This news story was originally published here: https://www.prog-sphere.com/interviews/space-of-variations-interview/

Ukrainian metalcore act Space of Variations has just released their new EP entitled ‘XXXXX‘ via Napalm Records, with the physical release scheduled for March 6. The four-piece from Vinnytsya has shared stages with likes such Architects, Adept, and Eskimo Callboy, the group also opened for countrymen Jinjer on a number of dates throughout Europe in late 2019.

The band answered our questions about the new EP, technology and their future.

Define the mission of Space of Variations.

We love to share our emotions with the public. We try to cause deep feelings in people who listen to our music. We are trying to reach the deepest and most intimate, trying to find common ground not in superficial, material things, but in subconscious, basic things. We hope that listeners read our texts between the lines and find themselves reflected in them and understand that they are not alone in their experiences. Music in this context has an outline, form role. Heavy music is a very emotional genre itself, and if it is also supported by philosophical lyrics about eternal themes, its impact takes on even greater power.

XXXXX

Tell me about the creative process that informed your newly released EP XXXXX and the themes it captures.

This album was written in a single rush. Our guitarist Alex did most of the sketches and structures for songs and then brought them to rehearsals. Next, we finalized them together. Only the track room 57 was written at one of the rehearsals, on the go. There was nothing unusual in the process of composing, this is our usual scheme for writing tracks.

The message of the album is also quite familiar to us. We are used to talking in our music about what is hidden inside the minds of people, about real experiences, about the psychology of relationships, about all these things familiar to everyone. However, of course, we convert all this into an abstract image, into associations, into forms that allow us to say briefly about very monumental topics.

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

The main message this album contains is the uncertainty of things in our world, the inconsitancy and the fact that we only slightly understand the world in which we live. This reality seems familiar and understandable to us, but based on the fact that humanity is asking the same questions for hundreds and thousands of years, we are most likely mistaken. In fact, the true face of reality, its metaphysical essence is hidden. And the symbol X in the name of the album, just reflects this essence.

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

This process is very standard. We record drafts in audio editors: Garage Band, Cubase. Sometimes some vocal lines that come to mind are written to the phone’s recorder. Alex writes 90 percent of electronic sounds on the Garage Band app (he writes all the electronics). By the way, most of the synthetic sounds in the final versions of the songs are the same sounds from the Garage Band projects.

We also record our live performance at rehearsals in order to listen from the outside and understand what needs to be changed.

Is the dynamic flow of the pieces carefully architected?

Of course, there is always a basic vision of composition at the beginning of writing a track, but as a result, many decisions are born in the process of finalizing the material. We often change something in the songs during the recording phase. Often we add or remove parts, because, for example, a song without vocals can sound different than with vocals and it requires some interventions to the composition. Therefore, the answer to this question is more likely: yes.

Describe the approach to recording the EP.

Drums recording and the whole album mixing were done at the Lizard Audio studio in Kyiv. While guitars and vocals were done at our home studio in our home town Vinnytsa.

All editions were made by ourselves. We believe that it’s an important thing when the band work not only on writing music. It gives a chance to see our music from some different sides.

How long XXXXX was in the making?

The instrumental part was written rather quickly. And then, lyrics and vocals took a bit longer. As our vocalist Dima was going through hard times. But In the end, we are happy with the result. We guess Dima managed to pour out his emotions and feelings on the record.

Which bands or artists influenced your work on the release?

On the “RAZORBLADE” we were influenced by many bands, it’s hard to spotlight all of them. For example vocals was influenced by Jamey Jasta from Hatebreed. Wild, bold and straightforward. Guitar riffs have some colours of Every Time I Die, Underoath, we think.

But generally, we try not to get influenced by anything and concentrate on doing something unique.

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

Sure we do. We try to inspire people with the music we make. We are happy to connect with our fans and to be a part of the community we’ve created. We are happy to be a living proof that even the wildest dreams come true!

Anyway, our music serves many purposes beyond music, and our listeners relate to it in their own ways.

What is your view on technology in music?

The current level of technology in music (and not only) is obviously very high. Everything changes and develops at great speed. And it is clear that this is far from the limit. It seems that We are at some turning point. Of course, itís not only about professional studio and stage equipment. For example, if several years ago the technical capabilities of smartphones did not allow to make the following statements, then Today we can safely say that everyone in their pocket, in fact, has a recording studio, and everyone, if desired, can record an album at home and immediately publish it on The internet. This has a huge impact on the music as a whole. And this is just one example. The manifestation of technological progress, makes you increase the speed of the creative process, and encourages the study of advanced technologies, it swirls like a spiral.

I think a lot about future technology and I hope we will catch a time when we will not need anything to transmit information and everything will be done through a thought process. Can you imagine how this can affect, for example, live performances of groups? It sounds incredible, but after all, we are already approaching this. Read about Neuralink,for example, we’re on the edge.

What are your plans for the future?

To record our best album, to tour a lot, hope to play at some big world festivals, and to kick some asses on the stage!

XXXXX is out on Napalm Records; pre-order CD version here. Follow Space of Variations on Facebook and Instagram.

Cover photo by Tementiy Pronov

The post SPACE OF VARIATIONS: You Are Not Alone! appeared first on Prog Sphere.

This news story was originally published here: http://www.prog-sphere.com/interviews/space-of-variations-interview/

Ukrainian metalcore act Space of Variations has just released their new EP entitled ‘XXXXX‘ via Napalm Records, with the physical release scheduled for March 6. The four-piece from Vinnytsya has shared stages with likes such Architects, Adept, and Eskimo Callboy, the group also opened for countrymen Jinjer on a number of dates throughout Europe in late 2019.

The band answered our questions about the new EP, technology and their future.

Define the mission of Space of Variations.

We love to share our emotions with the public. We try to cause deep feelings in people who listen to our music. We are trying to reach the deepest and most intimate, trying to find common ground not in superficial, material things, but in subconscious, basic things. We hope that listeners read our texts between the lines and find themselves reflected in them and understand that they are not alone in their experiences. Music in this context has an outline, form role. Heavy music is a very emotional genre itself, and if it is also supported by philosophical lyrics about eternal themes, its impact takes on even greater power.

XXXXX

Tell me about the creative process that informed your newly released EP XXXXX and the themes it captures.

This album was written in a single rush. Our guitarist Alex did most of the sketches and structures for songs and then brought them to rehearsals. Next, we finalized them together. Only the track room 57 was written at one of the rehearsals, on the go. There was nothing unusual in the process of composing, this is our usual scheme for writing tracks.

The message of the album is also quite familiar to us. We are used to talking in our music about what is hidden inside the minds of people, about real experiences, about the psychology of relationships, about all these things familiar to everyone. However, of course, we convert all this into an abstract image, into associations, into forms that allow us to say briefly about very monumental topics.

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

The main message this album contains is the uncertainty of things in our world, the inconsitancy and the fact that we only slightly understand the world in which we live. This reality seems familiar and understandable to us, but based on the fact that humanity is asking the same questions for hundreds and thousands of years, we are most likely mistaken. In fact, the true face of reality, its metaphysical essence is hidden. And the symbol X in the name of the album, just reflects this essence.

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

This process is very standard. We record drafts in audio editors: Garage Band, Cubase. Sometimes some vocal lines that come to mind are written to the phone’s recorder. Alex writes 90 percent of electronic sounds on the Garage Band app (he writes all the electronics). By the way, most of the synthetic sounds in the final versions of the songs are the same sounds from the Garage Band projects.

We also record our live performance at rehearsals in order to listen from the outside and understand what needs to be changed.

Is the dynamic flow of the pieces carefully architected?

Of course, there is always a basic vision of composition at the beginning of writing a track, but as a result, many decisions are born in the process of finalizing the material. We often change something in the songs during the recording phase. Often we add or remove parts, because, for example, a song without vocals can sound different than with vocals and it requires some interventions to the composition. Therefore, the answer to this question is more likely: yes.

Describe the approach to recording the EP.

Drums recording and the whole album mixing were done at the Lizard Audio studio in Kyiv. While guitars and vocals were done at our home studio in our home town Vinnytsa.

All editions were made by ourselves. We believe that it’s an important thing when the band work not only on writing music. It gives a chance to see our music from some different sides.

How long XXXXX was in the making?

The instrumental part was written rather quickly. And then, lyrics and vocals took a bit longer. As our vocalist Dima was going through hard times. But In the end, we are happy with the result. We guess Dima managed to pour out his emotions and feelings on the record.

Which bands or artists influenced your work on the release?

On the “RAZORBLADE” we were influenced by many bands, it’s hard to spotlight all of them. For example vocals was influenced by Jamey Jasta from Hatebreed. Wild, bold and straightforward. Guitar riffs have some colours of Every Time I Die, Underoath, we think.

But generally, we try not to get influenced by anything and concentrate on doing something unique.

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

Sure we do. We try to inspire people with the music we make. We are happy to connect with our fans and to be a part of the community we’ve created. We are happy to be a living proof that even the wildest dreams come true!

Anyway, our music serves many purposes beyond music, and our listeners relate to it in their own ways.

What is your view on technology in music?

The current level of technology in music (and not only) is obviously very high. Everything changes and develops at great speed. And it is clear that this is far from the limit. It seems that We are at some turning point. Of course, itís not only about professional studio and stage equipment. For example, if several years ago the technical capabilities of smartphones did not allow to make the following statements, then Today we can safely say that everyone in their pocket, in fact, has a recording studio, and everyone, if desired, can record an album at home and immediately publish it on The internet. This has a huge impact on the music as a whole. And this is just one example. The manifestation of technological progress, makes you increase the speed of the creative process, and encourages the study of advanced technologies, it swirls like a spiral.

I think a lot about future technology and I hope we will catch a time when we will not need anything to transmit information and everything will be done through a thought process. Can you imagine how this can affect, for example, live performances of groups? It sounds incredible, but after all, we are already approaching this. Read about Neuralink,for example, we’re on the edge.

What are your plans for the future?

To record our best album, to tour a lot, hope to play at some big world festivals, and to kick some asses on the stage!

XXXXX is out on Napalm Records; pre-order CD version here. Follow Space of Variations on Facebook and Instagram.

Cover photo by Tementiy Pronov

The post SPACE OF VARIATIONS: You Are Not Alone! appeared first on Prog Sphere.

This news story was originally published here: https://www.prog-sphere.com/interviews/maraton-interview/

Norwegian progressive pop five-piece Maraton are a well-needed breath of fresh air. Their debut album ‘Meta‘ was released via Indie Recordings in April last year, and it sees the band “pushing the boundaries between progressive rock and pop” by combining “the rhythmic heaviness from bands such as Mars Volta with the pop aesthetics of Muse.”

The group is currently on a tour across Europe as support for Leprous and Klone.

Keyboardist Magnus Johansen talked with Prog Sphere about the album, influences, inspiration, their upcoming performance at the Prognosis Festival, and more.

Describe the musical vision propelling your recent album Meta.

Initially, the only real guiding light for the album was to create something that was both richer and deeper than the music we had previously recorded (Marathon EP). We wanted to discover what Maraton sounded like and find our own unique sound. Before Meta, we sounded more like a mashup of different bands rather than having our own distinct sound.

We wanted to create an album that had a bold and aggressive sound, yet with a wider spectrum of sounds and emotions. Simen listened to a lot of Death Grips at the time, and that certainly influenced certain aspects of the sound.

When the album started to take shape, so did the overall vision as well, which again influenced the material we had previously written, as well as the newer songs. It was an organic process where the theme and vision for the album slowly started to form and guide us along.

What made this the right time to pursue that vision?

At the time, the band was stalling a bit. We didn’t really have any goals we were pursuing other than writing the occasional song and playing a few shows here and there. Simen made the decision that we needed a big project to get us into focus mode, and that’s when we decided we needed to start making the album.

Maraton - Meta

Tell me about what you’re communicating with the album cover.

The album is very much about identity and a conversation with and about the inner self – the brain and the mind. The microchip-ish design is a reflection of that.

What was the creative process for Meta like?

We created a ton of demos! We tried to adopt the agile (from IT/tech) school of trying out stuff, failing fast, and iterating constantly to create the best songs. Sometimes the songs would come to us complete and fully written at once, other times we had to work super hard to create a simple riff or a melody into a full-blown song. Sometimes a song would turn into something completely different by re-arranging and cutting out parts. A good example of this is “Altered State,” which was originally called “The Death Self” and was over 10 minutes long. We took the best parts of that song after we recorded the drums and bass and re-arranged it into a pretty straight forward (for us) pop structure. That change made it into one of the strongest tracks on the album.

We also wanted each song to be totally unique and showcase a different side of the band. Most of the songs are in totally different keys, and we tried to vary the production/sounds of each track. The theme of “identity” tied the songs together into a cohesive whole.

To someone who hasn’t heard the album, what can he or she expect from Meta?

A very intense and emotional album with lyrics that most people can relate to, hopefully!

What were the biggest challenges you faced when working on the album?

Time. Everyone in the band has a full-time day job in addition to playing in Maraton. Finding the time to get the songs written, practicing, recording, editing, mixing and so on was a huge challenge when all members are super busy.

Other than that, writing the lyrics was also a challenge for us, but a fun one. It’s often the case that we don’t know what a song is about until it’s done.

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?

The biggest discovery was trusting in your fellow band mates and allowing them to contribute. Meta was largely written by our guitarist Simen, in isolation. We quickly learned that the songs became infinitely better once the other members were allowed to put their own spin on things and add to the music. This is something we’re gonna explore and push more for our next album, which we’re working on as we speak.

Tell me about the complexities of creating this album. 

Like we mentioned earlier, time was a big issue. It was also tough to decide once a song was “finished”. In this digital age, it’s almost too easy to try new things and explore alternatives. That’s great for us, but at the same time it can make you doubt your instinct and ultimately your own decisions. After a while we simply had to stop working on certain songs, otherwise the album would have never been finished.

What types of change do you feel this music can initiate?

That’s up the listener, in our opinion. The album deals with the themes of identify and figuring out who you are – what makes you YOU. Hopefully our reflections can inspire others to become more comfortable with themselves.

Did the environment in any way influence the vibe the album transcends?

If you’re talking about the recording/production environment, sure. You’re constantly being influenced, even if you’re not aware of it. We did a lot of work on the album at a Norwegian studio called Ocean Sound Recordings, which is located in Giske at the western-most part of the country. You can literally see the ocean from the control room. It was a beautiful location and we’re hoping we can return there for the next record!

Do you tend to follow any pre-defined patterns when composing a piece?

Yes and no. For us, we have certain phases where we’re into different music or genres, and that of course influences how we’re composing. The biggest part for us is that each song has a strong identity. The music, vocals and lyrics should feel connected and part of the same expression.

What non-musical entities and ideas have an impact on your music?

Everything from movies to books, people and architecture inspires us. We’re even inspired by food, strangely enough. There’s a movement in Scandinavia called the “New Nordic Cuisine” where traditional Norwegian, Swedish and Danish food is used as inspiration to create new dishes. We feel that Maraton is part of a similar new movement in progressive music, along with bands like Leprous, Aming for Enrike and 22. It’s all about finding your own identity.

What kind of gear do you use for recording your music?

Pretty much whatever we can get our hands on. We mainly use Pro Tools and UAD interfaces for home and field recordings like guitar, percussion etc. In the studio we’re at the mercy of whatever gear they have there. The most fun was recording the bass. For certain songs, we had 6 bass tracks recording at once with different synth pedals, fuzzes and effects on each. For guitar we mostly used Simen’s trusty Axe FX, which has now been replaced by a brand new Kemper.

What is your view on technology in music?

It’s both a crutch and a fantastic enabler. It’s almost limitless in terms of allowing you to create any sound, but we also believe that limitations can be beneficial. Like we mentioned earlier, having too many options can be detrimental to the creative process. Sometimes you have to just make a decision and commit to it.

Maraton - Prognosis

You are scheduled to play at this year’s Prognosis festival in Eindhoven. What can lovers of prog and beyond expect from your set?

We’ll try to play as much as possible from Meta, of course. We’re currently touring with Leprous, and the crowd has a lot of prog fans. We’re getting to know which songs work well with that kind of audience and we’ll create a cool set list based on that. We might also try out a few new tracks we’re currently working on, but no promises.

What advice or philosophy might you impart to other musicians, be it in forms of creativity, technical stuff, the business side of it, or anything else?

Don’t be afraid to fail. Like playing the guitar, writing music and being in a band requires “practice” as well! You have to do stuff to get better at it. Get out there and just do it, even if it’s scary as hell. You’re gonna fail at times (believe us – we’ve failed countless times!) but make sure you fail fast and learn from it. You can sit and plan yourself to death, but the truth is that plans almost always change along the way. Set yourself some goals and figure  out what you need to do to reach those goals. If not, you risk not getting anything done. It sounds cliched and simple, but that’s how it works. Einar from Leprous gave us a great piece of advice: Never gamble everything on “the big break”. If it happens, then that’s great, but you have plan on building your success brick by brick. If you don’t do that, then everything you do will seem like failure instead of success.

Also, check out the Instragram account @tofupupper for some great inspirational advice from a very wise dog :)

Meta is out now; order it from Bandcamp here. Follow Maraton on Facebook.

The post MARATON: Wide Spectrum of Sounds and Emotions appeared first on Prog Sphere.

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

Norwegian progressive pop five-piece Maraton are a well-needed breath of fresh air. Their debut album ‘Meta‘ was released via Indie Recordings in April last year, and it sees the band “pushing the boundaries between progressive rock and pop” by combining “the rhythmic heaviness from bands such as Mars Volta with the pop aesthetics of Muse.”

The group is currently on a tour across Europe as support for Leprous and Klone.

Keyboardist Magnus Johansen talked with Prog Sphere about the album, influences, inspiration, their upcoming performance at the Prognosis Festival, and more.

Describe the musical vision propelling your recent album Meta.

Initially, the only real guiding light for the album was to create something that was both richer and deeper than the music we had previously recorded (Marathon EP). We wanted to discover what Maraton sounded like and find our own unique sound. Before Meta, we sounded more like a mashup of different bands rather than having our own distinct sound.

We wanted to create an album that had a bold and aggressive sound, yet with a wider spectrum of sounds and emotions. Simen listened to a lot of Death Grips at the time, and that certainly influenced certain aspects of the sound.

When the album started to take shape, so did the overall vision as well, which again influenced the material we had previously written, as well as the newer songs. It was an organic process where the theme and vision for the album slowly started to form and guide us along.

What made this the right time to pursue that vision?

At the time, the band was stalling a bit. We didn’t really have any goals we were pursuing other than writing the occasional song and playing a few shows here and there. Simen made the decision that we needed a big project to get us into focus mode, and that’s when we decided we needed to start making the album.

Maraton - Meta

Tell me about what you’re communicating with the album cover.

The album is very much about identity and a conversation with and about the inner self – the brain and the mind. The microchip-ish design is a reflection of that.

What was the creative process for Meta like?

We created a ton of demos! We tried to adopt the agile (from IT/tech) school of trying out stuff, failing fast, and iterating constantly to create the best songs. Sometimes the songs would come to us complete and fully written at once, other times we had to work super hard to create a simple riff or a melody into a full-blown song. Sometimes a song would turn into something completely different by re-arranging and cutting out parts. A good example of this is “Altered State,” which was originally called “The Death Self” and was over 10 minutes long. We took the best parts of that song after we recorded the drums and bass and re-arranged it into a pretty straight forward (for us) pop structure. That change made it into one of the strongest tracks on the album.

We also wanted each song to be totally unique and showcase a different side of the band. Most of the songs are in totally different keys, and we tried to vary the production/sounds of each track. The theme of “identity” tied the songs together into a cohesive whole.

To someone who hasn’t heard the album, what can he or she expect from Meta?

A very intense and emotional album with lyrics that most people can relate to, hopefully!

What were the biggest challenges you faced when working on the album?

Time. Everyone in the band has a full-time day job in addition to playing in Maraton. Finding the time to get the songs written, practicing, recording, editing, mixing and so on was a huge challenge when all members are super busy.

Other than that, writing the lyrics was also a challenge for us, but a fun one. It’s often the case that we don’t know what a song is about until it’s done.

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?

The biggest discovery was trusting in your fellow band mates and allowing them to contribute. Meta was largely written by our guitarist Simen, in isolation. We quickly learned that the songs became infinitely better once the other members were allowed to put their own spin on things and add to the music. This is something we’re gonna explore and push more for our next album, which we’re working on as we speak.

Tell me about the complexities of creating this album. 

Like we mentioned earlier, time was a big issue. It was also tough to decide once a song was “finished”. In this digital age, it’s almost too easy to try new things and explore alternatives. That’s great for us, but at the same time it can make you doubt your instinct and ultimately your own decisions. After a while we simply had to stop working on certain songs, otherwise the album would have never been finished.

What types of change do you feel this music can initiate?

That’s up the listener, in our opinion. The album deals with the themes of identify and figuring out who you are – what makes you YOU. Hopefully our reflections can inspire others to become more comfortable with themselves.

Did the environment in any way influence the vibe the album transcends?

If you’re talking about the recording/production environment, sure. You’re constantly being influenced, even if you’re not aware of it. We did a lot of work on the album at a Norwegian studio called Ocean Sound Recordings, which is located in Giske at the western-most part of the country. You can literally see the ocean from the control room. It was a beautiful location and we’re hoping we can return there for the next record!

Do you tend to follow any pre-defined patterns when composing a piece?

Yes and no. For us, we have certain phases where we’re into different music or genres, and that of course influences how we’re composing. The biggest part for us is that each song has a strong identity. The music, vocals and lyrics should feel connected and part of the same expression.

What non-musical entities and ideas have an impact on your music?

Everything from movies to books, people and architecture inspires us. We’re even inspired by food, strangely enough. There’s a movement in Scandinavia called the “New Nordic Cuisine” where traditional Norwegian, Swedish and Danish food is used as inspiration to create new dishes. We feel that Maraton is part of a similar new movement in progressive music, along with bands like Leprous, Aming for Enrike and 22. It’s all about finding your own identity.

What kind of gear do you use for recording your music?

Pretty much whatever we can get our hands on. We mainly use Pro Tools and UAD interfaces for home and field recordings like guitar, percussion etc. In the studio we’re at the mercy of whatever gear they have there. The most fun was recording the bass. For certain songs, we had 6 bass tracks recording at once with different synth pedals, fuzzes and effects on each. For guitar we mostly used Simen’s trusty Axe FX, which has now been replaced by a brand new Kemper.

What is your view on technology in music?

It’s both a crutch and a fantastic enabler. It’s almost limitless in terms of allowing you to create any sound, but we also believe that limitations can be beneficial. Like we mentioned earlier, having too many options can be detrimental to the creative process. Sometimes you have to just make a decision and commit to it.

Maraton - Prognosis

You are scheduled to play at this year’s Prognosis festival in Eindhoven. What can lovers of prog and beyond expect from your set?

We’ll try to play as much as possible from Meta, of course. We’re currently touring with Leprous, and the crowd has a lot of prog fans. We’re getting to know which songs work well with that kind of audience and we’ll create a cool set list based on that. We might also try out a few new tracks we’re currently working on, but no promises.

What advice or philosophy might you impart to other musicians, be it in forms of creativity, technical stuff, the business side of it, or anything else?

Don’t be afraid to fail. Like playing the guitar, writing music and being in a band requires “practice” as well! You have to do stuff to get better at it. Get out there and just do it, even if it’s scary as hell. You’re gonna fail at times (believe us – we’ve failed countless times!) but make sure you fail fast and learn from it. You can sit and plan yourself to death, but the truth is that plans almost always change along the way. Set yourself some goals and figure  out what you need to do to reach those goals. If not, you risk not getting anything done. It sounds cliched and simple, but that’s how it works. Einar from Leprous gave us a great piece of advice: Never gamble everything on “the big break”. If it happens, then that’s great, but you have plan on building your success brick by brick. If you don’t do that, then everything you do will seem like failure instead of success.

Also, check out the Instragram account @tofupupper for some great inspirational advice from a very wise dog :)

Meta is out now; order it from Bandcamp here. Follow Maraton on Facebook.

The post MARATON: Wide Spectrum of Sounds and Emotions appeared first on Prog Sphere.

Northern Star 13th February 2020.

Prog Aid – A Bush Fire Benefit!

Theme Pallas – Northern Star

https://moshtix.com.au/v2/event/progaid-a-bushfire-relief-concert/119235?

https://www.facebook.com/events/859722604468845/

  • Cog – Problem Reaction Solution
  • Voyager – Total existence Failure
  • Caligulas Horse – Daughter of the mountain
  • Sleepmakeswaves – To You They Are Birds, To Me They Are Voices In The Forest
  • We Lost The Sea – A beautiful Collapse
  • Plini – Pastures
  • Ben Craven – Great Divide
  • Ne Obliviscaris – All the Scarlet Tears
  • Anubis – Home
  • I built The sky – The Zenith Rise
  • Genetics – The Chandrasekhar Limit
  • The Winter Effect – Asleep
  • Halcyon Reign – Beyond the cape
  • Red Sea – The Score
  • Hemina – In technicolour
  • Teramaze – Depopulate
  • The Omnific – – The lifeless charm
  • Hashshashin – Then He Hid Himself In The Refining Fire

http://tunein.com/radio/Progzilla-Radio-s242911/

www.progzilla.com/listen

Direct stream: http://stream1.hippynet.co.uk:8005/live

Repeat Shows Tuesdays 00.00 am GMT  & 1.00pm GMT

Subscribe to the show here

http://www.progzilla.com/category/podcast/northern-star/feed/

Podcasts of all the shows are available here

http://www.progzilla.com/shows/northern-star/

If you have a requests or ideas about shows or anything else for that matter?

Contact me on Emma@progzilla.com

Edition 231 of Sounds That Can Be Made is now available as a podcast!

Playlist:

Mangala Vallis – Demon (from Voices)
Dave Brons – EÄ (from Not all Those Who Wander are Lost)
The C Sides Project – Bremen (from Purple Hearts Corner)
Wishbone Ash – We Stand As One (from Coat of Arms)
Pure Reason Revolution – Silent Genesis (from Eupnea)
Porcupine Tree – Anesthetize (from Fear Of A Blank Planet)
Golden Earring – Are You Receiving Me? (from Moontan)
Camel – Arubaluba (from Camel)
Marillion – Cathedral Wall (from Radiation)
Galahad – Welcome to Paradise (from In A Moment Of Complete Madness)
The Fierce And The Dead – Truck (from The Euphoric Masters)
Halocraft – Chains for the Sea (from Chains for the Sea)
Abel Ganz – Rain Again (from The Dangers Of Strangers)
Twelfth Night – Kings & Queens (from Art & Illusion)
Mystery – Dear Someone (from The World Is A Game)
AudioPlastik – Distant Skies (from In The Head Of A Maniac)
Scorpions – Longing For Fire (from In Trance)
David Coverdale – Northwinds (from Northwinds)
Blackfield – My Gift Of Silence (from Blackfield II)
Oceansize – Ransoms (from Self Preserved While The Bodies Float Up)
Ozzy Osbourne – Ordinary Man (feat. Elton John) (from Ordinary Man)

#progzillaradio #stcbm

This news story was originally published here: http://www.insideoutmusic.com/newsdetailed.aspx?IdNews=24023&IdCompany=8
Polish progressive Rock masters RIVERSIDE are happy to share line-up news with all of you:
***
 
Riverside are a quartet again!

Dear friends, this is an incredibly important moment in the history of our band.From the beginning of February 2020, Riverside are officially not a trio any more, we are a quartet! It is with incredible joy that we would like to announce that the fourth official member of the band is…

Well, you can’t have expected anyone else? 🙂 

He’s been with us for over three years. He let us recover from the tragic loss we have all experienced, he helped us survive and become, from year to year, a better and better live band. He has been our friend and our brother. We are welcoming him in our midst with great joy, in which we hope you will also share! 

Ladies and gentlemen, on the guitars in Riverside: Maciej Meller!

Being a good guitarist and loving music is one thing, but being able to fit in with your personality, incredible modesty and humility, that’s an incredibly important thing in our band. Maciej meets all the criteria and we are truly happy that he wants to continue our journey with us.

We still remember. And we still go back to the moment when, after we lost Piotr, in 2016, the massive amount of your support made us continue as Riverside. We were not ready to invite anyone to our family at that time. “Wasteland” had to be recorded as a trio. We simply had to cope with the loss on our own.

Now, it’s high time for Riverside to have a guitarist in the line-up again, not only during live shows but also in the studio, when working on new material. So we are really pleased to let you know that after coming back from the final, spring edition of the Wasteland Tour 2020, together with Maciek, in the new line-up, we will start working on the eighth album. 

The upcoming spring concerts will have a different character, a different tone, and Riverside will sound mightier than ever before. We would really like to see you there!

Last but not least – Piotr Grudzinski will always be in our hearts, we all still love him and we will never forget him. But we have to move on. We are on a journey, they are waiting for us. There is more to create in this life, more to see, more to know, more to save. We hope that you will decide to stay with us again and that you will let us help one another through all of this. 

We are here with you and for you.

Riverside

RIVERSIDE’s next touring run starts later this month and includes dates across Europe as well as an appearance at the Cruise To The Edge and shows in Latin America as follows:

RIVERSIDE – Wasteland Tour 2020
26.02. Madrid (Spain) – MON Live
27.02. Barcelona (Spain) – Salamandra 1
29.02. Milano (Italy) – Legend Club
01.03. Treviso (Italy) – New Age Club
03.03. Lubljana (Slovenia) – Kino Šiška
05.03. Zagreb (Croatia) – Tvornica Kulture
06.03. Novi Sad (Serbia) – Pozorište Mladih
07.03. Thessaloniki (Greece) – Principal Club Theater
08.03. Athens (Greece) – Gagarin 205 Live Music Space
10.03. Istanbul (Turkey) – Zorlu PAC
11.03. Sofia (Bulgaria) – Music Jam Club
12.03. Bucharest (Romania) – Quantic Club
13.03. Cluj-Napoca (Romania) – /FORM SPACE
15.03. Budapest (Hungary) – Barba Negra
27.03.-01.04. Miami (USA) to Belize & Honduras – Cruise To The Edge 2020
02.04. Mexico City (Mexico) – Auditorio Blackberry 
04.04. Guadalajara (Mexico) – C3 Stage 
07.04. Santiago (Chile) – Teatro Nescafe
09.04. Sao Paulo (Brazil) – Carioca Club
16.04. Wroclaw (Poland) – A2
17.04. Gliwice (Poland) – Arena Gliwice
18.04. Kraków (Poland) – Studio
19.04. Warszawa (Poland) – Progresja / Sold Out!
25.04. Gdansk (Poland) – Stary Manez / Sold Out!
26.04. Poznan (Poland) – Sala Ziemi / Sold Out!
Ticket links: https://riversideband.pl/en/gigs

RIVERSIDE most recently released a special edition 2CD+DVD version of their current and highly successful studio-album “Wasteland” via InsideOutMusic. The ”Wasteland – Hi-Res Stereo and Surround Mix” 2CD+DVD comes as Digipak format with an additional Slipcase and includes a DVD bonus disc of “Wasteland” as Hi-Res Stereo 24bit version and as Surround Mix (4.1), plus 3 video clips. This edition also contains 5 previously unreleased acoustic tracks/versions on a separate CD. 

Order RIVERSIDE’s ”Wasteland – Hi-Res Stereo and Surround Mix” 2CD+DVD here: 
https://Riverside.lnk.to/WastelandHi-ResStereoAndSurroundMix

The acoustic tracks/versions of the “Acoustic Session” are also available as separate Digital EP here:
.https://Riverside.lnk.to/AcousticSessionEP

Check a static video for the “Out Of Myself – Acoustic” track here:
https://youtu.be/bCrBtc4AHLQ

Check out the singles launched for RIVERSIDE’s “Wasteland” album here:
“Lament”: https://youtu.be/4Wqlts7QWA8
“River Down Below”: https://youtu.be/ZS1crIkpnwc
“Vale Of Tears”: https://youtu.be/001IMO53JwY
“Wasteland”:https://youtu.be/6dLf45s67hM
“Wasteland” (live clip): https://youtu.be/-ygv3BBqv3U

RIVERSIDE line-up 2020:
(From left to right on photo by Radak Zawadzki)
Piotr Kozieradzki – drums
Mariusz Duda – vocals & bass
Maciej Meller – guitar
Michal Lapaj – keyboards 

RIVERSIDE online:
http://www.riversideband.pl
http://www.facebook.com/Riversidepl
https://www.instagram.com/riversideband.pl

The most popular puzzle on the World is undoubtedly the Rubik’s Cube. Learn how to solve it with the beginner method.

This news story was originally published here: http://www.insideoutmusic.com/newsdetailed.aspx?IdNews=24021&IdCompany=8

Continuing the promotional campaign for their current album “Pitfalls”, Norwegian Rock outfit LEPROUS are now launching a drum playthrough video for the most epic track on the album, “The Sky Is Red”. Check it out here:
https://youtu.be/nj6fM2KpyOA

LEPROUS drummer Baard Kolstad comments:
I always like to do full honest video playthroughs of certain LEPROUS songs after the different album recording processes. A nice way to share details and a different kind of energy for the listener/viewer. There’s no secret that “The Sky Is Red” is a tough one and after 27 shows playing it live, it’s interesting to see how the interpretation of the song and performance has evolved and changed.

LEPROUS are kicking off their next European tour with support by Klone fom France and fellow Norwegians Maraton this weekend in Dortmund, Germany. The band checked in as follows:
The shows and response of the 1st leg of the “Pitfalls” European tour was mind-blowing, and we had some of the greatest moments of our career. There was no doubt we needed to play way more territories and countries for this album than “only 4 weeks”, so here we go again, with a full production, headlining for 3 more weeks in several new countries that never have seen the new live show. Klone and Maraton as guests! We cannot wait!“ 

Here is a list of the upcoming LEPROUS dates (Recent updates marked ***):

LEPROUS – European Tour 2020
Supports: Klone & Maraton
08.02. – Dortmund (Germany) – Junkyard 
09.02. – Strasbourg (France) – La Laiterie
10.02 – Grenoble (France) – l’hyliade 
11.02. – Fribourg (Switzerland) – Fri-Son 
12.02. – Graz (Austria) – Explosiv
13.02. – Istanbul (Turkey) – Zorlu Turkcell Stage *
14.02. – Tel Aviv (Israel) – Havanna *
15.02. – Athens (Greece) – Fuzz Club
17.02. – Bucharest (Romania) – Quantic
18.02. – Cluj-Napoca (Romania) – /Form Space 
19.02. – Budapest (Hungary) – Durer Kert
20.02. – Krakow (Poland) – Kwadrat
21.02. – Warsaw (Poland) – Progresja
22.02. – Gdansk (Poland) – B90
24.02. – Nijmegen (The Netherlands) – Doornroosje 
25.02. – Savigny (France) – l’empreinte 
26.02. – Toulouse (France) – Le Rex 
28.02. – Porto (Portugal) – Hard Club
01.03. – Lisbon (Portugal) – Lisboa Ao Vivo
* = Without Maraton

LEPROUS – Festival Appearances 2020
19/06 – Clisson (France) – Hellfest
26-27/06 – Madrid (Spain) – Rock The Night
3-5/07 – Cluj-Napoca (Romania) – Form Days Festival
20-22/08 – Bristol (UK) – Arctangent Festival ***

And many more international dates are to be announced soon…

Check out the singles launched off “Pitfalls” by LEPROUS here:
“Below” (video): https://youtu.be/4nPwBSaJmgI
“Alleviate” (video): https://youtu.be/12eFq16CXSU
“Distant Bells”: https://www.youtube.com/watch?v=r8HUeCKNxVw
“The Sky Is Red” today here: https://www.youtube.com/watch?v=N8vw086Ta7Y

And check out a series of LEPROUS video trailers for the “Pitfalls” album here:
Discussing “Pitfalls”: https://youtu.be/GgdhiZdT-g0
“Pitfalls” Artwork: https://youtu.be/7UvSowPwtsw
Looking Back on 10 Years of Studio Albums: https://youtu.be/0dZgn1UQIiA
Album Track-By-Track: https://youtu.be/XOR3xXOmk8Y 

“Pitfalls”, the sixth full album release by LEPROUS, was once again recorded with David Castillo at Ghostward Studios (Opeth, Katatonia), but this time mixed by Adam Noble (Placebo, Biffy Clyro, Nothing But Thieves, Deaf Havana). Upon release, “Pitfalls” entered various international sales charts as follows: Germany: # 36, Finland: # 17, Switzerland: # 46, France: # 120, Spain: # 62, Belgium (Wallonia): # 82, Austria: # 61, UK (Rock Album Chart): # 13, USA Top Current Albums Chart: # 129, USA Heatseekers Chart: # 17, USA Top Current Rock Albums Chart: # 48 and USA Top current Hard Music Albums Chart: # 18.

“Pitfalls” is available as limited Mediabook CD with two bonus tracks (“Golden Prayers” and the Massive Attack cover “Angel”), as Standard Jewelcase CD and as Gatefold 2LP on 180gr. vinyl with the album on CD as bonus (in Europe!) and an Etching on the D-Side. Next to the unlimited black vinyl version, “Pitfalls” is also available in various limited coloured editions.

“Pitfalls” can be ordered here: https://LeprousBand.lnk.to/Pitfalls

Or visit the IOM webshop for LEPROUS releases here:
https://www.insideoutshop.de/Artist/Leprous/20978?Page=1&PageSize=25&Sort=13

LEPROUS line-up:
Einar Solberg – vocals/synth
Tor Oddmund Suhrke – guitar
Robin Ognedal – guitar
Simen Børven – bass
Baard Kolstad – drums

LEPROUS online:
www.leprous.net
www.facebook.com/leprousband
www.youtube.com/leprouschannel
https://www.omerch.eu/shop/leprous

This week’s Prog-Watch is just a bunch of great Progressive Rock, and most of it is relatively new! We’ll hear from Cirrus Bay, Rodney Matthews and Jeff Scheetz with Oliver Wakeman, Fernando Perdomo, Dreaming Madmen, Nektar, Euphoria Station, Futurist, Blind Ego, Moon Halo, Richard Orange, Robertas Semeniukas, and Workshop of the Wolf! All in 90 minutes!!

707: Variety

 

Proving that prog isn't just for dinosaurs!

I’m delighted to announce that the podcast for edition 325 of Live From Progzilla Towers is now available.

In this edition we heard the following music:

  • Manfred Mann’s Earth Band – Starbird
  • Drifting Sun – Twilight
  • Ambrose Slade – Genesis
  • Lifesigns – Impossible
  • Karfagen – Birds Of Passage (Part 1)
  • Emperor Norton – Act II: Empress
  • Emperor Norton – Act II: Travails
  • Voivod – Astronomy Domine
  • Phil Lively – Before Black
  • Depeche Mode – Condemnation
  • Flaming Youth – Guide Me Orion
  • Robert Fripp – North Star
  • Frida – I Know There’s Something Going On
  • Philip Goodhand-Tait – Silverwing
  • Voyager – Runaway
  • Pendragon – Starfish And The Moon
  • Pendragon – Truth And Lies
  • Barclay James Harvest – Galadriel
  • Pure Reason Revolution – Silent Genesis
  • Different Light – On The Borderline
  • Nolan Potter’s Nightmare Band – Seahorse Retreat
  • The Blackheart Orchestra – In Another Life Time
  • Pat Metheny & Lyle Mays – September Fifteenth
  • Yes – Time and a Word

iTunes/iPod users*: Just search for ‘Progzilla’ or subscribe to: http://www.progzilla.com/media/podcasts/podcast.xml

Enjoy!