Sun Raven, the brainchild of Australian musician Stephen Murray, is a one-man project that has quietly been making waves in the instrumental music scene. With the release of Morphology, Sun Raven’s sophomore album, Murray has crafted an experimentation that showcases excellent musicianship channeled through multilayered compositions.
Morphology spans ten tracks and is a fully instrumental endeavor, which can often be a challenge for artists aiming to maintain engagement without the anchor of vocals. Yet Murray, whose primary instrument is the guitar, effortlessly sidesteps this pitfall by creating a rich work of sounds that combines both virtual and real instruments. The result is an album that feels dynamic and full-bodied, where the guitar plays a central role but never overshadows the broader musical palette.
From the opening moments, it’s clear that Morphology is an album that requires and deserves full immersion. This is not background music or something to be played passively. Murray’s compositions are filled with intricate twists and turns, but they never feel convoluted or complex for the sake of complexity. There is a natural flow to the music, a melodic clarity that invites the listener to follow along as the album unfolds its story. Tracks transition seamlessly from one to the next, with each song offering new layers of discovery upon repeated listens.
One of the standout aspects of Morphology is how well Murray balances technical skill with emotional depth. It’s easy for instrumental music, particularly guitar-driven albums, to veer into territory where technical prowess takes precedence over musicality. Yet Murray shows a masterful sense of restraint. The focus is on crafting cohesive, thoughtful compositions that serve the music as a whole. The guitar is prominent, but it’s part of a larger, interconnected web of sounds that include subtle textures, carefully layered rhythms, and moments of atmospheric stillness.
The album’s highlights are scattered throughout, but tracks like opening “Insurgence” and “Sanctuary” stand out for their ability to transport the listener. Murray has an intuitive grasp of how to build tension and release it at just the right moments, ensuring that the listener is constantly engaged.
In conclusion, fans of instrumental music, particularly those with an appreciation for progressive and experimental sounds, will find much to admire here.
Spanish post-rock one-man project Somos El Viento is gearing up for the release of their new album Mar Negro on October 25th. Filled to the brim with immersive instrumental landscapes, the album promises to deliver a deeply personal and introspective exploration. In this interview, Somos El Viento shares his thoughts on the making of Mar Negro, the challenges faced during the creative process, his influences, and his take on the ever-evolving post-rock scene.
You are scheduled to release an album with your project Somos El Viento entitled Mar Negro on October 25th. How do you feel about the release?
I’m excited but also calm. It’s been a long journey to get to this point, and it feels like a personal milestone. Mar Negrois an album that was created over time, through reflection, and sometimes challenging moments. Now that it’s ready, I feel at peace knowing that it’s out there for others to experience.
How much of a challenge was it to work on the album?
It was a significant challenge, not only from a musical standpoint but also emotionally. There were moments of doubt, but ultimately, those were the moments that shaped the album. One of the main sources of inspiration throughout the process was my two children. The birth of my second child was a key moment, adding a new layer of perspective and creativity, but balancing that with the demands of creating music was sometimes difficult. These personal experiences added depth to the music and gave me a new emotional lens through which to view the project.
Speaking of challenges, have you set any in the early phase of what has become the final result?
Yes, early on, I wanted to create an album that felt immersive and cinematic. I set the challenge for myself to express landscapes and emotions without relying on lyrics. This pushed me to explore different textures and moods within instrumental music. I wanted to create something that would resonate with the listener emotionally without being overtly narrative.
Tell me about the different instrumental aspects that you explore on these new songs.
The instrumental side of Mar Negro is very layered. I use guitars as the main driving force, but there are also synthesizers, ambient soundscapes, and subtle percussion elements. There’s a lot of experimentation with reverb, delay, and dynamics to create a feeling of space and depth. I was very conscious of creating tracks that evolve and breathe, mirroring the movements of the ocean, which was a key inspiration.
What is your opinion about the post-rock scene today?
The post-rock scene continues to evolve. There are bands pushing boundaries, but the genre is also welcoming a broader range of influences. What excites me most is seeing how the lines between post-rock and other genres are increasingly blurred. It feels like the community of listeners and musicians is more open to experimentation than ever before, which aligns perfectly with the kind of music I want to create.
Let me know about your influences — the artists that, in a way, shaped and continue to shape your music.
For Mar Negro, some of my main influences have been bands like Alcest, God Is An Astronaut, and Long Distance Calling. Their ability to create vast, atmospheric soundscapes with a balance of emotional intensity has deeply inspired me. These bands have a way of conveying powerful emotions through instrumental storytelling, something I strive for in my music. Their approach to blending genres and creating immersive experiences has left a lasting impact on me.
What are your top 5 records of all time?
This is always a tough question because it can change over time, but if I had to choose right now:
The Fragile – Nine Inch Nails
Ænima – Tool
Ghost Reveries – Opeth
Fear of a Blank Planet – Porcupine Tree
Lullabies to Paralyze – Queens of the Stone Age
Besides the release of Mar Negro, are there any other plans for the future?
Right now, I’m focusing on the release of Mar Negro. I’ve thought about bringing these songs to a live setting, but that’s still far off. It’s more of a consideration than a plan at this point. For now, I want to see how the album resonates with listeners before thinking about the next steps.
Pre-order Mar Negro from Bandcamp, and follow Somos El Viento on Instagram.
Stephen Murray, the creative force behind the Sun Raven project, has carved his own path in progressive metal by fusing a wide range of genres into immersive, complex instrumental works. Known for his ability to effortlessly weave together distinct musical influences, Murray continues to push boundaries with his interesting sound. With his second album Morphology, Murray takes listeners on a journey that stretches beyond progressive metal, weaving together elements of classic prog rock, ambient soundscapes, and modern heavy riffs. In this interview, Murray dives deep into the creative process behind Morphology, discussing everything from his musical influences and nature-inspired compositions to the evolution of his sound. He also shares insights on working as a one-man band, balancing technical proficiency with emotional depth, and how he stays true to his artistic vision.
Morphology takes listeners on a genre-spanning journey with elements from progressive metal and beyond. What was the driving force behind your vision for this album, and how did you go about blending such diverse musical styles?
I didn’t have a specific concept in mind when I began writing Morphology. I wanted it to follow a similar style to my first album Liberation, but with more classic prog rock elements. I also aimed for a grungier, less polished sound, while still maintaining a solid technical playing level. To achieve this, I used different guitars, amps, and effects, and kept takes that might not be perfect but have a certain vibe, playing slightly ahead or behind the beat, rather than always being perfectly in time.
You’ve mentioned you’re fascinated by the idea of one style of music morphing into another. How did you balance these transitions in Morphology without losing cohesiveness?
I’ve always listened to a wide variety of music. I used to make playlists where one track would be metal, followed by classical or jazz. Similarly, when I’m jamming on guitar or drums, I might go from a metal riff to something ambient, and then to something funky. When I write, I experiment with different styles and see what works. The real challenge is to ensure the transitions between genres are smooth and cohesive—unless the song calls for something intentionally jarring.
On Morphology, you’ve integrated classic prog rock elements with a modern sound. What challenges did you face in modernizing these traditional influences while staying true to your heavier, groove-driven metal roots?
I used Drop C and D standard tuning across the entire album. It’s low enough to sound heavy and modern, yet versatile enough to evoke that classic prog rock vibe. This tuning naturally guided the riffs and ideas, allowing them to develop in a way that lent itself to both classic and modern styles.
As an instrumental project, Sun Raven relies heavily on intricate guitar work and composition. How do you balance showcasing lead guitar parts while ensuring the overall composition remains the focal point of each track?
Though I consider myself a lead guitarist, I’ve reached a point where I don’t feel the need to constantly play fast, technical solos just for the sake of it. The riff, chord progression, harmony, melody, and groove always come first. If the song benefits from a technical solo, I’ll go for it, but more often than not, I opt for melodic leads and solos.
You’ve spoken about how your understanding of music theory has evolved over the years. How did this influence the writing and arrangement process for Morphology?
A deeper understanding of music theory definitely made the recording process faster and more efficient. I know the time signature of a riff and which scales fit over certain chord progressions. While you can rely entirely on your ear, knowing theory helps me get the sound I’m looking for much quicker.
A common theme in your music is avoiding predictability. How did you challenge yourself to create fresh and original riffs, melodies, and solos in a genre with so many established conventions?
For Morphology, I recorded most of the lead guitar parts on a Fender Strat with a fuzz pedal and various delay and modulation effects. This setup inspired a psychedelic rock tone for the leads, which I combined with heavier modern riffs. It helped me come up with different sounding melodies and solos that didn’t follow the typical formula.
Nature plays a key role in your creative process. Can you share how specific environments or moments in nature influenced particular tracks on Morphology?
I live near the Australian bush, and I often jam outside with acoustic guitar. There’s a bird here that makes a sixteenth-note triplet sound, and I jammed along to that rhythm. This led to the creation of the heavy riff in “Wolf.” It’s funny to think that such an intense riff came from a small bird!
Although Morphology is instrumental, it carries a deep emotional resonance. How do your life experiences and relationships influence the mood and energy of the music, even without lyrics?
Most of the music I listen to has lyrics, especially rock and metal. So, even when I write instrumental songs, I often have a lyrical melody in mind. Some tracks are inspired by fantasy stories I create, while others, like “Starr,” are about real people in my life who evoke certain moods or vibes in the music.
The progressive metal genre often embraces technical complexity. How do you strike a balance between technical proficiency and emotional resonance in Morphology?
When writing, I’m not focused on creating “progressive metal” per se. I’m more interested in writing a heavy, melodic song with cool riffs. If a time signature or tempo change feels right, I’ll include it to keep things interesting, but I don’t aim to impress anyone with speed or technique. I see myself more as a rock/metal artist with prog influences, rather than a pure prog metal artist.
For aspiring musicians, you’ve emphasized creating music for yourself rather than seeking external approval. How do you maintain that mindset in an industry where success often hinges on public reception?
In my early 20s, I studied jazz and tried hard to fit into that world, but it drained my passion for music. I took a break, and when I returned, I decided to focus on creating music for myself. Now, I only care about whether I’m happy with what I’ve created. The joy of making something new is the ultimate reward for me.
What was your creative process like when developing the album’s overall theme and structure? Did you have a specific narrative in mind, or did the songs come together organically through experimentation?
The songs came together organically. I wrote them in the order they appear on the album, which is something I hadn’t done before. Only the first two songs had names initially; the rest came after I finished writing and recording.
You’ve now released two albums under Sun Raven. How do you feel your sound has evolved between your debut and Morphology, and what key lessons did you carry from the first album into this one?
The first album had more progressive death metal influences. Morphology is more accessible to a broader audience, but still maintains those heavier elements. I’ve also learned more about the engineering side, and I think I did a better job with the production on the second album.
As a one-man band, you’re responsible for every aspect of the creative process. How do you stay motivated and focused when working solo, and what do you find most rewarding about having complete creative control?
When I started working on my first album, I was collaborating with a singer and bassist, but I ultimately felt the music worked better without vocals. Struggling to find like-minded musicians led me to take on everything myself, which I didn’t think I could do. Learning to program and play drums was the biggest challenge, but the freedom to explore any musical direction is the most rewarding part.
Are there any non-musical influences—books, films, or personal experiences—that played a significant role in shaping the themes or atmosphere of Morphology?
I’m a fan of thriller movies, and that suspenseful atmosphere likely influenced some tracks. Nature, both its beauty and danger, as well as societal and political issues, also inspire me. Standing up for what you believe in and challenging things that aren’t right are themes that resonate throughout my music.
Looking ahead, what are your aspirations for Sun Raven? Are there any new musical directions or projects you’re excited to explore in the future?
Since I don’t tour, I have plenty of time to create, and I’ve already started writing Sun Raven’s third album. I’m excited to keep pushing boundaries and exploring new musical directions.
Somos el Viento is a relatively new project coming Spain, set to release its debut album titled Mar Negro on October 25th, 2024.
As is the case with most instrumental albums, Mar Negro requires careful listening in order to be fully appreciated. It is definitely not the kind of stuff you can put on as a soundtrack for other activities – complex music, full of twists and turns, yet not unnecessarily complicated, or weird for weirdness’ sake. In fact, the music has a beautiful, natural flow, a clarity and melodic quality. Even though guitars make up a prominent part of the sound, they never get to the point of overwhelming the other instruments. As in most experimental music, however, the foundation of Somos el Viento’s sound lies in the rhythm section.
Head-spinningly complex without being cold and sterile as other efforts in a similar vein, Mar Negro can easily be listed as one of the top releases of the year. In fact, the sterling musicianship, coupled with an admirable sense of restraint, focuses on creating cohesive, highly listenable tracks rather than pointless displays of technical skill. However, it is also an album that will definitely not be everyone’s cup of tea. It may come across as daunting to those fans who prefer a higher measure of melody and accessibility, as well as a more conservative approach to post/progressive rock.
Brazilian guitarist and songwriter Rod Rodrigues returns with Tales of a Changing Life Part 2, the follow-up to his 2022 EP. Now based in Canada, Rodrigues explores the experimental realms of jazz fusion and progressive rock/metal, delivering a collection of seven tracks that showcase his musical evolution.
Rodrigues is a master of his craft, and this album is a testament to his exceptional musicianship. His guitar work is intricate and precise, while the drums, played with precision, often take the lead in guiding the songs through complex instrumental passages. One of the standout qualities of Tales of a Changing Life Part 2 is Rodrigues’ ability to maintain a strong melodic core amidst the experimental nature of the music, a challenge that he meets with ease.
A notable highlight of the album is the single “Inukshuk,” which features an all-star lineup including guitar virtuoso Angel Vivaldi, bassist Heitor Tenorio, keyboardist Orlan Charles, and renowned drummer John Macaluso, who has worked with ARK, Symphony X, and Yngwie Malmsteen. Speaking about this collaboration, Rodrigues shared his excitement: “It’s an immense pleasure and honor to work with such extraordinary talents. Collaborating with John Macaluso, one of my all-time favorite drummers, and Angel Vivaldi, an exceptional guitarist and individual, has been an incredible experience.”
The track “Inukshuk” stands out for its deep sense of dynamics and sonic depth. Macaluso’s snare hits with metallic precision, while Rodrigues’ guitar stretches across the stereo field, each note defined and clear. The keyboards, layered beneath the stratospheric guitar solos, add further dimension to the sound, while the bass grinds into the mix, grounding the composition. This track exemplifies the tight interplay between the musicians, all brought together under Rodrigues’ unique compositional vision.
The third track, “East Coast Memories,” exemplifies the album’s richness in high-resolution sound, offering an openness and lifelike transparency. The balance in this recording is striking, and while the album could be classified as fusion, its progressive elements extend far beyond that genre label. Rodrigues’ compositions tell stories, with each track taking the listener on a journey beyond the confines of typical instrumental music. His guitar voice is modern, melodic, and emotionally charged, making for a captivating listening experience.
Rodrigues reflects on Tales of a Changing Life Part 2, saying, “With this album, I feel I’ve reached a new pinnacle as a musician and composer. This album allows me to convey the profound personal transformation I’ve experienced over the last decade through my music. Additionally, I had the privilege of working with a stellar group of musicians who each brought their unique flair to the project.”
The album was produced by Rodrigues, mixed by Renato Osório, and mastered by Kris Crummett, known for his work with artists like Nick Johnston and Sleeping With Sirens. This high-caliber production enhances the listening experience, giving the album a polished yet dynamic feel.
Another standout track, “On the Road,” holds a special place in Rodrigues’ heart. Written in honor of his father, a taxi driver, the song exudes positive energy and is designed to accompany a high-speed journey. Featuring Heitor Tenorio on bass, Rodrigo Abelha on drums, and Orlan Charles on keys and piano, the track incorporates a Brazilian cultural element through the country guitar stylings of Rodrigo Sperandio. “In addition to the strong influences of Rush and Van Halen, I wanted to add something special from our culture with the Brazilian country guitar,” Rodrigues shares.
Rod Rodrigues’ career has been marked by collaborations with notable musicians, including Kiko Loureiro (Megadeth), Edu Ardanuy (Sinistra), and Rafael Bittencourt (Angra). A graduate of IG&T and Claretiano University, he has also been a prominent figure in music education since 1997, launching his successful online training program, Extreme Guitar Workout, in 2018. His discography includes his debut solo EP The First Step: Introduction (2010), which received acclaim from major guitar publications, and Tales of a Changing Life Part 1 (2022), the beginning of this conceptual series exploring stages of personal transformation.
In Tales of a Changing Life Part 2, Rodrigues not only showcases his technical virtuosity but also his ability to convey deep emotion and narrative through his compositions. His work stands as a shining example of how diverse musical influences can be melded into something both experimental and accessible. This is an album that takes listeners on a transformative journey, and in doing so, solidifies Rod Rodrigues as a unique voice in contemporary progressive music.
Stream, download and purchase Tales of a Changing Life Part 2 from Bandcamp here. Follow Rod on Instagram or Facebook.
Phillip Mann, the mastermind behind the alternative metal project Diveradiant, hails from Belgrade, Serbia, and has been crafting a unique blend of heavy and atmospheric music for over a decade. Blurring the lines between post-metal, ambient, and experimental metal, Diveradiant’s sound is an intricate mix of atmospheric depth and crushing heaviness. Last month, Phillip released Ascension, an EP that showcases his genre-blending approach and unconventional songwriting. In this interview, we discuss the challenges of creating Ascension, the inspirations behind its sound, and Phillip’s thoughts on the state of the alternative music scene today.
You launched an EP with your project Diveradiant entitled “Ascension” last month. How do you feel about the release?
I feel a bit of excitment, I wonder how I will pass the test from the audience, with awareness that is not the convencional release in the metal world I think.
How much of a challenge was it to work on the release?
Quite reasonable, in the matter of struggle with everyday activities. I am satisfied with the deadline of production, It took me around a few months for this EP to record. The most challenging thing is primarily the unconventional approach to the settings and concept of the blending genres I did. Also it will be a challenge to make people try to hear maybe something new in this hyper trending world. I will give it a try.
Speaking of challenges, have you set any in the early phase of what has become the final result?
Main challenging focus was and still is focus on genre blend and the experience that will produce on the listener on first and multiple listens. As a final result I see that my ideas become clearer to me and to the others.
Tell me about the different instrumental and lyrical aspects that you explore on these new songs.
At first, always experimentation on guitar layers and atmosphere. At some point I explored my vocal potential to make an even deeper atmosphere through lyrics and manner of singing. I am far from some professional singer, but the main goal is the atmosphere that voice creates. And then again, new instrumental soundscapes through different guitar tunings to synth volumes that massively rises upon heavy and low guitar riffs and drums. Main lyrical themes are psychological behaviors compared to modern society as the things we need to take more care of.
What is your opinion about the alternative scene today?
Alternative scene definitely went deep underground. Today it is harder to catch a wider audience, because of the super fast and hyper production lifestyle we live. And also I need to mention differences between mainstream now and in the past, how it was. I think that in the past mainstream was way better and that took influence in the alternatives also. It was way better back then.
Let me know about your influences — the artists that in a way shaped and continue to shape your music.
There are many artists and bands like Justin K.Broadrick ( various of his projects like JESU and GODFLESH), Roger Waters (early Pink Floyd), Thierry Arnal ( Fragment.), Misha Mansoor (BULB, PERIPHERY), Vildhjarta, Cult Of Luna, Meshuggah and many more. All of these bands and artists have similarities, like heavy guitar riffs and atmospheres. I think that I seek roots from these bands in some manner.
What are your top 5 records of all time?
Oh, difficult one. It will be at first:
JESU – Jesu PINK FLOYD – Ummagumma FRAGMENT – Is Your Truth Carved in Sand? PERIPHERY – Periphery (instrumental) VILDHJARTA – Måsstaden under vatten
Besides the release of “Ascension” are there any other plans for the future?
I will continue to explore soundscapes of metal and ambient music through new songs and collaborations I am planning, probably I will consider maybe live appearance in future.
PatrickBroguière, a seasoned French progressive rock composer and multi-instrumentalist, continues to captivate listeners with his ability to blend diverse musical styles into cohesive, cinematic narratives. Following the success of his previous album A Secret World, Broguière has just released Destinations, a concept album that takes listeners on a journey through imaginary lands, each with its own distinct soundscape. Known for his meticulous attention to detail and innovative use of technology, Patrick pushes his compositional boundaries on Destinations, emphasizing vocals and exploring themes that transport audiences to fantastical realms.
In this interview, Patrick discusses his creative process behind Destinations, his musical evolution over the years, and the influences that continue to shape his distinctive sound. From the album’s use of relative keys and vocal elements to its captivating artwork, Broguière reveals the intricacies of his latest project and what listeners can expect from this imaginative and immersive musical voyage.
Congratulations on the release of Destinations! Can you tell us how this album represents your evolution as a composer since your last release, A Secret World?
With each album, I try to come up with something new compared to the previous ones. In Mont Saint Michel there was a real drummer, in Châteaux de la Loire there was the influence of Renaissance music, in A Secret World it was a bit of a patchwork of my influences, but I tried to unify it all by staying around the B minor tonality for all the tracks. For Destinations, the main change was the emphasis on vocals.
You mentioned that the concept for Destinations emerged gradually. How did the idea of exploring different imaginary lands through music develop as you composed the album?
At first, I thought of calling the album Voices, given all the voices I’ve introduced. But as the first tracks on the album were The Land of Elves and The Land of Rock (Rockland), the idea of journeys into imaginary lands eventually took hold. From there, the choice of the word Destinations eventually emerged, as it seemed to be unused by other musicians.
The decision to use relative keys of D minor and F throughout the album creates a sense of unity. How did you settle on this approach, and how did it influence the album’s sound?
Single tonality is an approach that comes from classical music and is often used in dance suites and symphonies, for example. That said, there are many other ways of achieving unity in classical music. Getting back to the album, the fact that all the tracks are in D minor or F major means that you have to be more inventive to ensure that the pieces don’t sound the same despite their common tonalities. In fact, it’s just an arbitrary constraint that stimulates creativity.
Destinations features an impressive lineup of vocalists. What was the process of working with voices from commercial sound banks, and how did you create such natural-sounding melodies from these elements?
First of all, it has to be said that today’s sound banks are really amazing. For example, I’ve also used some very successful symphonic string banks to imitate string staccatos. After that, realism is achieved by working carefully on the choice of different sounds and their sequencing. The album also includes two spoken voices produced by AI. As I don’t perform live, I make full use of all the technological marvels of the moment. At the moment, there are a lot of problems in the world, but I have to admit that technological progress is exciting.
Could you walk us through your creative process for one of the album’s tracks? For instance, how did “The Land of Elves” come together, both musically and conceptually?
The composition of this piece began when I found a simple guitar arpeggio on the three rock chords C F G, which I modified a little by playing C F.add9 G. Then the rest of the music followed in a somewhat mysterious way. After that I transposed the piece to F with a capodastro to give the theme F Bb.add9 C. After the music, the melody and the elf theme came when I bought my sound bank on the elf language. Finally, a friend of mine, the musician Jean Philippe Brénot, really encouraged me to stretch this piece. So I found other themes, other instruments and a guitar solo to flesh out the composition to the 10-minute mark.
The album blends progressive rock with cinematic and atmospheric elements. How do you balance these influences while maintaining your signature compositional style?
I admit I’m not sure how it all fits together. All musicians have different influences and as far as I’m concerned I use a lot of different sounds to compensate for the fact that I’m not a band like the progressive giants Genesis or Pink Floyd.
The album artwork, created by Hervé Thibon, complements the music beautifully. What was your collaboration like, and how does the artwork reflect the themes of Destinations?
This time, Hervé worked from the finished album. So he quickly came up with the idea of drawing a circle with 7 sections representing the 7 songs on the album. So in order there’s a queen of the elves, a land of boulders (rockland), a view of Hyperion and Saturn, a Pierrot for Dreamland, a nod to my Brocéliande album, a desert and a character heading towards dawn/sunset for The Last Destination. Also the decorations and illuminations are inspired by the famous Book of Kells from the year 800. After the design on paper, it took Hervé a month of work to finely engrave the painting on glass.
You’ve drawn inspiration from mythology, history, and visual art throughout your career. Were there any particular stories or artistic influences that shaped Destinations?
On Destinations, I didn’t have any specific influences like the Renaissance for Châteaux de la Loire. But I do know that I thought a lot about Pink Floyd, particularly Meddle, which encouraged me to write long songs and use sound effects. I also remember that the organ on Hyperion with the bird sounds was of course inspired by More. As for the rest of the album, I don’t have any particular memories: most of the influences are unconscious.
Rockland and The Land of Elves have radio edits on the album. What led you to create shorter versions of these tracks, and how did you decide which parts to highlight in these edits?
These short versions were made with the idea of making videos with these two songs, which I thought were catchy enough to reach a wide audience. The video for Rockland by Jean Philippe Brénot is already online. The video for The Land of Elves will be released in November. After that, the choice of shortening was made by keeping the main themes as much as possible.
Your use of both guitar and keyboards drives much of the album’s narrative. How do you approach blending these two instruments to tell a cohesive musical story?
In fact, I think it was Mike Oldfield’s Tubular Bells that made the biggest impression on me because of the way the guitarist does everything himself. Back then it was with a multitrack tape recorder and now it’s with a computer. After that, the coherence of the compositions is obtained by choosing a theme for the album, by taking care of the arrangements and also, for example, by choosing a main tonality.
Having started your career at 15 and been influenced by Ritchie Blackmore, how have your early influences shaped your current approach to progressive rock composition?
At first, like many teenagers, I wanted to be a guitar hero. Then I quickly went from a taste for the virtuoso guitar/keyboard of Deep Purple to a taste for the more epic guitar/keyboard of Genesis and Pink Floyd. That’s also when I got a taste for concept albums. So, as I wasn’t really a guitar hero, I gradually got interested in keyboards, then home studio, then composition, while studying harmony and counterpoint at the conservatoire. From Blackmore and Gilmour I’ve also retained a strong taste for the Fender Stratocaster.
You’ve had a long and varied career, from releasing music in the 90s to publishing books and now returning to music. How has your creative journey outside of music influenced your recent works like Destinations?
In fact there was an indirect influence because after I’d done two books I studied magic and close-up for 2 years. I did some tricks to music that one really enjoyed. And at the end I unfortunately failed the school’s final exam. It upset me so much that I decided I absolutely had to go back to music only and it was this challenge that led to the composition of A Secret World. Destinations is a continuation of that project but with new sounds.
Can you talk about your love for blending genres like classical, medieval, and Celtic with progressive rock? How do these influences manifest on Destinations?
We talked a bit about this in the previous questions. There was the influence of the blending of styles by Mike Oldfield, Pink Floyd or Genesis, the folk guitar, the electric guitar plus the study of classical harmony.
You’ve described Destinations as a musical journey meant to take listeners to different worlds. What do you hope listeners experience when they listen to the album from start to finish?
Above all, I hope that listeners will enjoy listening to the album in its entirety, unlike the current fashion for mp3 playlists of singles. I also hope that this music will make them dream!
What’s next for you after Destinations? Are there any other projects or musical ideas you’re currently exploring?
Right now I’m feeling a bit drained after two albums that were released quite close together! So I’m just jotting down a few ideas with no clear direction at the moment. I’m also doing some promotional work and I’ve been filmed playing guitar for the forthcoming The Land of Elves video.
Destinations is out now; stream/download/purchase it from Bandcamp here.
Today, we are thrilled to premiere “Grundle,” the third and final single from The Snozzberries’ highly anticipated self-titled album, set to release on October 11, 2024. Known for their explosive blend of psychedelic rock, funk, and progressive influences, The Snozzberries have spent years cultivating a sound that transcends traditional genre boundaries.
Stream “Grundle” below.
The forthcoming album promises to be a sonic journey, exploring dark psych rock, thrash metal, funk, and soul, while delving into themes of love, loss, and personal growth. Each track serves as a testament to the band’s evolving artistry and commitment to pushing the limits of their musical expression.
“Our main goal with this album was to focus on writing interesting, well-crafted songs,” the band shared. “The fun thing about The Snozzberries is that we don’t just stick to one style. Each of us brings our own influences to different tracks on the album.”
Despite being an underground act, The Snozzberries have garnered critical acclaim and a dedicated following. Renowned music publication Rolling Stone hailed them as “an explosion of vibrant tones and textures,” while Live For Live Musicpraised their “hard-hitting set” that leaves audiences in awe. MusicFestNews.com even likened their electrifying performances to rising stars like Spafford and Goose.
While The Snozzberries may not yet be a household name, their dynamic live shows have gained them recognition at festivals such as Hulaween and Summer Camp, sharing stages with notable acts like Papadosio and Big Something.
With the release of their self-titled album, The Snozzberries aim to deliver the genre-blending energy that has come to define their sound, solidifying their position as one of the most exciting acts in the underground psychedelic and progressive rock scene.
The new single, “Grundle,” showcases the band’s psychedelic prog influences, with bassist and vocalist Josh Clark delivering his signature bass style.
The Snozzberries Track Listing:
Darkness
Return
Grundle
Living Without You
Circling the Drain
Guepardo Morado
Hide
The Storm
Biting Through
For more information, visit TheSnozzberriesMusic.com. Follow them on social media @TheSnozzberriesAvl.
Flip a Coin is an international progressive metalcore duo, comprised of Czech guitarist and songwriter Tomáš Biza and American vocalist Heyden Smith. Despite the challenges of collaborating across a seven-hour time difference, the duo released their highly anticipated debut album Reunion in June 2024. Blending elements of melodic post-hardcore, deathcore, and progressive metal, Reunion showcases the band’s versatility and willingness to experiment with diverse sounds. In this interview, Tomáš and Heyden discuss their collaborative process, the creative evolution of Reunion, and how they navigate the unique challenges of being an international band.
How did Flip a Coin come together as an international duo, and what challenges have you faced working across a seven-hour time difference?
Tomáš: The distance between us brings forth challenges both in the creative and production side of things. Being able to sit in the same room and just vibe and bounce ideas one from each other in real-time is something I think we both long for. Production-wise, we both depend on just our own knowledge of how to actually record ourselves and use our gear in the best way possible, which can be a limiting factor sometimes.
Heyden: There’s limited amount of time in the day to talk about things in real time. Shout out Tômas for being willing to have midnight video calls in his time zone. I do feel like we’ve developed a pretty good process of collaborating over the past few years.
Your debut album “Reunion” represents four years of creative growth. How did the collaborative process evolve over those years, and what were some of the key milestones?
Tomáš: I think the most key moment came from before this album even happened, and that was the release of our first single called Haven four years ago. Once that was out, we knew like, yeah. We can actually do this. And that was super affirming. During the process of working on Reunion, though, I’d say fully finishing the longest song on that record, False Promises, felt like a real landmark.
Heyden: These songs weren’t recorded in one batch. There wasn’t really a demo process. We were kind of writing and recording them at the same time, and I think you can hear that across the different songs. “Lifestream” and “False Promises” were recorded close to a couple years apart, so I definitely think we brought some new tricks with us into that song.
The album spans multiple subgenres, from melodic post-hardcore to borderline deathcore and progressive metal. How did you decide to embrace such a diverse range of sounds on “Reunion”?
Tomáš: To be honest, that was not a completely conscious decision! My music taste leans towards albums where I feel like each song has it’s own identity, that every song does something a little bit different from the rest. And so that’s just where my songwriting takes me naturally.
Heyden: I’m a fan of bands that fall into all of those subgenres, and plenty of non-metal stuff too. I’m always excited to experiment with songs that are outside of what I’m used to performing. It’s a huge reason I joined Flip a Coin.
How do you manage to maintain a cohesive sound across the album when experimenting with so many different styles?
Tomáš: But do we really? Haha. I believe that is mostly Heyden’s work, he brings his own vocal style into each song and that sort of ties it all together and makes the differences less jarring. If it wasn’t for his singing the album would feel much more disjointed since the instrumentals are so vastly different.
While the songs are pretty different from each other, I think we both have our own style that we bring into every song. At this point I’ve jammed our demos enough to know a Tomâš riff when I hear one…and the riffs he’s cooking up are quite tasty.
“Reunion” feels like a very cinematic album. How do you approach writing music that feels as immersive and dynamic as your tracks on this record?
Tomáš: I’m so happy you used the words immersive and cinematic, because that is exactly what I was trying to achieve with the sound of this record! I did this with layering many different instruments – guitars, synth pads, strings – on top of each other; just when I thought it was enough I always tried to take it one step further. Then contrasting these parts with more raw sounding sections creates that sort of experience. Also lots of samples and special effects. I wanted each song to feel almost like a movie, sort to speak.
Heyden: That’s all Tomâš. I think this aspect of our music lent itself well to the lyrics that are more story-driven in “False Promises” and “Passengers”. My inner theatre kid definitely came out in my vocal delivery for those.
Tracks like “Lotus” and “Lifestream” have a strong melodic focus, while others like “Amaterasu” lean towards a heavier, deathcore sound. How do you balance melody and aggression in your songwriting?
Tomáš: It’s very much about where I’m at life during the time of writing, or what bands I’m currently listening to, or just the mood and feeling I’m trying to capture. I have a good image in my head of what kind of song I’m trying to write almost every time before I even pick up my guitar. Sometimes I’m going for a rather pretty and melodic sound, other times I want to write something dark and heavy. Songs like Lifestream or Passengers strike a good balance of both, I think.
Heyden: It all starts with what Tomáš brings to the table instrumentally, although I try to avoid predictability when I’m writing vocals. There’s kind of a tired trope of singing on melodic parts and screaming on heavy parts in a lot of modern metal, which I find boring. Ultimately though, I try to just embody the emotions the song makes me feel.
Heyden, as a vocalist, how do you approach matching the intensity and emotion of the different styles of music on “Reunion”?
Heyden: I think all music that makes you feel something has a good grasp on tension and release. I try to tell a story with each song where it has ups and downs and recurring themes. Bringing back certain parts in a new way kind of helps tie everything together. Other than that, it’s getting out of my head when I’m tracking my takes. Trying to worry less about hitting a note perfectly and trying to be “in the song”, for lack of a better term.
Tomáš, you not only wrote and played the music but also handled the production, mixing, and mastering. What were some of the biggest challenges of wearing so many hats on this album?
Tomáš: I’d say the biggest challenge for me is bridging the creative and production processes. Sometimes the parts I write end up sounding very different from what I heard in my head once they‘re recorded and fully fledged out. So failing to translate my ideas into the actual music can be frustrating. On the other hand, this can also make for some really cool, unexpected moments. Being in complete control over the entire process from start to finish is both a blessing and a curse.
The album features guest musicians like Michael McGinley on piano and Jake Maaka on vocals. How did these collaborations come about, and what did they bring to the project?
Tomáš: Jake was featured on a very heavy piece of music I was enjoying a lot a few years back, and when I wrote Amaterasu, I realized he’d be the perfect person to have a feature on it. The piano parts Michael wrote for Lifestream were the last piece of the puzzle that interlocked the different sections of the song. I still remember the moment when I heard what he wrote for the first time, I was honestly shocked by how well it hit the spot.
Heyden: Michael McGinley is my dear friend and bandmate in my other project Flora Nova. Check that out if you want to hear more of him shredding on the keys. I thought Jake brought a visceral kind of aggression to “Amaterasu” that fits so well, and his delivery on the chorus had similarities to Tommy from Between the Buried and Me who is one of my favorite vocalists. I liked filling in on backing vocals for that song and playing off of his melodies. I think both features brought influences to the album that we wouldn’t have otherwise.
“Amaterasu” is one of the heavier tracks on the album. Can you tell us more about how this song came together, and what inspired its powerful sound?
Tomáš: The first half of the song basically wrote itself over a span of a few days. At that time I already knew this one had to end up being a single because of the super straightforward structure and open chorus. I even think it’s the song with the earliest chorus on the album? However, then I hit a brick wall with the ending and it took me 2 years to come back to it. As far as inspiration goes, it’s a very Veil of Maya inspired song.
With “Reunion” being your debut album, how do you feel it sets the tone for Flip a Coin’s future? Are there any particular directions you’re excited to explore moving forward?
Tomáš: As you’ve mentioned, the album features a very wide sound palette, and I’m super happy about our debut album having this kind of character. That’s because it shows we can do it all, and it sort of leaves you wanting more while not knowing what to expect next at the same time!
Heyden: It’s good to have it out there! I’m excited to get more experimental with the next batch of songs and expand on the variety of sounds we were able to achieve on this album.
What are some of the major influences, both musical and non-musical, that shaped the sound and themes of “Reunion”?
Tomáš: I started writing this album right after I moved away from my family and entered college at 19. Now I’m 23, and I think I don’t have to explain how so many things happen in a person’s life during this period. It was a rollercoaster and all these experiences served as a fuel for writing and are reflected in the album. Sound-wise, I drew inspiration from many of my favorite records which came out during that time, most notably from bands like Periphery, ERRA and Counterparts.
Heyden: It probably comes as no surprise that I joined this band after seeing a post from Tomáš on the r/periphery subreddit. They’re definitely a huge influence for both of us. In the realm of prog and metal, Protest the Hero, The Contortionist, and Corelia have been pretty big influences on me. Both Tomâš and I are into sci-fi, so that’s where some of the more conceptual lyrics came from. The rest is inspired from both of our perspectives on past relationships, loss, mental health, and personal beliefs.
Given the album’s independent release, how have you approached getting your music out to the world and building a fanbase for Flip a Coin?
Tomáš: Making music is an outlet for both of us, and so that’s the most important aspect before anything else for the band. I personally really enjoy the visual aspects as well, so coming up with the artwork and music video ideas was lots of fun and I feel like it can help connect with our audience. For our guitar oriented fans, I’ve also recorded guitar playthroughs for some of our songs and tabbed them out, you can find that stuff on our YouTube and Bandcamp.
Heyden: We put out music videos for “Lifestream” and “The Algorithm” and a few more visualizers for “Lotus”, “Insomnia”, and “Amaterasu”. We’ve also pitched music to some playlist curators. It’s tough when you can’t promote by playing shows and finding a scene to be a part of. Ultimately though, we’ll write this music whether there’s a fanbase or not. It’s first and foremost a passion project and an outlet for creative expression.
As SVYNX prepares to unveil their debut full-length album This is Not Art on September 14th, we sat down with the progressive/alternative metal duo from Cologne, Germany, to discuss the album’s themes, the influence of the pandemic, and their creative process. Tackling heavy topics like societal disillusionment, corporate greed, and political unrest, the album pushes boundaries both musically and lyrically. With their unique blend of progressive rock, pop, and alternative music, SVYNX has crafted an album that reflects the uncertain times we live in. Below, the band shares insights into the creation of This is Not Art and how their personal experiences shaped its message.
Your upcoming album, This is Not Art, explores themes of societal change and disillusionment. How did the pandemic influence the creation of this album, and how do you think these themes resonate with listeners today?
Disillusionment fits the record’s concept well. The very beginning of the pandemic felt like a time for all of us to come together as equals and awakened hope for change. When that change fell flat, we had to write about our disappointment. Post-pandemic, the world seems even colder than it did before, and the political climate keeps evolving in a troubling fashion. All of these developments are still relevant and probably always have been. But it was the pandemic that revealed my own naivety, which is a recurring theme throughout the album. These emotions resonate with all of us when dealing with disappointment, be it in a grander societal context or in our interpersonal relations.
The track “Art Won’t Save Me Now” sets a poignant tone for the album. Can you elaborate on the message behind this track and how it reflects the overall message of This is Not Art?
“Art Won’t Save Me Now” serves as somewhat of an antithesis to the record’s title. It references Ton Steine Scherben’s “Musik ist eine Waffe” but focuses much more on my own shortcomings as a socially mindful person. Making music will not likely remedy that fact, but maybe it doesn’t have to.
You mentioned that many songs started as short ideas recorded on your computer. Can you walk us through your creative process? How did the studio become an instrument in shaping the album?
Tobi: All of the songs on the album were written collaboratively, but often we were not even in the same room, just elaborating on what the other had done. I honestly don’t know which guitar or vocal lines I came up with on my own and which Wolle has edited and twisted beyond recognition. Our workflows are very compatible that way. I usually take a quick and dirty approach, while Wolle is very detail-oriented.
Tracks like “Follow Me” and “Feed Me” tackle modern conveniences and their impact on our lives. How do you approach writing lyrics that are both thought-provoking and accessible to a broad audience?
Tobi: Lyrics are always difficult. I don’t know if they are thought-provoking or accessible. I try to stay away from absolute truths and write about my interpretations and intuitions—the writing itself is a way for me to understand myself, if that makes sense. [laughs]
“Harvest Season” and “Europa” delve into issues of corporate greed and Europe’s historical role. What inspired you to address these specific issues, and how do you hope your music will influence discussions around them?
Wolle: We are very privileged here in Germany. We feel like the right thing to do is to share our resources and build a more diverse society. Populists are weaponizing migration and turning the poor against each other, while big companies—and sometimes politicians—are stuffing their pockets with more money than anyone would ever need in their lifetime. What used to be common sense now needs to be said out loud: f*ck fascism, f*ck racism.
In “Never at Ease,” you highlight privilege and its influence on choices. What personal experiences or observations led to the creation of this track, and what message do you hope to convey through it?
Tobi: “Never At Ease” is one of the few tracks that was inspired by very specific situations. As a teacher, I’d love to believe that everyone has the power to shape their own lives. But many values I hold in high regard and might subconsciously use to judge someone’s character can’t be taken for granted by everyone. It’s much harder to be punctual, well-dressed, rested, or motivated if you’re responsible for preparing your siblings for school and cooking dinner. I failed to realize this until a 13-year-old pupil of mine shared their story with me. It really makes you uneasy when you hear things like this.
The album was self-recorded but mixed and mastered by professionals at RRenimArts. How did this collaboration impact the final sound of the album, and what was the experience like working with them?
Wolle: We worked for a long time on the album and initially tried mixing and mastering it ourselves, but we were never quite satisfied with the results. By the time we decided to let someone else handle the final touches, we were already very attached to how it sounded. Luckily, Gabri and Konny at RRenimArts knew exactly how to preserve our vision while improving the mix, especially considering we had songs that utilized both bass guitar and synths.
The album ends with “Alexandria,” which addresses rising right-wing forces in Europe. How do you view the role of music in responding to and influencing political and social issues?
Tobi: Tough question! Personally, I want artists to position themselves clearly, so it was important for us to do so. I don’t really know how effective music is in shaping the political landscape, and I don’t want to pretend to have all the answers. That’s part of the inspiration behind the album title. I don’t know who cares about what we’re singing, but we have to sing it.
You’re set to perform at the Euroblast festival this October. What does it mean to you to return to this festival, and how does it feel to perform alongside other bands that have inspired you?
Wolle: Last time we played Euroblast, our music was vastly different—more funky, less modern. After working on this music for over two years, we’re especially proud to return. Euroblast is the best time of the year for us. You meet a lot of open-minded people, and the music ranges from nasty riffs and blast beats to grand-sounding ballads. We really feel like our music fits right in, and we’re thankful for the opportunity to perform again this year.
As a duo, how do you manage the balance between your DIY ethos and the need for professional production? How has this balance evolved over time, especially with this album?
Wolle: Over the years, we’ve acquired a lot of equipment and now have our own little studio. It’s nowhere near professional-grade, but I think the sound we managed to capture speaks for itself. We were motivated by the saying, “If it sounds good, it’s good,” and a video of Devin Townsend recording vocals in a hotel room with mattresses for sound isolation. For the next record, I think we’ll be less obsessed with perfection—imperfection has its own value.
How has your approach to blending progressive rock, pop, and alternative music evolved with this album? Are there any new influences or techniques you experimented with on This is Not Art?
Tobi: Our previous releases were written and fine-tuned while jamming in the rehearsal room, and we limited ourselves to the sounds typically associated with a rock band. After listening to How I’m Feeling Now, I was super inspired. Incorporating synths and heavily effected vocals was our way of achieving a more modern sound. That said, no one wants to hear me play guitar in 4/4, so it had to be proggy. [laughs]
Looking ahead, what are your plans following the release of this album? Are there any upcoming projects or performances that fans should be excited about?
Wolle: Right now, we’re focused on playing shows and festivals and getting reviews out for this record. We both work full-time (Tobi is a teacher, and I’m a nurse), and since we’re only a duo, we can’t do everything at once. There are a few song ideas we’ve started working on, but with our limited time, we’re focusing on making this release as big as possible.
This is Not Art is out on September 14th, and is available as a digital download from Bandcamp, with the vinyl version coming later this Fall. For more about SVYNX visit their website, or follow them on Facebook and Instagram.
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