Edition 248 of Sounds That Can Be Made is now available as a podcast!


Dirt Poor Robins – No Land Beyond (from Dead Horse, Alaska (Onyx))
Kansas – Jets Overhead (from The Absence of Pressence)
The Pineapple Thief – Demons (from Versions of the Truth)
Coma Rossi – Transmission (alternate) (from Coma Rossi)
IQ – The Last Human Gateway (from Tales From The Lush Attic)
Pink Floyd – Fearless (from Meddle)
Golden Earring – She Flies On Strange Wings (from Seven Tears)
Spock’s Beard – The Good Don’t Last (from The Kindness Of Strangers)
Discipline – Carmilla (from Push and Profit)
The Emerald Dawn – Stranger in a Strange Land (from Visions)
Bram Stoker – Cold Reading (from Cold Reading)
Twelfth Night – East Of Eden (from Smiling at Grief)
Marillion – Punch & Judy (from Fugazi)
The D/A Method – The Tree of Life (from the Desert Road)
Keeray Makoray – Island in the City (from Island in the City)
Gandalf’s Fist – The Battle for Tannhäuser Gate (from A Day in the Life of a Universal Wanderer (Special Edition))
Oktopus – Minotaur (from Worlds Apart)
Amplifier – Interstellar (from the Octopus)
The Cooper Temple Clause – House of Cards (from Make This Your Own)
Kula Shaker – Hush (from Hush)
The Beatles – The Long And Winding Road (from Let It Be … Naked)
Gerry & The Pacemakers – You’ll Never Walk Alone (from You’ll Never Walk Alone)

#progzillaradio #stcbm

Be on the lookout for a plethora of fabulous, brand new music on this week’s Prog-Watch! We’ll hear from Surreal, The Bedlam Furnaces, Caligula’s Horse, The Segue, I Am The Manic Whale, Kinetic Element, Vesper Vals, Delain, Alcàntara, Fughu, and Lonely Robot! As Yoda would say, “Miss it not!”

726: ALL NEW Variety


I’m delighted to announce that the podcast for edition 347 of Live From Progzilla Towers is now available.

In this special edition we spoke with members of Gandalf’s Fist and Chris Topham from Plane Groovy and heard the following music:

  • Abel Ganz – The Life Of The Honey Bee and Other Moments Of Clarity
  • The Tangent – Life On Hold
  • Anglagard – Hostsejd
  • LaHost – Blood And Roses
  • Gandalf’s Fist – Badgerwhacked
  • Gandalf’s Fist – The Waxwork Downs
  • Big Big Train – Voyager
  • Gandalf’s Fist – A Solemn Toast For the Steam Ranger Reborn
  • Gandalf’s Fist – The Great Cog
  • Long Distance Calling – Curiosity
  • Galasphere 347 – The Voice Of Beauty Drowned
  • Camo & Krooked – Witchdoctor (Red Bull Symphonic)
  • Agnus – XXI Century
  • 22 – Call Me Trimtab
  • Rob Crow, Kavus Torabi & Mike Vennart – Losfer Words (Big ‘orra)
  • Tiger Moth Tales – Still Alive
  • Charlie Cawood – Falling Into Blue

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


This news story was originally published here: https://theprogressiveaspect.net/blog/2020/07/02/tpa-news-july-2020/?utm_source=rss&utm_medium=rss&utm_campaign=tpa-news-july-2020

Latest Prog News from across the progressive music spectrum & updated throughout July 2020.

02/07/2020: Neal Morse Announces New Solo Concept Album Sola Gratia

Neal Morse has announced the release of Sola Gratia, his new solo progressive rock concept album, on the 11th September 2020. Originating from an idea about writing a record based on the apostle Paul, Sola Gratia came together at the beginning of 2020. The album sees Neal working with long-time collaborators Mike Portnoy, Randy George, Eric Gillette, Bill Hubauer and Gideon Klein.

The title Sola Gratia has echoes of Morse’s 2007 epic Sola Scriptura, about the life of Martin Luther, but was in fact originally the result of a simple marital misunderstanding: Morse comments: “I was talking to my wife Cherie about debuting this new piece at Morsefest 2020 (Morse’s annual fan convention in Nashville) and she said she thought it would be good for me to do a solo album. However, I thought she said ‘Sola album’ and – because some of the new ideas involved Paul’s aggressive pursuit of the early Christians, I could see a link to some of the themes of persecution in ‘Sola Scriptura’.

The music was recorded ‘virtually’ in April 2020 at the height of the Coronavirus lockdown with long term collaborators Mike Portnoy (drums) and Randy George (bass): “It’s the first album we have ever made remotely: I sent them the basic tracks and asked if they wanted to rearrange things, but they just said ‘No, it’s great!’, so they just played to it and sent their parts back over. It wasn’t an easy way to make an album, but creating always has its challenges, no matter how you do it.”

As Morse explains, it was this process that decided that Sola Gratia was to be a Neal Morse album, rather than being credited to The Neal Morse Band: “With the Neal Morse Band, the whole band works together on the writing, and while Eric Gillette plays some guitar and Bill Hubauer has added some keyboards on this one, neither of them wrote – or is singing – on this album.”

Sola Gratia will be released as a limited CD/DVD Digipak (featuring a ‘Making-Of’ documentary), Gatefold 2LP + CD, Standard CD Jewel Case and as a Digital Album. The cover art was created by another longtime collaborator, Thomas Ewerhard.

Track List:
1. Preface
2. Overture
3. In The Name Of The Lord
4. Ballyhoo (The Chosen Ones)
5. March Of The Pharisees
6. Building A Wall
7. Sola Intermezzo
8. Overflow
9. Warmer Than The Sunshine
10. Never Change
11. Seemingly Sincere
12. The Light On The Road To Damascus
13. The Glory Of The Lord
14. Now I Can See/The Great Commission

Neal Morse will debut Sola Gratia live at his annual Morsefest convention on the 18th and 19th September 2020. A limited number of people will be able to attend in person, with the event also being streamed online. More details and tickets are available here: https://nealmorse.com/tc-events/morsefest-2020/

SOURCES: For The Lost PR

Keep up to date with the TPA UK Gig Guide

02/07/2020: Downes Braide Association Tease New Album

In a statement released on their Twitter feed, Downes Braide Association reveal they are working on a fourth studio album.

The statement reads: “Geoff & Chris are producing some fantastic songs and sending these on to Dave Bainbridge to add guitar & Andy Hodge to add bass, with added spoken vocals of Barney Ashton Bullock this album is turning out to be another masterpiece

A release date for the new album has not yet been set.

SOURCES: Downes Braide Association Twitter

Keep up to date with the TPA UK Gig Guide

UK Gig Guide

TPA Gig Logo 2016

Visit the TPA Gig Guide for the UK’s most comprehensive prog gig listing.

Edition 237 of Steve Blease’s Heavy Elements is now available as a podcast.


Amorphis – House of Sleep
Ebonivory – Explosions After Dark
Paul Wardingham – We Are The Virus
Nine Miles Down – The Weathervane
Oceans of Slumber – A Return to the Earth Below

That Was The Year That Prog: 1997
Symphony X – Of Sins and Shadows
Vanden Plas – Rainmaker
Royal Hunt – Time Will Tell
Conception – Flow
Pain of Salvation – Winning a War

Epic at 11: Odd Logic – Effigy

Green Carnation – Just When You Think It’s Safe
Madder Mortem – A Different Kind of Hell

Album of the Week: HeKz – Caerus
Progress & Failure
The Left Hand of God
The Black Hand

Leprous – Chronic

Requests/comments to steve@progzilla.com

#progzillaradio #heavyelements

This news story was originally published here: https://theprogressiveaspect.net/blog/2020/07/01/ronnie-platt-kansas/?utm_source=rss&utm_medium=rss&utm_campaign=ronnie-platt-kansas

Veteran proggers Kansas have a new LP out, Absence of Presence, and in light of that, vocalist Ronnie Platt made himself available to TPA for an interview where he talked about the new album, the challenges of recording and touring simultaneously and what he expects 2021 will look like for Kansas.

Kansas banner

2020 so far and Kansas

For my part, I was quite nervous going into my call with Platt; I’ve had the privilege of interviewing many people during my career outside of music, but even in the case of my music interviews, I’ve always preferred to keep it to email, so a telephone interview is still new to me.

To get the ball rolling, I thought it would be best to open up the interview with nice, light conversation: global pandemics and how the 2020 lockdown had affected Kansas.

“Well it started off with a bang, that’s for sure,” Platt began. “With touring and putting the finishing touches on the album [to now being] kept in a holding pattern at the moment. So, you know, it’s a situation that’s beyond our control, so we have to abide by the situation.

“But I think there’s light at the end of the tunnel, I think things are starting to open up,” he added with a sense of optimism toward the future.

“It’s kind of a frustrating thing for us to have our album coming out now, because we were so, so excited about touring and perhaps playing a couple songs from the new album live,” Platt’s tone was genuinely upset about the lack of ability to hit the road with a new album in tow.

He continued: “One of course being Throwing Mountains, which is such a heavy song. You know, a lot of people are classifying that as progressive metal and that’s a perfect way to describe that song. But we are so looking forward to playing that live.

“We still are now, but we have to keep our excitement in containment, I guess.”

I agree with him that progressive metal is an apt description of the song, and also how heavy it is in comparison to a lot of Kansas repertoire, from what I could tell having done as much background listening as possible in the run up to the interview, which I think was appreciated.

Kansas 2020 European tour

So far, this was certainly an easy interview to conduct as Platt’s enthusiasm for his work and easy-going character found the humour in all of our exchanges and every response was accompanied with a good-natured laugh.

But it was time to get back to business.

“Do you want to talk about the tour?” I asked Platt as I was keen to know when audiences would have the opportunity to see Kansas performing.  “I know you guys were meant to be touring Europe this Autumn – has that been pushed back?”

His response was earnest, accepting of a situation out of his control, but that didn’t stop his eagerness to not be weighed down by the situation and get back on to the road.

“It has been pushed back. It’s very frustrating for me now that our first tour was cancelled, and now this second tour of Europe to be kept in a holding pattern is frustrating for me because… I want to go to Europe! And I want to bring this music to you!”

He added, “Our friends on the other side of the pond need to re-discover Kansas and witness this band because this band is on fire and sounding better than ever so I cannot wait to get there… and I cannot describe my anticipation and my excitement of wanting to bring this band to Europe.”

Platt’s enthusiasm for touring and for the album come across clearly, and I remark that the European audience would be glad to have Kansas. I suggest that it’s all about momentum – having the new album to come out in time for the tour and being able to play the newer songs, which they’d now be losing.

“Yeah, that’s the operative word there… ‘momentum’. And we did have such an incredible momentum; that inertia was in high speed, but you want the air out of the bag with the current situation. But I feel very strongly that we’re going to pick up where we left off. Because, I’ll say one thing, we’re all very well rested now!”

Impressions on the album and challenges in recording

Kansas - Absence of PresenceI ask Ronnie next what his overall impressions of the album are now that he’s had some time for it to simmer. His explanation shows to me that the Absence of Presence has much more than musical value, the value for him is in knowing all the hard work that the six band members put into it.

“I am as excited about this album now as I was when we first started working on the basic tracks,” he begins.

“There’s just something about the mystique of the album. It seems like the band is well tuned now. With The Prelude Implicit, I was still new with the band and Zak [Rizvi] didn’t join the band until we were already recording that album. Now I think we have a little maturity as a band with this album. Even though we recorded this album while we were touring – which made our schedule really intense.

“With The Prelude Implicit, we recorded that in the Winter months when we were off and we had the time to focus on just recording. For this album we were touring and at the same time recording.”

“That must have been something really difficult to juggle,” I reply.

“It was. With the band having so much momentum, we did want to take the entire month of August off, but the demand for the band wouldn’t let us, but we didn’t retract. Even though we did end up doing some shows, we didn’t let up on our recording schedule at all.”

Platt mentioned that the pressure and intensity helped the end product. “It helped the intensity, when you’re so focused and forced to be focused on one thing and you’re really striving for your songs to come out as good as they can… Wow! This album just… I can’t wait for everybody to hear this album.

“Between the diversity of the songs… you know very prog rock songs to very heart-felt ballads and that’s within the Kansas recipe and that’s just in one album. We’re really excited, really, really proud and we cannot wait for June 26th.”

[Since the interview, the release date has moved to July 17, 2020]

I am keen to know more about his take on the individual tracks on the album, and my next question was about which tracks stand out the most, to him.

Throwing Mountains because it’s such a high energy, high intensity song and we knew from very early on that we would be playing that song live.”

He exclaims: “That song just screams to be played live,” but adds, “it’s the old adage of ‘which one is your favourite child?’.”

That’s a fair assessment when you’ve put equal effort into every track on the record.

He added that when it comes to the Kansas back catalogue, he enjoys the ability to re-discover the older track as if they were new after re-listening to them. “Maybe I’m a bit fickle, but I change my favourite song every day,” he tells me with another chuckle.

I also wanted to know if there were any tracks that were a challenge for him to record – listening to the album I was impressed by the vocal range on display, and it’s a performance that won’t be easy for any vocalist, no matter how long they’ve been working. Again, Ronnie’s honesty was good humoured and reflected the pride he put into the album.

“Right! No, not really, because Zak [Rizvi] wrote everything in my key which I really take a lot of pride in my range and my endurance, so there really was nothing that was too challenging.

“The challenging thing was to try stay in good voice while we were touring. Because when you’re touring, you never sleep. You never get the right amount of sleep, because you know you’re doing a show, you’re going back to the hotel and I’m not the kind of person that could just go back to the hotel room and fall asleep.”

Platt explains getting enough sleep after shows that have his adrenaline flowing means unwinding is essential – but there is added pressure to his intense live performances: “You know there’s a level of intensity when you’re filling the shoes of Steve Walsh, you know? He set the bar pretty high.”

He elaborated a little on the strains of recording and touring simultaneously.

“I don’t think people realise, it’s not just singing the song once or twice, it’s grinding it out in the studio. You’re kind of in the experimentation realm, so you’re trying things, you’re singing something over and over and over again and making small adjustments here and there, then you’re singing the harmony to that, so you’re trying different harmonies and then different combinations of voices. ‘Does it work well with me, Billy [Greer] and Tom [Brislin] singing? or should it be me, Tom and David Ragsdale?’

“It really is a tricky thing to find the right combination of voices that fit that harmony. Knowing which part fits which person and putting that together, doing a basic mix and experimenting there and going back the next day and listening to it with fresh ears. ‘Did that work? Should we try something different’. It really can be a tedious process sometimes.”

How audiences at live shows have received Kansas

Ronnie Platt - Kansas

Platt’s insights into the recording process were really interesting, and I wanted to know more about what went on in the making of the record, but I was getting close to running over time, so I thought it would be worth knowing how the band’s new music and live shows were being received by younger fans given the new momentum Kansas was experiencing.

Platt’s response was as earnest as ever and filled with appreciation for Kansas’ fanbase.

“I have to tell you this. I have now six years under my belt with Kansas and one of the most flattering things to me is not only to have our original fans still coming to the shows and in the time I’ve been with the band, I’ve seen our audiences get larger and larger and larger, which is extremely flattering.

“Also, the fans from the seventies and then on have brought their kids and their grandkids. And I’ve seen our audience, you know taking the average age, just in the time I’ve been in the band, I’ve seen our audience get younger and younger and it’s really a great thing to have young people have an appreciation for this music. This is not something that has been made with a couple of samples and a drum machine. This is very intense music by intensely talented people. So, for young people to appreciate this music, it doesn’t get better than that! That’s really a great thing and I hope it continues”

What’s in store for Kansas in 2021?


With my time already a little bit longer than planned, and I was sure Ronnie had other interviews scheduled, I wanted to end the interview asking what 2021 had on the cards for the band.

“You ask the hot question there! 2021…

“I will say this… it’ll probably be the most intense touring schedule we’ve had, since I’ve been in the band. And a quick little story: when I first talked to Phil [Ehart] and Rich [Williams], they had told me they had plans on doing about 55 and 65 shows a year. My first full year with Kansas we did 98 shows. My second year with Kansas we did 99.”

He concluded, “we have to make up for 2020. I think there’s a very good possibility of us well surpassing that number next year.”

With the prospect of the busiest year of touring yet with new songs to add to an already energetic live show, my time with Ronnie Platt was up – indeed it had been up for 10 minutes now; what was meant to be a 20-minute chat had run to nearly 30-minutes, but it’s hard not to when you’re speaking to a man whose enthusiasm for his work and his band exudes with every word he says.

I was worried when I was dialling in about how the interview would go. But there was no need to. Ronnie answered and his friendly manner kept the interview in an upbeat tone throughout… it was apparent that he, along with his bandmates, are all excited about the work they’ve done in putting together Absence of Presence and that infectious enthusiasm rubs off on you when you speak with him. I believe this is the sign of a rejuvenated Kansas as the band’s touring cycle has grown since Platt joined the band in 2016. From my chat with Ronnie, the current dynamic of the band is one of positivity and honestly, it reflects in the album.

Even with 2020 being a challenging year for the music industry at large, Platt looks ahead with optimism, confident that when Kansas hit the road, the enthusiasm the band has put into their latest release will reflect in the live shows and on their ever-loyal fanbase.

[Read TPA’s review of Absence of Presence]


Kansas – Website | Facebook | Twitter

[All photographs by EMily Butler Photography – used with kind permission and our sincere thanks.]

This news story was originally published here: https://theprogressiveaspect.net/blog/2020/07/01/kansas-absence-of-presence/?utm_source=rss&utm_medium=rss&utm_campaign=kansas-absence-of-presence

There is lots to be excited about with classic rock veterans Kansas’ latest effort, The Absence of Presence. First, the album marks a milestone in that it’s been 50 years since the band formed in 1970 in Topeka, Kansas. Second, it’s also been four years on since The Prelude Implicit marked the band’s resurgence, signalling that Kansas was geared to move forward into the future, and The Absence of Presence confirms that Kansas is now well and truly in motion.

The line-up seems to have solidified, with the only change since the 2016 LP being losing David Manion (who joined for Prelude). He has been replaced by the adept Tom Brislin whose work on keyboard duties adds a creative element to Kansas’ latest LP, so hopefully this line-up remains.

The Absence of Presence is lyrically thought provoking and two themes dominate the album. The benefit of experience means Kansas can draw from a well of wisdom to add maturity and insight that younger musicians simply don’t have access to.

The first theme is the paradox of being physically present yet spiritually or emotionally absent or uninvested. This theme is most directly explored in the title track, but also Animals on the Roof, Circus of Illusion and The Song the River Sang all deal with this theme in an abstract way. They question if our absenteeism is represented by not working together and being uninvested in ourselves/the planet/society in favour of consumer culture.

Animals on the Roof is superficially about not fitting in; just as animals on rooves might be a ‘strange sight’ – pests even – they are in a position of greater foresight, despite their small stature. Once we hear Platt’s references to a coming ‘flood’ and a ‘dull, rumbling sound’, it becomes clear the track is a call to action to heed the warnings of those who can see further ahead, but are marginalised for being socially or environmentally conscious. The masses that ignore these visionaries will become victims of their own ignorance and arrogance.

The second theme is that of overcoming – overcoming our absence or non-investment in bigger issues. We see this in the track Jets Overhead, an ode to those in service as it articulates how military families make – and overcome – sacrifices to a larger cause, told through the eyes of someone saying goodbye to an Air Force pilot being deployed (the pilot being deployed having his own absence of presence). We hear:

Then you say: “This ain’t about me, but about everyone I’ve ever known.”
I’ll be waiting right here when you land

and understand the struggle in needing to accept that loved ones cannot be a priority, though that loved one may wish to be so. At the same time, the song reveals that sacrifices are made on both sides and both parties need to find solution to deal with that.

Those that have heard Throwing Mountains, one of two singles released in advance of the LP, will understand that it talks about if we overcome personal doubts that hold us back, we can achieve the impossible – although I’d like to have heard a little bit about how they overcome those doubts, instead of simply relegating them to the past tense.

Musically, Kansas are as good as I’ve ever heard them and the veterans’ decades of experience playing their instruments really shines through in every song.

Ronnie Platt’s powerful tenor vocals are performed with conviction and emotion. His lines are delivered with feeling and nuance – I found his performance in Never particularly captivating. Billy Greer harmonises well with Platt, although I would have hoped to hear some creative use of a second vocalist. There is no absence of Greer’s bass presence – he doesn’t simply replicate the guitar riffs but adds creativity and colour throughout, especially in The Song the River Sang.

In the rhythm section, founding member Phil Ehart’s drumming keeps a steady pace and his playful use of rhythm comes across seamlessly. Ehart really shines in the fast-paced, but short, instrumental, Propulsion 1, where he unleashes himself and spoils us with some double pedals.

Richard Williams and Zak Rizvi showcase their skills with alternating solos in a few tracks, working with newcomer Brislin and David Ragsdale on keys and violin respectively to create exciting and vibrant interludes.  We have instances such as in Throwing Mountains or the title track, where Brislin, Williams and Rizvi solo battle it out, pitting organ against guitar and guitar, before their differences are settled in a unison – first the two guitars, then keys and violin join in.

David Ragsdale’s violin work adds drama, flare, and a strong hook to every song he is present in. The two ballads, Memories Down the Line and Never give Ragsdale the freedom to showcase the raw emotion that only a violin can inspire, and along with Platt’s heartfelt vocal performance, both ballads are an immersive experience.

Closing track, The Song the River Sang, is one of my favourites off the album as it is strays away from the formula of the other songs and is the most ‘prog rock’, thanks to a 7/8 time signature that evokes a flowing river. Dramatic bass drums add a sense of urgency to the first half of a song that is essentially a warning of a coming flood (alluding to the animals on the roof that will see it coming first). The second half is a portrayal of chaos and ends the album suddenly.

Almost every prog trick in the book is on display to strong effect in The Absence of Presence, without suffering from being ostentatious, and this is made possible thanks to a line-up of experienced musicians applying their craft the way they know works well.

The Absence of Presence is a strong album and will sit well in Kansas’ 16-album discography and help to preserve the band’s legacy in coming years. It boasts plenty of memorable moments of music and the thoughtful lyrics lend the album to repeat listens.

It would appear that Kansas, 50 years in, still sound like the Kansas we know and love; they haven’t abandoned the formula that’s worked so well for them, but they have updated it enough to help drive their music to a new audience.

[You can read TPA’s interview with Ronnie Platt HERE]

01. The Absence of Presence (8:24)
02. Throwing Mountains (6:21)
03. Jets Overhead (5:17)
04. Propulsion 1 (2:17)
05. Memories Down the Line (4:38)
06. Circus of Illusion (5:19)
07. Animals on the Roof (5:12)
08. Never (4:50)
09. The Song the River Sang (5:05)

Total Time – 47:27

Tom Brislin – Keyboards
Phil Ehart – Drums
Billy Greer – Bass, Vocals
Ronnie Platt – Vocals, Keyboard
David Ragsdale – Violin, Guitar
Zak Rizvi – Guitar
Richard Williams – Lead Guitar

Record Label: InsideOut Music
Country of Origin: U.S.A.
Date of Release: 26th June 2020

Kansas – Website | Facebook | Twitter

Edition 236 of Steve Blease’s Heavy Elements is now available as a podcast.


Spheric Universe Experience – Self Abuse
Nord – The Unstoppable
Ulcerate – There Is No Horizon
Oranssi Pazuzu – Uusi Teknokratia

That Was The Year That Prog: 2012
Devin Townsend Project – Kingdom
Circus Maximus – Architect of Fortune
Between The Buried And Me – Astral Body
The Contortionist – Dreaming Schematics
Headspace – Fall of America

Epic at 11: Ne Obliviscaris – And Plague Flowers the Kaleidoscope

Time Lost – Stage III. Rage
Obsidian Kingdom – Darkness

Album of the Week: Thaikkudam Bridge – Navarasam : An ennead

Shaolin Death Squad – Toad

Requests/comments to steve@progzilla.com

#progzillaradio #heavyelements

This news story was originally published here: http://www.insideoutmusic.com/newsdetailed.aspx?IdNews=24189&IdCompany=8

(“Konkret Musik” album artwork)

Swedish progressive rock instrumentalists GÖSTA BERLINGS SAGA will be releasing their upcoming sixth studio album “Konkret Musik” on July 24th, 2020 worldwide via InsideOutMusic.

GBS are therefore pleased to reveal the album’s title-track “Konkret Musik” as the second single for the release, which can also be now seen here in a video produced by Carl Stenlöv / REDI: https://youtu.be/Y9UlYTN5NbY

The band checked in with the following comment about the track:

“Being partly a play of words with the term “Musique concrète” – a compositional tradition of modifying recorded sounds to create new sound identities – the album title ‘Konkret Musik’ also reflects that this album is our most direct and tangible collection of music so far with its short, focused and to-the-point songs that together creates a collage of expressions.

This energetic title track represents this directness fully in its explosiveness and denseness with its layers of melodies, sounds and whirling textures. It’s concrete enough for Karaoke and with a sound identity that helps build the ever-expanding collage of GÖSTA BERLINGS SAGA.”

The album’s first single “Basement Traps” can still be seen in a video clip directed by Martin Gustafsson here: https://youtu.be/VSpt7sU4T2g

Recorded, mixed and produced by Daniel Fagerström (Viagra Boys, Skull Defekts, Nina Kinert, etc.) and Anton Sundell (Tonbruket, Ane Brun, etc.) at Studio Bruket and Magix Playground, the upcoming album “Konkret Musik” contains 12 explosive tracks filled with experimental instrumental rock, showcasing a truly unique mix of progressive rock, synth minimalism and otherworldly melodies. Dystopian yet hopeful, maximal yet minimal: “Konkret Musik” will not leave anyone unaffected. Here is the album’s track-listing:

GÖSTA BERLINGS SAGA – “Konkret Musik”:
1. Släpad
2. Vinsta guldklocka
3. Basement Traps
4. Close to Home
5. Konkret Musik
6. Closing Borders
7. To Never Return
8. Instrument VI
9. The Pugilist
10. A Fucking Good Man
11. Förbifart Stockholm
12. A Question of Currency

(“Konkret Musik” single artwork)

“Konkret Musik” will be available as Digital Album, as limited Digipak CD and as 180gr. LP with the entire album on CD as bonus. Next to the black vinyl version, there will also be limited coloured vinyl runs in Tansparent Magenta (100x from IOM Webshop) and Transparent Sun Yellow (200x from band).

The pre-order for “Konkret Musik” is available here:

GÖSTA BERLINGS SAGA have recently also released a special digital-only live album entitled “Artefacts – Live”, which consists of 9 tracks in a total playing time of 63 minutes, recorded at the grandiose Södra Teatern venue in the group’s hometown Stockholm in December 2018. GÖSTA BERLINGS SAGA performed their previous album “ET EX” in its entirety (and a few older tracks additionally…) with various guests on stage and in front of a sitting audience. Sweden’s biggest newspaper Dagens Nyheter gave the concert a remarkable review and a 5/5 rating.

You can stream/download “Artefacts – Live” from here:

Alongside with the digital album release, GBS are also launched the live video-footage, filmed and edited by Klara & Carl (klaraocarl.myportfolio.com), for the individual tracks off “Artefacts – Live” via the InsideOutMusic YouTube channel, which can be seen here:

GÖSTA BERLINGS SAGA – “Artefacts – Live”:
1. Veras tema https://youtu.be/kXyMYGn7yeI
2. The Shortcomings of Efficiency https://youtu.be/dodxffAhFio
3. Square 5 https://youtu.be/Qqw4mvuYVOU
4. Artefacts https://youtu.be/yHb5pGRr4_A
5. Capercaillie Lammergeyer Cassowary & Repeat https://youtu.be/YGB0duAdN48
6. Brus från stan https://youtu.be/EjtkNtzo2rM
7. Fundament https://youtu.be/-Hlmu4TkPzE
8. Terra Nova https://youtu.be/dYnUGgroCDk
9. Sersophane https://youtu.be/v65w3kjPAJk

GÖSTA BERLINS SAGA’s previous album “ET EX” is still available here:

David Lundberg – Fender Rhodes, Grand Piano, Mellotron & Synthesizers
Gabriel Tapper – Bass Guitar & Moog Taurus Pedals
Rasmus Booberg – Guitars & Synthesizers
Alexander Skepp – Drums & Percussion
Jesper Skarin – Percussion

Tid Är Ljud – 2006
Detta Har Hänt – 2009
Glue Works – 2011
Sersophane – 2016
ET EX – 2018
Kontraster – Live – 2019 (Digital)
Artefacts – Live – 2020 (Digital)
Konkret Musik – 2020



This news story was originally published here: http://www.insideoutmusic.com/newsdetailed.aspx?IdNews=24188&IdCompany=8

LONG DISTANCE CALLING, Germany’s most internationally successful instrumental rock act, release their seventh studio album ‘How Do We Want To Live?’ today!

The album has been receiving a fantastic reaction being awarded Album of the Month in publications such as Metal Hammer Germany, Rock Hard Germany, Guitar, Gitarre & Bass & more, while Metal Hammer UK have called it a “full-blown sensory experience”.

The band comments: “Today is the day where we can finally unleash our new album “How Do We Want To Live?”. The feedback so far is overwhelming and we are incredibly proud of this album. It’s a big step for us and we think it’s a really unique experience, not only in terms of sounds. We want you to wrap your head around it and to ask yourself how you want to live. We want to be your soundtrack during these stormy times and we are totally happy with it!
Love LDC”
This weekend on the 28thJune, the band will celebrate the release of the new album with a live-streamed performance in conjunction with EMP. Tune in to the bands YouTube channel and Facebook page at 8.15pm CET to hear the band perform tracks from the new album.

The band also recently announced a special album launch drive-in show on the 2ndJuly in Oberhausen, Germany. Tickets are on sale now and the band comments:

“Friends, you might have heard that we are going to release our new album “HOW DO WE WANT TO LIVE” on June 26th and of course we want to celebrate this with you! We got an invitation from the Autoarena in Oberhausen And of course we said yes for July 2nd. Due to the current situation no “regular” shows are possible so this is a nice and interesting thing to try out and it fits really well to the “Seats & Sounds” Concept, just sit in your car, grab some snacks and some cool beverages. The “Seats & Sounds 2020″ tour in in Support of the new album is not affected by this show, we still hope that can celebrate this special shows with you! Love LDC”

Watch the bands recent video for ‘Immunity’ here: https://youtu.be/fT9pNGHKdLw

The band previously launched a striking video for the track ‘Voices’, a short film exploring the relationship between a human and AI. The video was created by AVA Studios and you can watch it now here: https://youtu.be/uWQQbQ9jqU4

Watch the video for the album’s first single ‘Hazard’ here: https://youtu.be/vj9_KM3DuIM
Jan and Jansoch from Long Distance Calling have also launched a German-language podcast titled “Lachend in die Kreissäge” where they discuss the new album, and will also be inviting guests to join them on future episodes. Listen now here: https://lidkpodcast.podigee.io

‘How Do We Want To Live?’sees the band forging a sharply defined & artistically tight exploration of the relationship between humanity and artificial intelligence, and the state of digital progress. Comprised of 10 tracks which contain all the classic LDC-trademarks whilst also bringing something completely fresh and unexpected to the table with their ambitious use of electronic sounds, a perfect symbiosis between man and machine.

‘How Do We Want To Live?’is available as a Limited Edition CD, Gatefold Black 2LP + CD & as Digital Album. A limited deluxe box-set has been released, containing a special coloured edition of the album, an exclusive 7inch featuring two remixes, a beautiful poster featuring the albums stunning artwork by Max Löffler, and 4 individually signed art-cards all contained in a lift-off box. Order now here:

The full track-listing is as follows:
1. Curiosity (Part 1)
2. Curiosity (Part 2)
3. Hazard
4. Voices
5. Fail/Opportunity
6. Immunity
7. Sharing Thoughts
8. Beyond Your Limits
9. True/Negative
10. Ashes
The track ‘Beyond Your Limits’ continues the band´s tradition of having one track with a vocalist, and features the talents of Eric A. Pulverich of the band Kyles Tolone. As the band comments: “We got to know him over our producer Arne Neurand. We were instantly fascinated by his voice and we wanted to show the quality of his voice and melodies.”
It was recently announced that the band have been nominated for the GEMA Musikautorenpreis 2020. This is an integral part of the German music landscape and unique in its focus on music writers. GEMA has been honoring composers and lyricists for their musical work in this way for 12 years, and is representative of the great diversity and the enormous range of fascinating works across genres.

Due to the ongoing Covid-19 situation,LONG DISTANCE CALLING have rescheduled their September ‘Seats & Sounds’ German tour for September 2021.

25.02.21 Berlin Passionskirche
26.02.21 Dresden Lukaskirche
27.02.21 Leipzig Ankeroff
01.03.21 Mannheim Capitol
02.03.21 Frankfurt Jahrhunderthalle Club
03.03.21 Stuttgart Mozartsaal
04.03.21 Bochum Christuskirche
05.03.21 Köln E-Werk
27.03.21 München St. Mattha¨us Kirche
29.03.21 Hannover Pavillon
30.03.21 Hamburg Kleine Elbphilharmonie (sold out)