This news story was originally published here:

For three years, Roman Spektor has been working on his debut album, Functionality. It was released at the end of April and is Roman’s first release since the three track Moss EP released in January 2016. That EP showed the willingness for Spektor to experiment with quite different sounds and styles, but didn’t really work for me. There was definite promise, but much of it sounded forced and unnatural and didn’t sit well with me. I found the first track to be almost hard to listen to, and not particularly enjoyable. The title track was far more to my liking, and the final track quite nice, even when it explodes towards the end. As Meatloaf once sang, “two out of three ain’t bad”, so I made a mental note to remember Spektor’s name, should I ever see it again. So when I came across Functionality this year, my first thoughts were to wonder which of the three songs from Moss it might sound most like. The answer is none of them – or, perhaps it is actually that first track, which didn’t gel with me years ago. But everything not quite right with Calm Waters is made right with Functionality.

The opening track, Checkbox, bursts into being with a sound immediately reminiscent for me of bands Chris Pitman has had a hand in, particularly SexTapes for whom he was the frontman. Pitman is perhaps unfortunately best known for being one of the longest serving members of Guns N’ Roses, but he’s an incredibly talented multi-instrumentalist, engineer and producer that has lent his talents in one capacity or another to Tool, Failure, Lusk, Replicants and Zaum, among others. This is an electro-industrial-grunge banger, heightened by Roman Spektor’s suitably grungy and glitchy vocals. This is like some glorious mix of Failure, Nine Inch Nails, Alice in Chains and Portishead.

Roman Spektor began his musical journey with hip hop, making his own beats, and those roots have clearly never left him, lending this album hints of hip-hop and trip-hop throughout, adding variation and interest to an already intriguing eclecticism. The trip hop may be in the background on Checkbox, but it’s far more overt in the following Thank You Father. And yet, there’s a distinct neo prog vibe to this track too. So, alternative trip-hop neo prog? Do you know what, I’m really not bothered if I can’t pin this music down to any particular genre. Roman Spektor delights in not only effortlessly switching between styles throughout the album, but overlapping them within a song. That the whole still sounds so cohesive and coherent is quite a feat.

Look For… continues the trip hop vibe, and also features guest vocalist Didi S.B.. Her vocals are truly beautiful and bring an extra dimension to the song. This impact is heightened by the vocals not being immediately introduced, the ‘beauty and the beast’ harmonies particularly effective. Binary, which follows, sounds like it belongs in a soundtrack, and reminds me a lot of another trip-hop infused album from this year, Romsam Malpica’s The Wolf and the Skull (as The Folsom Project). It segues into the title track, which initially sounds equally cinematic, until the chorus hits.

Although I actually very much like Functionality (the song), it does show the only real negative for me with Functionality (the album). The dynamic range just doesn’t seem great enough, the whole album sounds remarkably “even” (for lack of a better word). The title track ought to leap from its quiet moments to its roars with far greater effect and impact. There are several other songs where I feel the dynamics could be improved upon, including the following Tiny Virtual Mouths, which is minimalist and delicate – but not quiet enough. Ultimately, however, none of this really spoils the enjoyment that the album gives. There is more than enough promise to assume that future albums from Spektor will definitely be worth looking out for!

Passivity brings back the neo prog vibe, albeit underlaid with some nifty hip-hop beats. Selling Doors follows, sounding more reminiscent of Kid A-era Radiohead, with a vibrant jazzy syncopated beat. The saxophone of guest musician Gali Spektor is as welcome and enjoyable here as it was in the title track. The instrumentation is stark and dark, and Spektor’s vocals echo this, sounding almost desperate. Spektor’s vocals work very well in this way throughout the album, adding tone and timbre to the songs that heightens tension, or drives them forward. It seems everything has been meticulously planned so that everything fits in its place, and nothing is there if it does not serve the purpose of the song. Whether acoustic and organic, or electronic and manufactured, the instrumentation and percussion, along with the vocals all feel entirely natural. Nothing is out of place. It all belongs. Again, and I hate to belabour the point, the only thing that doesn’t feel quite right at times is the dynamics.

While I have been reminded of Ulver several times already, it is only with Docks that I really get that vibe – and yet, the music is still so different from anything Ulver has done that I would not even be confident to suggest that Ulver might have been an influence. (To use that band as an example, they reportedly had not heard any Depeche Mode before recording their Julius Caesar album. Influences are often inferred, rather than implied.) The thing is, Roman Spektor makes so many jumps in style and sound between songs, let alone within them, that of the many bands I might be reminded of, he might be influenced by any of them, or none of them. He’s managed to create a quite unique sound, that can’t really be mistaken for anyone else, no matter who it might remind me of.

And saying that, the album ends reminding me once more of Chris Pitman, though not in such bombastic fashion. If Checkbox reminds me of Sextapes, then Cut the Cool Air reminds me of Lusk. It’s a gorgeous final track, which ends the album leaving me wanting more. The songwriting, performance, production and mixing on the album is all by Roman Spektor, so hopefully he won’t take my feelings about the dynamics of the album to heart. It really is my own criticism about the album, and it’s not a big one. I gain a lot of enjoyment from listening to this debut album from Spektor, and am still listening to it a lot. Roman Spektor’s bio states that with Functionality’s “unusual soundscapes, and undeniably catchy melodies, it is the perfect introduction to the adventurous artist’s world.” I can’t disagree, and I can’t wait to hear what comes next.

01. Checkbox (3:04)
02. Thank You Father (6:27)
03. Look For… (3:08)
04. Binary (3:01)
05. Functionality (5:03)
06. Tiny Virtual Mouths (3:33)
07. Passivity (5:03)
08. Selling Doors (3:31)
09. Docks (3:43)
10. Cut The Cool Air (4:00)

Total Time – 40:31

Roman Spektor – Vocals, Guitar, Bass, Electronic Drums, Percussion, Programming, Production & Mixing
Gail Spektor – Alto Saxophone (tracks 5 & 8)
Didi S.B. – Additional Vocals (track 3)

Record Label – Independent
Country of Origin – Israel
Date of Release – 20th April 2020

Roman Spektor – Facebook | Bandcamp | YouTube

Edition 232 of Steve Blease’s Heavy Elements is now available as a podcast.


Redemption – The Suffocating Silence
Ignea – Queen Dies
Katatonia – Heart Set to Divide
Late – Paths
Conception – Anybody Out There

That Was The Year That Prog: 1998
Threshold – Freaks
Devin Townsend – Life Is All Dynamics
Shadow Gallery – Out Of Nowhere
Meshuggah – New Millennium Cyanide Christ
Pain of Salvation – Beyond The Mirror

Epic at 11: Inner Odyssey – Dehumanize Me

The Contortionist – Clairvoyant
Aspic – The Event Horizon

Album of the Week: Opeth – Ghost Reveries
Ghost Of Perdition
Isolation Years
The Grand Conjuration

Dream Theater – New Millennium

This news story was originally published here:

Be-Bop Deluxe nearly passed me by during their brief but brightly burning four year existence between 1974 and 1978. It was only on borrowing their Hot Valves EP from a school friend in 1976 or ’77 that I became aware of William Nelson’s Yorkshire sci-fi guitar shenanigans. I became an instant fan, and as soon as I could afford it I bought Sunburst Finish, purely on the strength of its striking cover art. I was a sixth-form schoolboy, after all. One of my gig regrets is never getting to see Be-Bop, although I did get to see Red Noise, a short-lived stopgap between Be-Bop and Bill’s ultra-productive solo career. I bought all the albums, of course!

The first of those albums, and actually the last one I bought, sometime in the early ’90s, was Axe Victim, which has always suffered by being seen as, and perhaps rightly, a sub-Ziggy record made at least two years too late to catch the glam-sophisticate wave it seemed desperate to surf, right down to the band donning “brickies-go-glam” on the inside cover. Bill Nelson, with his eyeshadow and coiffured barnet stood out even then as he seemed to carry it naturally.

One of the four tracks on the borrowed EP was the very Bowie Jet Silver & the Dolls of Venus, the third track on the album, which is a very close pastoral cousin to Ziggy, sort of his countrified mate, replete with a marvellously Mick Ronson-with-knobs-on solo from the precociously talented Mr. Nelson, and indicative of the BIG Bowie fixation apparent throughout this album. The Bowie-glam idolatry doesn’t get any more obvious than on the preceding song Love is Swift Arrows, right down to the flowery language of the lyrics. There were far worse things to be in thrall to in 1974, a year when mind-numbing bombast was definitely getting the better of the increasingly remote and unwieldy top bands of the day, and not just of the progressive rock variety, so a collection of relatively succinct numbers from a bunch of Yorkshiremen in thrall to the then already defunct Zig and his Spiders was no bad thing at all. What sets Be-Bop’s debut apart from being mere plagiarism is Bill’s bewilderingly technical and dazzling melodic guitar playing, that comes bursting out of the traps on the opening title track, the song bareback riding flurries of scorching fretwork, from a guy who was soon heralded as “Yorkshire’s first guitar hero”, according to the blurb on the back cover of The Be-Bop Deluxe Singles’ As & Bs album. Mick Ronson might have had something to say about that!

Back in the beginning, the recently formed Be-Bop Deluxe, or more accurately, Bill Nelson came to the attention of EMI, thanks to his solo album Northern Dream getting a complete play-through by the inestimably influential and always and forever much missed John Peel, a Radio 1 DJ whom many of us between the ages of 50 and 70 can thank for steering our musical tastes away from the stiflingly predictable. A rather drawn out process by the label to sign the young band ensued, with Bill insisting it was the band, not the label-preferred Bill Nelson as a solo artist that was up for grabs. The process was helped along by a debut Peel session for the band in 1973, who eventually put pen to paper. Two of the songs featured on that session never appeared officially at the time, and now get an airing on this three disc set.

It is easy to overlook Bill’s talent as a lyricist, which when you get past the aforementioned somewhat and possibly deliberately derivative Love is Swift Arrows show early signs of promise on the album. This from the title track is but one example of Bill’s poetic inclinations:

Please be careful
I’m an axe victim
Hung up on these silver strings
Like sails
Like seagulls’ cries
Like church bells in the night

Bill’s lifelong love of French cultural polymath Jean Cocteau is also present and correct, the original gatefold quoting from the man.

Listening to the original LP against the new stereo mix version is something of a revelation. While the remix does it full justice, and increases the sonic range, the original production, right down to the expansive openness of Darkness (L’Immoraliste), which included Andrew Powell’s tasteful orchestral arrangement, has a remarkable clarity, unusual for the era. The producer’s chair was filled by one Ian McLintock, not a name I’m familiar with. As Bill says in the 28-page booklet accompanying this reissue, Ian had “personal issues”, and was sometimes “… ‘absent’, while still being in the room”, which might explain why I have not come across the name before. The sound must have mostly been down to the engineers, who included John Leckie, who in a long career would go on to produce many albums, including Be-Bop’s subsequent releases.

One of the highlights of the record is Adventures in a Yorkshire Landscape, which became a live set staple. Here it is a mere three and half minutes long, but later live versions often stretched out to ten minutes, the defining version on Live in the Air Age coming home at a smidgeon under nine minutes. Here, this balladic showcase for Bill’s guitar pyrotechnics doesn’t miss a trick, and the band, as it is on the whole album, is as tight as a gnat’s chuff. Given their inexperience, and compared to Bill, their limitations, Be-Bop Deluxe Mk1 is a remarkable group to hear in action. Despite this, EMI always had reservations about the musical abilities of Bill’s backing musicians, which Bill finally concurred with, and this line-up only lasted for this one album.

As is often the case with debut albums, the songs recorded were already well seasoned by the time the record came out, and Bill was already moving on from the proto-glam image portrayed on the album artwork, and in some of the music therein. A lot of the second album, Futurama, was written on an upright piano, rather than the electric guitar that most of Axe Victim was borne of. One exception on Axe Victim was Darkness (L’Immoraliste), also written on the piano, and featuring a small orchestra, and an exception to the overt rockisms of the rest of the album. Its ambition is indicative of what was to come.

We’ll leave Bill with the final words: “So, Axe Victim is one brief snapshot of a band becoming something else… a modest beginning, flawed, but not without charm.”

As well as the new stereo mix, the real draw for Be-Bop fans here is the DVD with its 5.1 surround mix, and extras. I can’t tell you anything about that as I’m working from a download, but I look forward to hearing it, oh yes!

CD One: Axe Victim (Remastered)

01. Axe Victim
02. Love is Swift Arrows
03. Jet Silver and the Dolls of Venus
04. Third Floor Heaven
05. Night Creatures
06. Rocket Cathedrals
07. Adventures in a Yorkshire Landscape
08. Jets At Dawn
09. No Trains to Heaven
10. Darkness (L’Immoraliste)
~ Bonus tracks:
11. Teenage Archangel (1973 Single)
12. Jets At Dawn (1973 Single Version)
13. No Trains to Heaven (First Mix) (Previously Unreleased)
14. Axe Victim (Album Version – First Mix) (Previously Unreleased)

CD Two: Axe Victim (New Stereo Mix)
01. Axe Victim
02. Love is Swift Arrows
03. Jet Silver and the Dolls of Venus
04. Third Floor Heaven
05. Night Creatures
06. Rocket Cathedrals
07. Adventures in a Yorkshire Landscape
08. Jets At Dawn
09. No Trains to Heaven
10. Darkness (L’Immoraliste)
~ Bonus tracks:
11. Axe Victim (First Version) (Previously Unreleased)
12. Night Creatures (Spoken Word Version) (Previously Unreleased)
13. Rocket Cathedrals (First Version) (Previously Unreleased)

CD Three:
~ BBC Radio One ‘John Peel Show’ Session 6th November 1973

01. Axe Victim (Previously Unreleased)
02. Bluesy Ruby (Previously Unreleased)
03. Tomorrow the World (Previously Unreleased)
~ The Decca Session – 13th December 1973
04. Axe Victim (Previously Unreleased)
05. I’ll Be Your Vampire (Previously Unreleased)
06. Adventures in a Yorkshire Landscape (Previously Unreleased)
07. Bluesy Ruby (Previously Unreleased)
~ BBC Radio One ‘John Peel Show’ Session 9th May 1974
08. Third Floor Heaven
09. Mill Street Junction
10. 15th Of July (Invisibles)
11. Adventures in a Yorkshire Landscape

DVD: New 5.1 Surround Sound Mix | 96 kHz – 24-Bit Stereo | 96 kHz – 24-Bit Original Stereo ~ Mixes
01. Axe Victim
02. Love is Swift Arrows
03. Jet Silver & The Dolls of Venus
04. Third Floor Heaven
05. Night Creatures
06. Rocket Cathedrals
07. Adventures in a Yorkshire Landscape
08. Jets At Dawn (Full Version)
09. No Trains to Heaven
10. Darkness (L’immoraliste)
~ Bonus tracks:
11. Axe Victim (First Version) (Previously Unreleased)
12. Night Creatures (Spoken Word Version) (Previously Unreleased)
13. Rocket Cathedrals (First Version) (Previously Unreleased)

William Nelson – Lead & Acoustic Guitar, Lead Vocals, Grand Piano
Ian Parkin – Rhythm & Acoustic Guitar, Organ (Rocket Cathedrals)
Robert Bryan – Bass, Vocals, Lead Vocal (Rocket Cathedrals)
Nicholas Chatteron-Drew – Drums, Percussion

Record Label: Cherry Red Records
Catalogue#: PECLEC42715
Country of Origin: U.K.
Date of Release: 17th July 2020

Be-Bop Deluxe – Facebook
Bill Nelson – Website | Facebook

Addendum: If Julian Dowling reads this, I still have your Hot Valves EP, sorry!

Edition 239 of Sounds That Can Be Made is now available as a podcast!


Marillion – Easter (live) (from All One Tonight)
Transatlantic – Suite Charlotte Pike Medley (live) (from Live in Europe)
Porucpine Tree – Anesthetize (live) (from Anesthetize)
IQ – The Seventh House (live) (from Scrape Across The Sky)
Arena – Moviedrome (live) (from Breakfast in Biarritz)
Dream Theater – Octavarium (live) (from Score – 20th Anniversary World Tour)
Frost* – Milliontown (live) (from The Philadelphia Experiment)

#progzillaradio #stcbm

This news story was originally published here:

For lovers of the weird and wonderful, the late Edgar Froese of Tangerine Dream, who produced some wonderful atmospheric albums; my first being Aqua, my mother’s interpretation being something along the lines of “Can you shut that bloody racket up!?” Personally, I enjoyed the mix of ambient, natural and industrial sounds, through headphones or a decent stereo, and sometimes in quad.

Dalinetopia was released in 2004 and is here re-issued by Cherry Red Records, on the Esoteric Recordings label, exponents of many good re-releases.

Now back in 2004, Edgar wrote of this release that the music he had written reflected upon Dali the man rather than Dali the artist, often quoted by others who reviewed this album on its original release as slightly pretentious. Froese knew and had worked with Dali, so may have retorted a la Miss Piggy: “Pretentious? Moi?”

For those of you that remember Aqua and maybe Stuntman, this is not it. Composed in his home studio, it rarely ventures into those experimental areas, or even the stylings of mother group Tangerine Dream. But it does have its moments, some of beauty, some of wonder, and the best way to listen is in an environment with full stereo separation. There you will find the nuances that are not apparent on the old tin box or in car entertainment.

Then there is the secondary aspect, Froese’s interpretation of Dali the man. I like the tunes, even the slightest is a welcome diversion, but as a representation of character or aspects thereof, I just do not get it. What I get is music that, produced in 2004, I would say has been potentially influential now. I hear aspects of it, and even stylings in the works of modern electronic progressive music, such as Anathema.

What stands out in a list of Daliesque titles? Daleroshima opens well, insistent drum machine, repetitive keyboards and, to be honest, of its time. Slight oriental tinges but tiresome towards the end. Dalozopata is Japan-like, but the band rather than country, Sylvian/Sakamoto. I like this stuff, but my expectations meet at a plateau rather than ascend to great heights.

Dalerotica has a driving beat, pleasant background, it excels but does not accelerate. No chance of leaving the comfy chair, quite pedestrian really. Daluminacian next, strident, spacial, probably my most played track, and in a darkened studio, the music fills the air.

Dalaluna is a foot tapper and it is hard not to get up and boogie. Possibly overly long, but more excitement than most, and influential. Dalysisiphus is a more than diverting piece, probably the closest in terms to full-blown Tangerine Dream, and soundwise I think the richest in tones, but even then I don’t feel the need to spout endless drivel in an attempt to make you part with your pennies. Similar sounds are available from Public Service Broadcasting, and I have to say the narrative they would provide is more interesting. Last of the D’s, Dalinetopia concludes the album, lush but not overly, seeing us out.

Would I return? At the right time, just not now. One for the completists, lovely reference material but fails to excite.

Edgar Froese plays all, as a legacy. It is a fine piece, buy it. Thanks to Cherry Red/Esoteric for releasing.

01. Daleroshima (6:47)
02. Dalozapata (5:19)
03. Dalamuerte (5:26)
04. Dalerotica (6:57)
05. Dalesquador (5:57)
06. Dalumination (9:24)
07. Dalagalor (6:54)
08. Dalaluna (7:14)
09. Dalysisiphus (7:48)
10. Dalinetopia (7:48)

Total Time – 69:33

Edgar Froese – All Instrumentation

Record Label: Esoteric Reactive | Cherry Red Records
Catalogue#: EREACD1040
Date of Release: 24th January 2020

Edgar Froese – Website | Info at Cherry Red Records

Blue Öyster Cult – Then Came The Last Days of May (live)

jhimm – Static

Glass Hammer – The Dreaming City

Phideaux – Thank You For The Evil

Quill – 2nd Movement

I and Thou – Speak

TOTO – High Price of Hate

Mike Keneally & Beer For Dolphins – We’ll Be Right Back

Little Atlas – Illusion of Control

Neal Morse Band – The Great Despair (live)

BigElf – The Professor & The Madman

Discipline – Peacemaker

Mystery – Heaven Can Wait

Mystery Jets – Hospital Radio

Fatal Fusion – Astral Flight

Ars Nova – Demon’s Forest 

Fatal Fusion – Broken Man

Sky Architect – Deep Chasm

Nick Beggs – The Night Porter

The Clash – London Calling (live)

Combination Head – Devonshire Crescent

Peter Gabriel – More Than This (Polyphonic Spree Mix)

Franz Ferdinand – Michael

Leap Day – March Under the Symbol 

Yes – It Can Happen (Cinema Version)

Unitopia – Still Here 

Marillion – Number One

Galleon – The Price

Iron Maiden – Phantom of the Opera

Genesis – In The Cage medley (live)

Porcupine Tree – Hatesong

XTC – Millions

Tangekanic – Doctor Livingstone (live)

Ronny Stilts – Little Cottage By The Sea (excerpt)

This news story was originally published here:

Swedish progressive rock instrumentalists GÖSTA BERLINGS SAGA are pleased to announce their upcoming sixth studio album entitled “Konkret Musik”, to be released worldwide on July 24th, 2020 by InsideOutMusic.

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, “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 music
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

GÖSTA BERLINGS SAGA checked in with the following comment about the new album: 
In the midst of these weird and complex times, we’re very glad to present new music. Our new album ‘Konkret Musik’ is probably the most varied GBS record to this date, with minimalism and total maximalism in unholy alliance. Can’t wait to share it with you!

The album’s first single “Basement Traps” is being released today and can be seen in a video clip directed by Martin Gustafsson here:

GÖSTA BERLINGS SAGA commented about the track and video as follows: “The first single off ‘Konkret Musik’ displays one of the many flavours of the new album. This minimalistic, rhythmic and synth-focused track and its naive melody lines, is released with surprisingly suitable timing. With a video paying tribute to the world’s medical expertise, and audio inspired by the legacy of Florian Schneider, “Basement Traps” feels like a relevant and safe place in these weird and turbulent times.

“Konkret Musik”, whose frontcover artwork can be seen above, 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 starting today here:

Most recently, GÖSTA BERLINGS SAGA have 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 (, for the individual tracks off “Artefacts – Live” via the InsideOutMusic YouTube channel, which can now be seen here:

GÖSTA BERLINGS SAGA – “Artefacts – Live”:
1. Veras tema 
2. The Shortcomings of Efficiency 
3. Square 5 
4. Artefacts
5. Capercaillie Lammergeyer Cassowary & Repeat 
6. Brus från stan
7. Fundament
8. Terra Nova 
9. Sersophane 

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

Stay tuned for more news on GBS and “Konkret Musik” soon…

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 17th July 2020. Now, the first track from this record has been released featuring visuals by Miles Skarin of Crystal Spotlight:

‘Feelings Are Good’ marks sort of a fresh start following the conclusion of the ‘The Astronaut Trilogy’. John comments: “‘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). The artwork is once again by Paul Tippett / Vitamin P (Black Star Riders, Frost*), and John says of the cover: “The artwork is meant to be a little disturbing. The closed eyes and taped over mouth are supposed to represent how people are very guarded with their emotions and what better way of emoting them than through the windows to the soul and the smile?

The full track-listing is as follows:
1. Feelings Are Good
2. Into The Lo-Fi
3. Spiders
4. Crystalline
5. Life Is A Sine Wave
6. Armour For My Heart
7. Suburbia
8. The Silent Life
9. Keeping People As Pets
10. Army Of One
11. Grief Is The Price Of Love
12. The Silent Life (Orchestral Version)
13. Crystalline (Orchestral Version)

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.