This news story was originally published here:

Pixie Ninja follow up their highly successful 2018 debut album Ultrasound with this excellent new second album, Colours Out of Space, continuing to strengthen my belief that great music still flows out of Norway. There is a change of personal in the band for this release, Johan Hals Jorgenson has left and been replaced by Fredrik Klingwall on keyboards, who makes his presence felt throughout the album with some great contributions.

The album has been written and performed by Pixie Ninja at the Nobø Stuidios in Norway, with additional recordings at Mattias Olsson’s Roth Händle in Sweden, Olsson also handling the production, with mixing by Stefan Fandén and mastering by Thomas Plec Johansson at the Panic Room. The album cover is by Henning Lindahl.

Like the debut, this album is fully instrumental, but this one is heavily influenced by the short stories of Howard Phillips Lovecraft, The Godfather of horror fiction, to create a concept album blending progressive rock with soundscapes, packed with a long and varied list of vintage instruments, some familiar, some not so much, but each one sounding great. The songs have catchy rhythms that allow the music to change and develops throughout the songs, moving between driving explosive sounds and dark ambience, at times testing the listener, but there is so much to enjoy and discover here. The introduction of soundscapes and effects offer another layer of interest, at times creating a challenge, but always holding on to the melody and direction of the song. It is this that makes the album such a great listening experience, repeated plays peeling away the layers to reveal the depths in the music.

The five tracks have a total listening time of just over forty-three minutes, track times ranging from six minutes to over eleven, but each track sounds perfectly balanced in length. The album opens with the title track, the stall set out to give the listener a fine demonstration of what is to come. Leng Plateau sets off with all cylinders firing, driven by a frantic pace from the drums, before settling into a hard and steady groove. Half way through, a sound effects interlude of sorts appears (including, what appears to be a vintage computer tape loading), leading us back to a slow build-up which develops into a big finish.

After that exciting and interesting start, no time to catch a breath as Cosmik begins with an almost vintage horror movie feel, as it slowly creeps along before the band open up. The longest track on the album, Hutchinson Cipher starts with atmospheric keyboards before the band explodes into a heavier groove, the rhythm section driving things along with the keyboards swirling around, creating interest as the guitar comes in with some forceful runs. Midway we get an almost King Crimson moment, but still with a distinct Pixie Ninja flavour. The ebb and flow is like an aural rollercoaster, creating an exciting ride where you are not sure what will happen next. That said, this is still a focused, well-structured listen, demonstrating a band who are in tune with what they are doing. This song is a great example of a band effort with drive and purpose, each member’s contribution as important as the next. We end things with Strange Days which begins with a lovely piano lead, giving rise to an atmospheric piece which swirls around the piano in an almost spellbinding way.

This is an album full of bold, brave ideas which have been developed exceptionally well to create a wonderful listening experience, each repeated play reveals hidden depths which continue to enrich the music. The band has made great strides with this album which will continued with what they do next, of this I have no doubt. I for one will look forward to what ever they do. The album will be released across all formats. Go on, treat yourself – you know you want to.

01. Colours Out Of Space (10:07)
02. Leng Plateau (9:47)
03. CosmiK (6:00)
04. Hutchinson Cipher (11:31)
05. Strange Days (6:19)

Total Time – 43:44

Marius Leirånes – Godin Shifter Bass, Korg Synths, Volca Keys, Korg Monotribe
Jostein Haugen – Fender Stratocaster, Korg Synths
Mattias Olsson – Ondes Martenot, Maestrovox, Clavioline, Persephone, Electric Guitar, Mandocello, Drums & Percussion, Moog, Mellotron, Orchestron, Minimoog, Speak & Spell, Electronics, Synths & Other Keyboards
Fredrik Klingwall – Grand Piano, Mellotron, Vako Orchestron, Fender Rhodes, Hammond L100, Celeste, Yamaha DX100, Sequential Circuits Pro-1
~ with:
Tiger Olsson – Vocals
Akaba – Vocals
Hampus Nordgren-Hemlin – Vocals, Fender VI, Casio-DG-10, Philicorda Organ
Leo Svensson-Zander – Cello
Fredrick Carlzon – French Horn

Record Label: Apollon Records
Country of Origin: Norway
Date of Release: 3rd July 2020

Pixie Ninja – Facebook | Bandcamp | Soundcloud | Info at Apollon Records

Progressive Tracks Show #371 (The 2020 Experience)

Well, these are certainly strange times…

Some of us are getting out a bit more now, but who knows what the next few months may bring us?

All that we’re experiencing this year… MAY be what this show is about.

  • The Grand Astoria – “Welcome to the Club” from Punkadelia Supreme on Setalight Records (2013)
  • The Grand Astoria – “Then You Win” from Then You Win – EP on Setalight Records (2013)
  • Fervent Send – “Viral Chain Disease Brings Back the Faith” from Super Stereo on Independent (2019)
  • Radiohead –  Idioteque (Radio Edit) from Idioteque – Single  on Parlophone (2000)
  • Tryon – “Solitude By Numbers” from Wasted Time EP on Independent (2020)
  • Camel – “Metrognome” from Rain Dances on Decca (1977)
  • The Mercury Tree – “False Meaning“ from Countenance on Independent (2014)
  • Dave Kerman – 5uu’s – “Carousel of Progress” from Point of Views on Cuneiform Records 1996
  • Dai Kaht – “Dai Korönenn” from Dai Kaht II on  (2020)
  • Elliott Sharp / Carbon – “Just Another Day’s Work” from Datacide on Enemy Records (1990)
  • Tryon – “Saving Till The End” from Wasted Time EP on Independent (2020)
  • Eminence Ensemble – “The Way” from Real News on Independent (2019)
  • Elliott Sharp / Carbon – “Just Another Day’s Work” from Datacide on Enemy Records (1990)
  • Far Corner – “Outside” from Far Corner on Cuneiform Records (20040
  • Cirku5 – “Coming Home/My Degenerate Mind” from Cirku5 on ST Productions (2015)
  • BUSH – “Cold Contagious” from Razorblade Suitcase on Trauma Records  (1996)
  • Burak Ozmucur – “Expectations” from A Distant Light on Independent (2016)
  • Charlie Cawood – “Flicker Out Of Being” from Blurring Into Motion on BEM (2019)

If you have comments or suggestions for show topics/ music (always welcome), feel free to contact me any time via email:

And remember, you can access podcasts of any previous Progressive Tracks Show at: (there are over 200 podcasts now!).

Most importantly, SUBSCRIBE TO THE PODCAST below, so you’ll have it delivered to your fingertips weekly! ˅˅˅˅˅˅˅˅

Lifesigns – N

Earl Brutus – On Me Not In Me

The Headboys – 24 Hours

Def Leppard – Hello America

Iron Maiden – Prodigal Son

The Cure – Friday I’m In Love

The Jam – Batman Theme

Aton Five – Time

The Hu – Wolf Totem

Mindspeak – I. All We Know 

Diamond Head – The Prince 

Magenta – Man The Machine (2020 Mix)

electric mud – mer de glace 

Steven Wilson – Personal Shopper (Progzilla Danger Monkey Remix)

Kate Bush – Hello Earth 

This news story was originally published here:

Let’s face it, 2020 has been a totally CRAP Year… it will not be remembered fondly by most and will be the cause of much sadness for too many. In times like these we really need special things in our lives. We instinctively seek what is enjoyable and engaging, but we also yearn for art that expresses some of our deepest emotions… and somehow Abel Ganz have managed to achieve both in this truly remarkable album. This is a perfect synthesis of music and theme in which the band ‘explore our relationship with memory and loss’ through finely crafted but intuitive songs in a beguiling musical journey.

It has been six years since their previous well-received self-titled album, which remains one of my most favourite albums of all time (yes, really!). Indeed, drummer and producer for this album, Denis Smith, has revealed that the band honestly believed that eponymous album would be their last so they threw everything they had at it, and were very pleasantly surprised at the positive reaction it received in some quarters. However, they had no material left to commence a new recording (a mistake he assures us they have not done this time as they have kept some material back for a much quicker follow up – which is a GOOD thing.) Nevertheless, if it takes six years to produce something with such quality and resonance then let them take as long as they need!

It is evident that this is a real labour of love, with great care and attention paid to the impeccable sonic production by Smith, perfectly mixed by Simon Vinestock (who has worked with the likes of Texas, Blur, Robert Plant and Simple Minds), and skilfully mastered by Jacob Holm-Lupo. Abel Ganz have clearly lavished significant time and love (and quite some money I would presume!) on this album in so many ways, and this has been repaid with a product which shines out with sheer class. Quite aside from the music, the artwork is truly lovely. They seem to understand the whole package needed to present their art.

The opening title song perfectly captures the essence of what works so well for Abel Ganz on this and their previous album. They have an uncanny ability to meld different styles of music together in one song with transitions as smooth as silk, giving us an eclectic mix of folk, progressive rock, Americana, Celtic tinges and even hints of jazz – and somehow it all fits together seamlessly. Abel Ganz have wisely sought out other skilled contributors and this track features Alex Paclin with a very distinctive Chromatic Harmonica, evoking a nostalgic feel right from the start. Fiona Cuthill on fiddles and recorders later adds a whirling and folky atmosphere, which interplays intoxicatingly with a volcanic organ from Jack Webb. This epic track is effectively departing guitarist Davie Mitchell’s farewell gift to the band, as he wrote most of the song, tellingly contributing Nashville acoustic guitars and a smokey solo late in the piece. That’s the way to exit a band – leave them a cracking song! The ‘Steely Dan-esque’ feel of the finale is conveyed deftly by the smooth vocals of Mick Macfarlane, underlined by an atmospheric closing sax solo from the wonderfully named Snake Davis.

One Small Soul takes us in a different direction musically, although maintains the same feelings of reminiscence tinged with regret, but ultimately infused with a sense of renewal:

“There’s a glimmer, a Shimmer, A Speck of a Truth
Trying to Grow unhindered by Youth, A Realisation that all is not Lost”

Mick Macfarlane sings warmly and duets sweetly with the renowned Scottish folk singer Emily Smith in a simply gorgeous song. New guitarist Dave King solos subtly on electric guitar and Jack Webb’s piano tastefully underpins the piece, supported by Stephen Donnelly’s fine double bass play. David King seems to have fitted straight into the band and he lays down his introductory calling card with a short but delightful guitar solo instrumental, Aaran Shores, where one can almost feel the breeze over the waters.

Summerlong feels like one of those half-remembered dreams as you wake, with Jack Webb’s gentle piano framed beautifully within a lush but not overly sweet string arrangement by Frank Van Essen. Macfarlane’s evocative and emotional voice is brittle and captivating in this wistful song full of melancholic reminiscence, leavened with yearning hope.

Just when you feel like the album may be in danger of sinking too far into sentimentality, Abel Ganz kick open the doors with Sepia and White. The opening section absolutely rocks like a fat one! Apparently bassist Stephen Donnelly is responsible for writing this outstanding intro which is filled with funk and really grooves along… all I know is that it put a massive smile on my face and made me want to get up and – dare I say it – dance! Fear not, brave readers, I restrained myself as no-one wants that, real or imagined.

This multi-part piece yet again demonstrates Abel Ganz’s intuitive ability to slide smoothly from one genre to another. A soulful vocal interlude showcases Macfarlane’s warm Scottish voice reminiscing, before King takes up the melody on electric guitar and new keyboardist Alan Hearton lays down a brief but sinuous synth solo. The band then develop the theme more powerfully with King (and maybe Mitchell, it’s not always clear) leading the band into heavier territory, backed by Webb’s Hammond B3. A synth and piano interlude with vague echoes of Supertramp subtly curves us in a new direction.

“I Remember you, Always too far off, Sepia and White,
I Remember you, Holes in my Memory, Am I wrong or right?”

The music swirls and recedes like a dream or distant memory, so perfectly conveying what the band describe as ‘the liminal space between a fading “what was” and an anticipated “what is to come”‘. This evocative musical photograph ends with a wall of sound and chiming guitars powerfully recapitulating and building on the earlier memorable motif. Denis Smith is worthy of special mention here for a couple of reasons – his drumming swings with aplomb between funk, pastoral, rock, prog and almost ambient styles, and it’s always right on the nail and perfectly suited to the mood. Additionally, sonically, Sepia and White is a particular triumph for Smith’s pristine and sensitive production skills. The love he has for this music shines out with the skill and care he has applied to this wonderful song, and indeed the whole album. There have been a few great songs already in a good year (for music at least!) but this is my song of the year so far, and I am doubtful it will be surpassed.

After such multi-faceted drama this beautifully judged album ends the journey with an appropriately atmospheric closing number in The Light Shines Out. Signy Jakobsdottir provides subtle congas and percussion whilst David King switches to keyboards and drum programming to show his versatility. This also gives Denis Smith the opportunity to move off the drums and come to the fore with a smouldering and delicate lead vocal, with more than a hint of fellow Scot Paul Buchanan of The Blue Nile (another GOOD thing!). Marc Papaghin on French horn and Stevie Lawrence with some elegiac low whistle add to the idiosyncratic, other worldly but warm quality of this piece. The song and album seemingly fade away with Smith wistfully intoning the chorus, before a curious Peter Gabriel-esque subtle ’80s funk rhythm inserts itself as the unexpected but very cool coda.

Abel Ganz have had a strange and intermittent career, starting out as a neo-prog band in the early 1980s (featuring Alan Reed, later of Pallas and solo) followed by long periods of inactivity. However, with their Shooting Albatross album in 2008 and much more prominently with their two most recent releases, Abel Ganz have completely reinvented themselves. They have also managed to somehow capture musical lightning, as it has most certainly struck again, at least matching and possibly surpassing their last brilliant album. They ignore the usual cliched ‘Prog’ tropes and styles, indeed, they seem unrestrained by any boundaries or rules of instrumentation or styles they are willing to fashion and mould into their unique brand of music – it certainly ain’t ‘Prog’! But it is expansive, imaginative, intuitive, emotional and utterly captivating.

The Life of the Honey Bee and Other Moments of Clarity will definitely deserve to be regarded as one of the best albums of 2020. It seems clear that its themes are deeply rooted in personal experience for the band… and yet they have also created a piece of work which has great power to resonate emotionally with all those who hear it.

I have no qualms in saying that The Life of the Honey Bee and Other Moments of Clarity certainly touched my heart, and at the same time it compelled me to smile… and don’t we all need something like that right now?

“Oh The Light Shines Out, Oh The Light Shines out,
It’s Gonna be Alright”

01. The Life of the Honey Bee and Other Moments of Clarity (12:38)
02. One Small Soul (5:52)
03. Aaran Shores (2:40)
04. Summerlong (5:22)
05. Sepia and White (13:31)
06. The Light Shines Out (6:17)
~ Bonus Track:
07. One Small Soul (Radio Edit) (3:58)

Mick Macfarlane – Lead Vocals, Acoustic & Electric Guitars, Bouzouki (track 1)
Dennis Smith – Drums, Lead Vocal (track 6)
Alan Hearton – Grand Piano, Minimoog String Synthesizer, Moog Synthesiser, Vibraphone, Additional Keyboards
Jack Webb – Pianos, Hammond B3 Organ, Electric Piano, Yamaha C3 Grand Piano, Synth Keyboards
David King – Acoustic & Electric Guitars, Lead Guitar (track 2), Drum Programming (track 6), Keyboards (track 6), Additional Keyboards
Stephen Donnelly – Bass Guitars, Double Bass (track 2), Acoustic Double Bass (track 5)
Davie Mitchell – Electric Guitars (tracks 1 & 5), Nashville Acoustic Guitar (track 1), Lead Guitar (track 1)
~ With:
Alex Paclin – Chromatic Harmonica (track 1)
Snake Davis – Saxophone (track 1)
Fiona Cuthill – Fiddles & Recorders (track 1)
Emily Smith – Vocals (track 2)
Frank Van Essen – Strings & Arrangement (track 4)
Marc Papaghin – French Horn (track 6)
Stevie Lawrence – Low Whistle (track 6)
Signy Jakobsdottir – Congas & Percussion (track 6)

Record Label: Abel Records
Country of Origin: Scotland
Date of Release: 6th July 2020

Abel Ganz – Website | Facebook | Bandcamp

– Gratuitous Flash (1984)
– Gullibles Travels (1985)
– The Dangers of Strangers (1988)
– The Deafening Silence (1994)
– Shooting Albatross (2008)
– The Dangers of Strangers (20th Anniversary Remaster) (2008)
– Abel Ganz (2014)
– The Life of the Honey Bee and Other Moments of Clarity (2020)

Before Dead Bob, before Sandford Hospital Radio, before background music, before jingles, there was just music. Remastered, albeit from the already heavily compressed mp3 version (the .wav masters have long gone), we present for you, warts and all, the second ever NTAPS, featuring:


Twombley Burwash – Cabaret Night

John Bassett – Break the Wall

ASIWYFA – Lifeproof

Cardiacs – Fairy Mary Mag

Chris Squire – You By My Side

Magic Pie – The Silent Giant

Mogwai – Batcat

The Flower Kings – A King’s Prayer

The Aristocrats – Waves (live)

It Bites – Vampires

A.C.T – The End

Edition 217 of THE PROG MILL for Progzilla Radio (437 in total), first broadcast 5 July 2020, is now also available to stream on demand or download as a mp3 file. Another two hours of superb melodic and symphonic progressive rock, including a chance to test your knowledge of the genre in our fun quick fire quiz ‘How Proggy Are You’ and the latest review from The Progressive Aspect website which this week looks at the new album from Dutch proggers Golden Caves.

Here’s This Week’s Playlist

The playlist for last night’s PROG MILL (edition 217 for Progzilla Radio and 437 in total), first broadcast Sunday 5 July 2020, was:

1 The Ryszard Kramarski Project – Snow Queen’s Palace (Kay and Gerda)
2 AA Williams – All I Asked For (Was To End It All) (Forever Blue)
3 Abel Ganz – One Small Soul (The Life of the Honey Bee and Other Moments of Clarity)
4 Khem Kharan – Language of the Heart (Language of the Heart)
5 Polis – Sein 1 (Sein)
6 Cristiano Varisco – Lagrima (Aline)
7 Morpheus Project – Mozaick (Single)
8 Man-Akin – The Rift (Single)
9 Golden Caves – Hide & Seek (Dysergy)
10 Amanda Kim Sanderson – Time and Tide (Time and Tide)
11 Yes – And You and I (Close to the Edge Delux Version 2013)
12 Grannie – Coloured Armageddon (Grannie)
13 Steve Hackett – On Golden Wings (At The Edge of Light)

You can hear The Prog Mill on Progzilla Radio at these times every week ( – via the tune in and other internet radio apps and platforms – or ask your smart speaker to “Play Radio Progzilla on Tune-In”) :

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

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

NEXT WEEK – Another Prog Mill CD Giveaway! You can win the superb new album ‘Red’ by Dartmoor proggers Gravity Machine.

A true Blast From The Past and a Lockdown exclusive. Join Brian and special guests Billy Connolly, Liam Gallagher, George Osbourne and Mike Whitfield for the very first NTAPS. Featuring:


It Bites – Plastic Dreamer

Cardiacs – Jitterbug Junior Is A

Moon Safari – Moonwalk (live)

Haken – 1985

Cheeto’s Magazine – Naughty Boy

The Tangent – San Francisco

Genesis – Firth of Fifth (live)



This news story was originally published here:

Swedish multi-instrumentalist Rikard Sjöblom recently announced his new album under the Gungfly moniker, ‘Alone Together’. Set for release on the 4th September 2020, it follows an extremely productive past few years, whether it be working with English progressive rockers Big Big Train, or taking the lead with Gungfly. 

Today sees the launch of the first single ‘Happy Somewhere In Between’ and you can watch the video here: 

Rikard comments: “I wanted to write an upbeat prog-rocker about a subject I was reading about, and got intrigued by: the dynamics in a relationship – how one person can be needy and the other one avoidant. These personality traits sometimes attract each other but then things get problematic when one needs a lot of attention and the other one tends to feel trapped by it. It’s also about mixing things up in general and pretty much a fun song about serious stuff.

‘Alone Together’ will be available as a Limited CD Digipak (with 2 bonus tracks), Gatefold LP + CD & as Digital Album. Pre-order now here: 

Rikard comments: “I started writing these songs about a year ago but then it took some time to get started with the production because I had two tours lined up, one with Big Big Train in November and then opening solo for The Flower Kings on their European tour in December. After that my focus shifted back to Gungfly and it felt really nice so it all came together pretty fast!

‘Alone Together’ saw Gungfly recording as a trio, with brothers and previous collaborators Petter and Rasmus Diamant on drums and bass respectively. “It was a lot of fun playing both keyboards and guitar because I had come up with a lot of nice parts but I knew early on that I wanted to make the album with the brothers on drums and bass – luckily they were very up for it!” This ‘power-trio’ have focussed on the rock this time, and you can hear that loud and clear: “I didn’t want to smother the production with layers upon layers of keyboards and bells and whistles but instead tried to keep it prog rock with the focus on ROCK. I wanted every instrument to mean something in the mix.” This is evident on tracks like ‘Happy Somewhere In Between’ and the 13-minute epic ‘Traveler’, where Gungfly have never hit harder.

The album cover features a painting by American artist Kevin Sloan (The Flower Kings). Rikard comments of the piece: “I had just written lyrics for the song ‘From Afar’ and was looking at Kevin’s paintings when I came across this one and I couldn’t believe the connection, particularly the lyric “A million eyes watching glimpses of each other’s lives””.

The full track-listing for the album is as follows:
1. Traveler
2. Happy Somewhere In Between
3. Clean as a Whistle
4. Alone Together
5. From Afar
6. On The Shoulders Of Giants
7. Grove Thoughts (Bonus Track)
8. Shoulder Variations (Bonus Track)

The band will come to the UK for 3 select live dates in October 2021. The band will play London & Manchester, co-headlining alongside the Robin Armstrong-led Cosmograf, before continuing on to Summer’s End Festival.

The dates are as follows and are on sale now:
Friday 1st October – Dingwalls, London
Saturday 2nd October – Academy 3, Manchester
Sunday 3rd October – Summer’s End Festival, Chepstow

Rikard Sjöblom is perhaps best known as the multi-instrumentalist frontman of Beardfish, who established themselves as one of the most consistently brilliant modern-day progressive rock bands over the course of eight studio albums. In recent years, he has also become known for his work with English progressive collective Big Big Train, playing live with them as well as performing on their recent studio albums.

GUNGFLY online:


This news story was originally published here:

Lonely Robot, the project masterminded by producer, guitarist and singer/songwriter 
John Mitchell (Kino, Frost*, Arena, It Bites), are set to release their fourth album ‘Feelings Are Good’ on the 17thJuly 2020. Now, a second track from this record has been released featuring an impressive video by Miles Skarin of Crystal Spotlight:

John Mitchell has the following to say about this song: “’Spiders’ is a song about a woman, nay wolf in sheep’s clothing, who chose a path of greed and wretchedness and exploited her position of trust at a time of weakness when she COULD have done the exact opposite. Long since gone but never forgotten for all the wrong reasons.”

‘Feelings Are Good’ marks sort of a fresh start following the conclusion of the ‘The Astronaut Trilogy’ as John explains: “‘Feelings Are Good’ is a bit of a departure from the first three Lonely Robot albums. On ‘Feelings Are Good’, I wanted to explore more personal themes and the songs are very much about individual experiences and narratives that I believe had been the cornerstones, good and bad, to my life. The long tall and short of it is that we’re back on planet Earth, and I have a personal lyrical axe to grind!”

‘Feelings Are Good’ is now available for pre-order and will be released as a Limited Edition CD Digipak, Gatefold 2LP+CD and as Digital Album in both 16 & 24 bit versions (all including 2 bonus tracks). Pre-order the album from a variety of partners here:

Lonely Robot will hit the road in December 2020 for some select headline dates, and you can find a list of those below:
Dec 13th Islington Assembly Hall, London, UK
Dec 16th Riff, Bochum, GER
Dec 17th Das Rind, Rüsselsheim, GER
Dec 18th Muziekgieterij, Maastricht, NL
Dec 20th De Boerderij, Zoetermeer, NL

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



This news story was originally published here:

Vinyl re-releases for “Coal” and “The Congregation” out now!

Announce two special live-appearances in Oslo!

Norwegian Rock outfit LEPROUS continue to promote their newest and much acclaimed album “Pitfalls”, released last October worldwide via InsideOutMusic.

LEPROUS are now launching a special live video for the epic final song on the album, “The Sly Is Red”.

The clip created by João Filipe and Creative Productions was recorded on March 1st, 2020 in Lisbon, Portugal, coincidentally the last show of the latest European tour by LEPROUS, but also the very last regular live-show before the current general halt of live-activities.

Check out the clip here:

Having recently performed a successful online streaming concert, LEPROUS are now pleased to return to stages next week, July 10th, 2020 at Sentralen in Oslo, Norway for two very specials live-shows with different setlists.
Check here for more details:
Or here:

In other news, today marks the release for the much overdue LEPROUS vinyl re-issues of their early albums “Coal” (2013) and “The Congregation” (2015) via InsideOutMusic.

Both albums were originally mixed by Jens Bogren as well mastered by Tony Lindgren at Fascination Street Studios (Opeth, Devin Townsend, Katatonia) and are now again available as Gatefold 2LP on 180g. vinyl + CD including bonus track/s in the following standard black and limited coloured editions:

LEPROUS – “Coal” 2LP + CD:
Black vinyl – Unlimited
Lilac vinyl – 200x copies (Via CM Distro Europe)
Mint vinyl – 400x copies (Via CM Distro Europe and USA Webshop)
Transparent Magenta – 200x copies (Via band & O-Merch Webshop)

LEPROUS – “The Congregation” 2LP + CD:
Black vinyl – Unlimited
Dark Green vinyl – 200x copies (Via CM Distro Europe)
White vinyl – 400x copies (Via CM Distro Europe and USA Webshop)
Transparent Sun Yellow – 200x copies (Via band & O-Merch Webshop)

Get these re-issues from the IOM shop here: