered a fresh, exciting line-up of musicians, to carry on with new energies and expanded stylistics. The second album, titled Of Clans and Clones and Clowns is out on June 23, 2017. Featuring 70+ minutes of music, prime international guests, which include Arjen Lucassen (Ayreon, Star One), Yossi Sassi (ex-Orphaned Land, Yossi Sassi Band), and mixed by Jens Bogren (Opeth, Devin Townsend, etc.), the album is an intriguing step forward in every possible aspect.

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This news story was originally published here: http://www.prog-sphere.com/specials/mike-portnoy-about-12-step-suite-shows/
MIKE PORTNOY on "12 Suite Step" Shows: "This is Ending of DREAM THEATER Journey for Me"

Mike Portnoy said he will no longer revisit Dream Theater material once the current Shattered Fortress tour, on which he performs the “12 Step Suite” by Dream Theater, is wrapped up. He told Metal Talk:

As far as the music goes, [the ongoing tour on which I’m revisiting ‘12 Step Suite‘] is closure for me.

I don’t ever plan on revisiting Dream Theater material beyond this tour.

This is the finite ending of the Dream Theater journey for me.

I’ve been doing so many other things during the last six years, without touching the Dream Theater material after I do it on this tour, I have no plans of ever revisiting it.

I have so many other things in my life and career. This is the end of that career musically, but lyrically the 12 steps are something I have to have in my life for the rest of my life.