Author: Nick

Interview with INTENTIONAL TRAINWRECK

On By NickIn progressive rockLeave a comment

Baltimore, Maryland-based progressive metal duo Intentional Trainwreck return in May with the release of the sophomore studio album “Smokestack of Souls,” a follow-up to 2014’s “The Accident.” Singer and guitarist Pete Lesko and drummer Patrick Gaffney speak for Progarchy about the new material, challenges, prog scene in 2021, and more.

You are about to launch a new full-length album with Intentional Trainwreck entitled Smokestack of Souls. How do you feel about the release? 

PL: I feel great about the release. The material on it is solid and none of the tracks are filler. Everyone I’ve played it for so far has had good things to say at worst. I write material for this band which, as a fan of music, I would like to hear. And I think that comes through strongly in the compositions, production, and performances.

PG:  We are definitely stoked for the release of Smokestack of Souls. We’ve made massive improvements in our musicianship, songwriting, recording and production. We’re using more online resources as a mechanism to reach a wider, more-specific audience. This is exciting because we know there are a lot of people who enjoy new and interesting music. We believe in the music, stand behind it, and endorse it passionately. 

Where does the new record stand comparing to the debut album—2014’s The Accident?

PG: Frankly, Intentional Trainwreck has left the Accident in a pile of its own rubble and dust. Unfortunately, we still love playing songs such as “Lunchbox” and “Metric” so we can’t be in complete denial of the Accident’s existence.  In comparison, Smokestack of Souls has a production which towers over the Accident and there are obvious improvements in the vocals, musicianship, and technicality of the songwriting. Smokestack of Souls is heavier; it’s more aggressive; the songwriting is more mature and it is a new beginning. This is certainly a professional effort and we made sure it is something that average listeners as well as those with a trained ear will get into. 

PL: I think the new record blows the debut album completely out of the water. The writing and production on this record is more cohesive overall. I stopped smoking just before the Accident was released and began to focus a lot more on getting better vocals down, which it turns out is a lot easier to do when you can breathe! In general, we were able to avoid a lot of the mistakes that we made the first time around.

How much of a challenge was it to work on Smokestack of Souls?

PL: A massive challenge was avoiding the production pitfalls of the Accident while doing most of the recording and all of the mixing and mastering for the new album. There were so many points when I just wanted to throw in the towel. In particular, during the last year as the album was on the precipice of release, I was working in the healthcare industry which was not getting less busy but rather the exact opposite.  My family was mostly stuck at home and, on top of this, I was doing guitar tracks and some vocal recordings for Isenmor’s Shieldbrother. So, things became rather chaotic to manage. This coupled with the challenges of writing guitar parts, lyrics, vocal melodies, and even bass parts! Because Mike was unable to record a number of bass parts, there are a few of tracks on Smokestack of Souls featuring me on every instrument except drums.

PG: Intentional Trainwreck always challenges itself to write better and more interesting music. It’s not a big deal because we are creative and constantly have new ideas to share. But we still needed to make sure that we held ourselves to a high level of songwriting. And, we know our audience likes to have expectations met and surpassed.  

Another challenge was improving listenability. We know the Accident should have sounded better and we owe it to everyone to improve the production and sound quality on Smokestack of Souls. Pete spent a lot of time on his studio techniques for mixing and mastering. He ended up doing a fantastic job. Also, we never stopped rehearsing the parts, so you’ll notice better vocals, drums, and guitars all around. 

And, the global pandemic was a huge challenge which delayed everything from rehearsals to live shows. We are extremely lucky in that we still have our health, but it has made things very difficult for rehearsing and mixing the music. And we’ve missed seeing our friends and fans during live performances more than words can say.

Speaking of challenges, have you set any in the early phase of what has become the final result?

PG: The most noticeable challenge associated with the finished product has got to be the way in which music is distributed, marketed, and obtained by the listener. The traditional process of creating CDs, sending them off for review and making a lot of noise to get people to buy them is no longer the norm. The new model involves digital distribution via online submission of files and artwork which all needs to have codes assigned so that royalties can be tracked across a myriad of social media and distribution platforms. And, marketing through videos and playlists is ever more popular and unavoidable. So, in many ways it seems like we’ve gone from a band creating an album to social media entity associated with music. This isn’t necessarily a bad thing, but it increases the scope of work and schedule of an album release tenfold.  

PL: That’s an interesting question, I don’t know that I had specifically or explicitly talked about it, but I certainly wanted to make sure is that the next album was going to be better than the first one. When I went into writing, I didn’t want to write songs that people say well that kind of neat, I went into the process with the intent of writing songs that hopefully would become some folks’ favorites that they slam on a loop.

Tell me about the topics you explore on these new songs.

PL: We explored a lot of dark places on Smokestack of Souls – the uglier parts of society that can crush a person into a tuna can. Inner-darkness tolls on a person. But we also explore some lighthearted subjects like the philosophical deconstruction of what quality is, and even one about playing dungeons and dragons.

PG: There are several topics presented in Smokestack of Souls, and they all come from places close to the heart. For example, the audience-friendly “Basilisk’s Gaze” is a story derived from one of Pete’s D+D games and takes the listener on an epic journey through a fantasy realm. The video for this song adds a level of surreal exploration. “Family and Friends” comes from real-life emotions and situations; some topics are based on political unrest (“Charismatic Agenda”) and some pertain to individual strife (“Kamikaze Tom”).  “Phaedrus” involves metaphysical communication on the smallest levels. The subject matter of the songs usually comes about after the music has been written but the two become intricately tied together as a composition develops.

What is your opinion about the progressive rock/metal scene in 2021? 

PG: The music scene in general is amazing. We are blessed to live in times when you can search for and find excellent new music in a matter of seconds. Sharing information and music is easier than it has ever been. The progressive rock/metal scene is alive and well albeit a slightly different one when compared to 20 or 30 years ago. There will always be extremely talented and innovative musicians out there; however, today you are more likely to hear music which is heavier and much faster at times than previously. Perhaps you’ll find new bands which are darker and edgier than before. And, the amount of technical shredding today seems to have surpassed that of the past prog-metal scene. But the classics won’t go away either. The founders of progressive rock and metal had something which, to this day, remains quite unique and inspiring.

PL: With the Internet these days, the number of options can be overwhelming! Lots of amazing music is being made right now and I have been trying to make a regular habit of listening to new music as much as I can. It’s a competitive field, but I’m hoping this is one that stands apart.

I’m well aware of Patrick’s involvement with Cerebus Effect, and one of my personal favorite acts in the last two decades—Deluge Grander. As someone who has been involved within the scene for a long time, would you say that the genre has progressed or did it reach its peak long time ago?

PL: Oh, that’s something I just don’t talk about, not since the accident.

PG: “Progress” can embed itself into music in many ways. And, what constitutes progress is subjective. Personally, I feel that progress lies more in whether things like your creativity, conceptual approach and efforts continue to grow and bring forth interesting results and likeable sonic passages. I feel there is an opulence of new music stretching the realms of progressive rock and metal. While certain bands and musicians may have reached their peak, in no way do I feel that progressive rock and metal are even close to stagnant. Sometimes, the distinction between music genres gets a little blurry but, in the end, there is a variety of thriving genres really close to and including prog rock/metal. 

Let me know about your influences—the artists that in a way shaped and continue to shape the music of Intentional Trainwreck.

PG: This is a loaded question because I am continuously inspired. As mentioned, I believe the world of music is constantly presenting amazing works. None the less, when I was 11 or 12 years old, my older brother’s friend played Jeff Beck’s Blow by Blow, Dixie Dregs’ Freefall and Yes’ Fragile albums for me. That was the first time I’d heard anything outside of pop and classical music. I knew right away that my musical direction had changed forever. Since then, I am thankful for and motivated by so many. To name just a few drummers – Carl Palmer, Dave Kerman and Trilok Gurtu each took me to new levels of inspiration. I can’t say that my performances on Smokestack of Souls sound overtly like any other drummer; yet, without my influences I’m sure my drumming would sound less inspired.

PL: I draw in influences from bands like Mastodon, Gojira, and Devon Townsend Project, and the sound I try to go for is a cross between a few different guiding principles. I mean, it must be, if not heavy, something dark or scary or something like that. I want riffs that bring you time signatures, keys, and scales that you wouldn’t expect, but I like to find a solid grounding element in each song, a hook if you will. I like growly vocals sometimes, but only if they are decipherable? That’s important to me; I don’t want to be just another cookie monster sounding band, and most of the vocals on this album are melodic anyway. I like songs with a complex groove that follows something catchy enough that you could sing it around a campfire. That’s not to say that indecipherable vocals don’t have their place in the right context, but I think that’s not us for the most part. I have these bands that I listen to and I’d say that’s the kind of goal I’m going for, but I am all about pretty much every kind of music. My taste is eclectic in that I like pop, classical, metal, jazz, country, electronic, indie, soundtrack stuff, and more obscure outsider music. I try to do my best to pull from those influences and build that into what kind of strange, but digestible, heavy metal kind of music we do, because I want music that is… mmm, without boundaries, but still with boundaries? Quantum metal, if you may.

What are your top 5 records of all time?

PL: 

Megadeth – Rust in Peace

Archspire – Relentless Mutation

Meshuggah – Destroy Erase Improve

System of a Down – Mezmerize

Alice In Chains – Dirt

PG:

Allan Holdsworth – Secrets 

Univers Zero – Uzed

Watchtower – Control and Resistance

Jeff Beck – Blow by Blow

John McLaughlin with Shakti – Natural Elements

Besides the release of the album, are there any other plans for the future?

PG: Playing gigs is a huge future goal. We really have a connection to our audiences and want to get back in front of people. I love to play live because it gives me an opportunity to give back to all the musicians who have inspired me. 

We have a ton of music just waiting to be formed into songs. So, technically, there is already an album in the works. 

And, thanks to the hope of successful COVID-19 vaccinations, we will most likely be rehearsing and writing together…in the same room! There is a true element of brotherhood and comradery when we work together. It is indeed a friendship that also rocks out pretty hard. 

PL: We’re hoping to eventually get back out and start playing some shows. But right this second, I’d like to reach into the riff box and start putting some new material together. The ideas have been sort of piling up. I just they just need some time to arrange them into songs instead of a heap of disorganized noodlings.

Any words for the potential new fans?

PL: Thanks for listening! I know that it’s not easy for everybody to find the time to listen to new things, and I appreciate them spending the time to check us out. We’ll be releasing some music videos, and I’ll be putting together some play through videos for social media once the album is released. Make sure to follow us on Instagram and subscribe to the Youtube channel!

PG: Please don’t judge us on our past so much as the present. We have come a long way and Smokestack of Souls is a perfect place for new listeners of Intentional Trainwreck to start. Write us an email or hit us up on a social media to let us know who and where you are. It’s nice to know your fan base and it gives us a good idea to where we might want to travel and perform. Also, if there are people reading this article who are unfamiliar with our Top 5 albums, listen to that stuff, too. Finally, be safe and take care of yourself. 

“Smokestack of Souls” is out on May 15th. Follow Intentional Trainwreck on Facebook for future updates.

Interview with SAFFEK

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Israeli alternative progressive rock act SaffeK, led by composer Oren Amitai, has just released an animated music video for the song “Mad,” taken from the group’s recent EP entitled “All Too Human.” In support of that launch, Amitai speaks for Progarchy about his beginnings, starting SaffeK, and more.

Let’s start from your early music beginnings. How did your musical career begin? When did you start playing? Which groups have been your favorites? Please tell us something more about your early life.

I started like many Rock lovers of my age group with the first album of Linkin Park when it was released, I was around 11. I found myself reading Manga with Linkin Park as a soundtrack and just exploding with awe and emotion. Life was felt so strongly and vivid. Quickly after I found out about System of a Down and The Doors, two bands that closed the deal for me – Music is my trigger, I am at another level of existing when the fire of it holds me.  

By the age of 15 I was doing my own adaption of Rock on a broken classic guitar. In those years I also got really deep into classic Prog and quickly after I found myself a part of my dream cast prog group made out of my best friends growing up. We named ourselfs Hanagaria (“The Carpentry”) after Dean’s dad carpentry where we used to sit every night. After Hanagaria released an LP we broke up. Dean went on playing Bass in SaffeK and the talented Ilan Barkani from the group also joined me for a couple of years on the drums. 

How did you go about starting SaffeK? Who was the most influential when the band started its musical journey?

After Hanagaria broke up I decided to dream my own musical voyage, leading my interpretation of Alternative Prog Rock. The project was originally named “Oren Amitai’s Stitches” but then I got around to the understanding that the name was a teeth breaker so I decided to change it to SaffeK, which means “doubt” in Hebrew. My experience of existeen is summed up in this word and it only made sense that my life’s project will be named the same. 

In the beginning, did you have some “fixed” tempo in composing songs or everything was a product of jamming, improvising?

All of SaffeK’s music started out in my bubbling head. I used to work out the main themes and different parts on guitar and vocals and then I went around meeting all of the band members individually, working with them on what I had in mind and using their talent and input in order to mold the best part with them for the song. Then, we went on the extraordinary and exciting sessions of finding out how the imaginary world turns to ecstatic insanity in the rehearsal room.

After the first couple of years I decided to make everything much more down to earth. Today I send out everything ready for everybody without us meeting, including the final draft of the song. Then, when we reach the rehearsal room, those talented basterds bring their amazing approach to the piece and we polish it all and find out what the finished song will be. 

How would you describe SaffeK music on your own?

SaffeK’s music is a mash of the ideas and musical influences that made me who I am with a focus on the rock & guitar elements. It’s music that turns me to an animalistic emotional madman. A music that steps on the core of existing for me, pushes the epicness of life is I feel it through music and comes with a message of acceptance to all the other weird souls who wander this earth with me and are confused but at awe as hell. 

Tell me about the writing and recording sessions for “All Too Human” EP.

Writing down “All Too Human” was a very deep and emotional journey for me. The E.P describes the main 4 elements in my character that make me suffer as a human, the 4 main features that separates me for the most part of what I feel and describe as divine. In order to really flesh them out I had to venture into my destructiveness and fill myself  with the sadness, anger, pressure and alienation. The best part of it, of course, is that I feel that the best way to describe these elements is to burn them out, scream them out, feel them to the maximum effort. And that is what I tried to do with the compositions themselves. The rec sessions were great, great flowing vibe and in awesome happy energetic accomplishment.  

What is the most important thing for the structure of your songs? Is it a riff, a melody line, vocal arrangement?

For me the most important thing is the story itself. I have to ask myself all the time if the story makes sense to me, if it works me out emotionally. If you listen to the song and you swim with the journey, not nodding your head going “…What?”.

Besides that, I find that what I usually work around with at first is the melody/riff to start me off. That’s the first thing that moves me. 

Recommend us some good progressive rock/metal acts coming from your area.

One of the most exciting, well developed and pecked with originality is Subterranean Masquerade. Their concerts are a must see! 

I have to recommend “Bzaat” as well. virtuoso guitar & drums insanity! 

Are you also involved in any other projects or bands beside SaffeK?

I used to float around and work with different projects, today I’m focusing on SaffeK as my passion. Otherwise, I work as a teacher at Just Music Academy in Israel and develop productions and mix & master for beautiful people that come my way. I find the work of teaching intense and inspiring. It’s a true beauty to see people transforming their passion and flare into an authentic creation.  

So, what comes next for SaffeK?

A new video is coming out in the next few weeks, a work of a lot of great minds which I am very proud of. It’s gonna take SaffeK’s visual presentation to a new level. 

Afterwards it’s all about counting down the days till summer when we will release a new album followed by a European tour. Beside that, truly, all we can’t wait for is to see the people, the crowds, what we live for. We can’t wait to break the lonesomeness, the dreadful silence of the music with you.

“All Too Human” is available from Bandcamp here. Follow SaffeK on Facebook and Instagram.

Premiere: The Crown Remnant Launch “The Fall” Video

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Los Angeles, CA’s melodic metal one-man band The Crown Remnant, formed by singer and multi-instrumentalist Will Ash, is launching a music video for “The Fall,” taken from the upcoming studio album “The End of Days.” Watch it below.

Speaking about the upcoming full-length release Ash said: “This record was written with extreme expedition, I think due to how seamless the themes came together. For me, writing isn’t forced – I don’t start a project unless I have a really good idea, or a good collection of musical ideas to begin with. ‘The End of Days‘ was no exception. Musically, I’m constantly experimenting. Ideas that started even after writing the previous record ‘The Wicked King’ in 2017 came into play. I had been working on chunks of songs since then, little inspirations and outlines of a melancholic, vintage inspired something.

“That expanded into the major theme of the new album – endings (and innately, beginnings),“ Ash continues. “With 2020 bringing real senses of loss to millions of people through the global pandemic, endings were on my mind. The world in chaos, and a shift in political mandates worldwide made a theoretical end of the world interesting to postulate about. As the ideas developed, I ended up writing the album in a way that observed a 3 act ‘story arc’ – with each act bringing a new piece of the story of the world ending, and each with its own theme and musical direction.“

The underlying message of “The End of Days” is a sense of hope, but also warning. Ash goes on saying, “Continuing down the path of extreme nationalism, exclusion, and selfishness will bring about a certain type of apocalypse – whether ideologically, economically, or literally. This whole big rock that we have to live on only functions when we realize that we all have to live together. When we do that, we achieve great things. But when we promote isolation, or tribalism, we end up tearing each other – and the world we live in – apart.“

Watch a music video for the new single “The Fall” below.

Follow The Crown Remnant on Facebook and Instagram.

Interview with KRISHNA PERI

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Krishna Peri

Dallas based guitarist, producer and songwriter Krishna Peri is about to launch his debut album “Across the Horizon” on August 15th, a release where the musician explores different music styles and adapting them to his own experimental formula.

Peri spoke for Progarchy about the album, but also his influences, writing process, and more.

What made you decide to release “Across the Horizon” under your own name? Does it feel more personal that way?

I am like a musical sponge and I like to absorb different genres that I come across, whether it is metal or anything else. I felt like if I am playing in a band, I have to stick to one particular style, for example, if you play in a death metal band, you can only play that and can’t really add extra quirkiness to it. Of course, I do enjoy playing in a band like that too but as an independent artist, I felt like I can touch base on multiple sounds and it would still be acceptable.

How do you usually describe your music?

I try to do two things – play heavy, memorable riffs but at the same time, focus on the underlying melody. To me, melodic playing and attention to the notes goes a long way and I try to incorporate the same in my music.

Across the Horizon

What is your writing process like?

I usually have a bunch of demos recorded on my phone, whenever I am just in a relaxed leisure mood. I would go back and listen to these raw clips from time to time whenever I need some inspiration. Once I find the right one, I create a session in my DAW, program the drums and lay down the guitar parts. By this point, the song starts taking its shape. Once finished, I send the demos to my drummer and bassist, who listen to it with a fresh pair of ears and give their comments. Once we polish the whole thing, the final drums are recorded in a studio. And then, I lay down my guitar tracks in my home studio. Last step would be sending these stems to the bassist, who does his part. I look over certain things from a producer’s perspective like, if the song needs any additional layers, keys etc. Finally, the whole thing gets mixed and mastered.

Who or what is your inspiration, if you have any?

Joe Satriani, Marty Friedman, Dimebag Darrell, Plini, Nick Johnston and John Petrucci – these are my main influences when it comes to instrumental music and soloing.

What is your favourite piece on the upcoming album and why?

“Stained Glass Memory” is my most favorite song on this album because it has these ambient sections followed by crushing heavy parts. The entire song jumps back and forth from 7/4 to 15/8 to 6/8, which gives it this mystical feeling. We’re working on releasing a music video for this particular track with a concept behind it, so stay tuned for that!

What makes “Across the Horizon” different?

I would say, complex time signatures, intricate solos, solid drumming and bass work, and the exploration of different genres like Viking metal, black metal, death metal etc.

What should music lovers expect from the album?

They should expect some expressive melodic playing. If you are a fan of modern instrumental music like the Intervals or Plini then I guarantee that you would dig it!

What kind of emotions would you like your audience to feel when they listen to your music?

Instrumental music is a tricky market to break in, just because there’s no vocals to convey anything. Which is why, we have to be very diligent in coming up with phrases because the guitar itself is treated like a vocal part. I would want my audience to feel the same thing and enjoy the tension and release of some of the songs that I am trying to present to them.

Pick your three favourite albums that you would take on a desert island with you.

That’s such a difficult question because there’s so many! I’ll try my best – Rust in Peace by Megadeth, Shockwave Supernova by Joe Satriani and Remarkably Human by Nick Johnston.

 

“Across the Horizon” is available on Bandcamp. Follow Peri on Facebook and Instagram.

TELERGY’s Robert McClung Talks New Album “Black Swallow”

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“Black Swallow” is the title of the new, fourth studio album by a New Hampshire based progressive rock project Telergy–a brainchild of the award winning, Emmy nominated, Billboard top ten charting composer, producer, and multi-instrumentalist Robert McClung. As is the case with previous efforts, this new offering is another concept album which, this time, tells the story of the first African-American pilot and hero Eugene Bullard.

McClung has once again gathered a team of guest musicians around himself, featuring members and collaborators for historical acts such Pink Floyd, King Crimson, Iced Earth, Styx, Kansas, Foreigner, Trans-Siberian Orchestra, and many more. The album is available for pre-order via the ongoing crowdfunding campaign over at Indiegogo.

In a new interview for Progarchy, McClung discusses “Black Swallow,” but also lets us know about his favorite releases, and more.

You are about to launch a new full-length album with Telergy entitled “Black Swallow.” How do you feel about the release?

I’m delighted. The album has been five long years in the making. It was a massive endeavor with over sixty people involved. We were meticulous to take our time and get it right. It was too important of a story not to. I think we have absolutely made the best Telergy album so far.

How much of a challenge was to work on the album?

The musicians involved with Telergy are spread out all across the world, and some have very busy schedules. Working out all the logistics of getting them into studios to do their parts was quite an undertaking. From a musical perspective, the album had to incorporate elements of certain styles like blues, jazz, gospel and military themes to properly convey the story. Which for me as a composer was a huge challenge to weave into the progressive rock and metal format that Telergy is built upon. But those are the challenges that fuel my creativity with every Telergy album.

Tell me about how you set on making an album about the life of Eugene Bullard, the first African-American pilot in the history of the United States.

I stumbled upon Eugene’s story online shortly after the release of the last Telergy album, Hypatia. The more a dug into it, the more captivating and incredible it was. I was totally baffled that this great hero had existed, but was never mentioned in any American history books. It was a travesty, and I knew I had a chance to use my outlet with Telergy to bring his story out into the light for more people to discover.

What is your opinion about the current progressive rock scene?

There are so many wonderfully talented artists out there right now making some of the best music ever. Older, more established artists and younger, lesser known ones as well. It’s a delightful scene where everyone respects and supports each other like a big family. I only wish it were possible to bring prog back into the mainstream so those artists could get wider attention. The industry has changed so much, across all genres. It’s become nearly impossible for artists to make a living anymore. I hope in the future our society can see more value in the arts and find ways that musicians can support themselves with their music alone.

Can you tell me something about your influences?

My Grandfather was a country musician. He gave me my first guitar when I was around ten years old. I was first inspired by all the classic rock bands of the 70’s that my parents listened to. Pink Floyd, Fleetwood Mac, Aerosmith, Kansas, etc. In my teens I got into heavy metal bands like Metallica and Megadeth. In my teens I also started working in musical theater. Writing and arranging music for shows and performing in pit orchestras. I found that progressive rock blended these two opposing genres of music very well. Bands like Queensryche, Dream Theater, Savatage and Trans-Siberian Orchestra were doing amazing themed albums during that time and I was pulled right in. I feel so fortunate that I now get the chance to work side by side with many of the artists who inspired me when I was young.

What are you listening to these days?

The latest Kansas album is stunning!! They aren’t resting on the laurels of their past hits. They are making some of the best music of their career right now. I’m also totally entranced by Rachel Flowers, who I had the chance to work with on this album. Her talent is amazing, so original and fresh. You can detect her influences, but she blends them into something totally new. I also listen to allot of classical music and movie soundtracks these days. Hans Zimmer is a favorite.

Your five favorite records of all the time?

It’s hard to pick only five. But here goes…

  1. Pink Floyd – The Wall: Hearing the guitar solo on “Another Brick in the Wall Pt. 2” when I was ten years old was a huge turning point for me. I pointed to the record player and proclaimed “I want to do that when I grow up!”. The albums lyrical themes also connect deeply with my own personal life. I had issues with my parents, school, etc. In many ways I felt like Roger Waters was writing about me. The fact that it told a story was so impactful. It wasn’t just a hodge podge of songs about love, politics, partying or whatever. It all fit together in a bigger way and felt so much more emotional and meaningful by doing so. Animals is another Pink Floyd favorite. All their material really. My wife and I actually met on a Pink Floyd fan page.
  2. Kansas – Leftoverture: This was the band that inspired me to play violin. It was through them that I learned that rock music didn’t have to be stuck in a simplistic, repetitive, three chord, one rhythm format. It could twist and turn intricately, just like an orchestra, yet still be powerful and intense. I first met the band after a concert in my teens. They were so friendly and supportive. Their words of encouragement were key to me perusing my own dreams.
  3. Savatage – The Wake of Magellan: A heavy metal album telling the story of a sailor contemplating suicide, who finds new reason for living when he saves a drowning man in the ocean. The mixture of metal and classical music themes was just so powerful, and the story so captivating. I knew I wanted my own music to encompass these elements.
  4. Dream Theater – Metropolis Pt. 2, Scenes from a Memory: This album hit me like a truck!! I had enjoyed all of Dream Theater’s albums prior to this, but this one was a total mind bender. The virtuosity of the music, the depth of the story. It was all just so perfectly done. Total masterpiece!
  5. Trans-Siberian Orchestra – Beethoven’s Last Night: Beethoven tricks the Devil to save his soul and keep his last symphony. Brilliant! When Savatage morphed into Trans-Siberian Orchestra I enjoyed the spectacle of their live shows, but hoped they wouldn’t only do Christmas music. When this album came out, I got everything I wanted. The over the top metal/classical bombast that had drawn me to their music in the first place, and a creative, intense story with a cool twist at the end. Love it!
Notice a connection here? Almost all of these on my list are concept records that tell stories. Which has become the cornerstone of my work with Telergy.

Besides the release of the album, are there any other plans for the future?

I’m regularly asked if Telergy will ever perform live. As much as I would love to see that happen, the logistics and cost of getting that many people together are far beyond my capabilities. But if the right financial backers came along, who knows? I’m always open to the idea. As for the next album, I haven’t found the right story yet. Once I do, I’ll rev up the engines again and see where the ride takes me.

Any words for the potential new fans?

Thank you for giving Telergy some attention. We are delighted to have you onboard. Understand that Telergy is more than just a band. It’s a massive consortium of musicians from all over the world coming together to do something truly unique. We pour our hearts into everything we do, and I hope that passion comes through in the music. We hope we can inform and educate just as much as we entertain.

“Black Swallow” can be pre-ordered via Indiegogo here. Follow Telergy on Facebook.

LEPROUS Drummer BAARD KOLSTAD Talks “Pitfalls,” Band’s Position on the Scene, Rendezvous Point & More

LEPROUS Drummer BAARD KOLSTAD Talks “Pitfalls,” Band’s Position on the Scene, Rendezvous Point & More

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Leprous and Rendezvous Point drummer Baard Kolstad did an interview before the Leprous show in Istanbul on February 13th where he talks about the group’s latest effort Pitfalls, the Prog scene, the upcoming edition of the Prognosis Festival in Eindhoven, and more. The full video interview, as well as a few excerpts, can be seen below.

Asked to comment about the new Leprous album being arguably the most dynamic release the band put out to date, Baard said: “We’ve always been suckers for dynamic and whatever is making the right vibe; it that’s to play soft or if it’s to have everything soft but the drums extremely hard. It’s difficult to point out exactly what’s going on when we make very variated album as that, but of course there were some barriers or not barriers, but it was like new Leprous kind of stuff happening. For instance from my point of view as a drummer, when I heard demos for ‘By My Throne’—it’s just like, ‘okay, that’s a new kind of Leprous, let’s make this sound like us and try to put that into the Leprous setting.’”

About whether or not Leprous defy progressive rock and metal conventions with Pitfalls, Kolstad commented: “When I’m searching new music I’m not going only for progressive bands, I’m going for all kinds of music. It doesn’t really matter what it is, but of course we have a background we love, like Opeth and Tool and Dream Theater—not the others but I love Dream Theater—bands like that, Meshuggah. But that’s tools again—not the band Tool—but tools for us to use in composition and musicianship. We don’t try to care much about expectations, but I guess like the way we write or like Einar writes, the way we play will naturally be for people that only play stoner rock. We will always be a prog band, but for the proggers we will probably not be a prog band. And for a pop group we will definitely be proggy or weird or something like that. We kind of don’t belong anywhere.”

During the interview Baard also talks about the expectations fans usually have from bands in terms of the sound and musical direction, Leprous’ 20th anniversary next year, the current Rendezvous Point tour with Anathema, drum clinics, his tips for aspiring drummers, and more. Watch the full interview below.

Interview with HEYOKA’s MIRROR

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Calgary, Canada-based progressive metal act Heyoka’s Mirror has recently returned with the release of a new, instrumental single “Asylum” which is a grand taster for the group’s upcoming full-length album.

Let’s start from your early music beginnings. How did your musical career begin? When did you start playing? Which groups have been your favorites? Please tell us something more about your early life.

Andrew: Omar and I started playing music around the same age. We were 14 and 16. I discovered Dream Theater when I was 14 years old and that’s when I started taking singing and theory lessons. I spent my teenage years listening to bands like Dream Theater, Symphony X, and Transatlantic. 

Omar: Yup, started playing around 16. As a young kid, I was a huge GNR and Metallica fan and always wanted to play like those guys! Then when I picked up the guitar and started learning, I was introduced to music from guys like Eddie Van Halen, Joe Satriani, Steve Vai, John Petrucci, DREAM THEATER (greatest band!), Paul Gilbert, Yngwie J. Malmsteen and the list goes on and on! 

How did you go about starting Heyoka’s Mirror? Who was the most influential when the project started its musical journey?

Andrew: I met Omar in the spring of 2015. I had just moved into Calgary and I was looking for a guitar player for a solo project I had. We met and decided to have a writing session a week after our meeting. That’s when Heyoka’s Mirror started. 

Omar: Just like Andrew said. I was contacted by him through social media, we met and had a quick discussion about the kind of music we both wanted to do and that was it. I remember we discussed how melody is a very important aspect of the kind of music we want to create. 

In the beginning, did you have some “fixed” tempo in composing songs or everything was a product of jamming, improvising?

Andrew: We always write a story first. Once the story is complete, then we start writing the music according to the events in the tale. 

Omar: Story always comes first and then we start creating the music for it. A lot of it just happens bouncing ideas, talking about the story and then trying to communicate those feelings and emotions through our music. 

How would you describe Heyoka’s Mirror music on your own?

Omar: I would say it is a blend of a lot of different styles of music. Our songs and certain parts within them can sound like hard rock, pop, jazz, metal, blues, blues rock. To us, whatever feels right for the story, belongs in the song. Let’s go with Progressive Rock/Metal 🙂

What is the most important thing for the structure of your songs? Is it a riff, a melody line?

Omar: We like to write a story before we write the music. If there is no story, what is the music about? For the album coming up, the whole album is one story (concept album). We go part by part, song by song to create the music for it, while keeping the story in mind and where it is going. For recording, all the drums, vocals and bass are recorded in the studio. Andrew and I record our parts(keys, 8 string guitars, rhythm and lead guitars) at home. 

The most important thing for the structure of the song? I think there are a few things.

Melody is important! Riffs that are heavy and high energy in certain situations. We also like to avoid sounding mechanical. We want the music to be full of life and character! 

Recommend us some good prog metal acts coming from your area.

Andrew: Oh, there are some really good ones! Illuminated Minerva, Metavore, Subsume, and my favorite one… Nok Novum! Those guys are amazing! 

Are you also involved in any other projects or bands beside Heyoka’s Mirror?

Andrew: Not really, I help here and there as a session player, but not really as a full time member.

Omar: No. I play golf in my free time. Golf is the best!

What are your long-term plans for Heyoka’s Mirror?

Andrew: First things first… we need a drummer! Our album was completed with the help of session drummers, but we need someone who would like to join the family. Once we have a drummer, we would like to start going out on little tours. Start expanding. We want Heyoka’s Mirror to eventually get big enough so we can tour around the world (every musician’s dreams pretty much). We would love to play with big bands, play festivals. We just want to get OUT THERE!

“Asylum” is out now; get it from Bandcamp. Follow Heyoka’s Mirror on Facebook.

KATATONIA’s ANDERS NYSTRÖM on Band’s Comeback: “Our Hunger and Passion Came Back Pretty Quick”

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Photo credits: Ester Segarra

KATATONIA’s guitarist Anders Nyström and singer Jonas Renkse talked before the recent show in Izmir, Turkey about their return, the upcoming album City Burials which is out on April 24 via Peaceville Records, among other topics. Watch the full interview below.

Asked about KATATONIA’s return a year after they announced the hiatus, Nyström commented: “The break was something that we really needed to do. We’ve been going for a band since early ‘90s, non stop. With everything you need to step back and sometimes put things into perspective and re-evaluate yourself and everything around you. We needed to do that. Also to try to see where we want to go and also to gain the motivation to continue. It was not a set plan that we need a year. I think our hunger and passion came back pretty quick. It kind of happened to be the anniversary of ‘The Night is the New Day’ album and we felt that it was like a perfect slow comeback thing; nothing too dramatic and it would just make a lot of sense trying things out again and celebrate that album. It actually made things very exciting again. Stepping into that, that way.”

KATATONIA returns on April 24 with the release of their 11th studio album City Burials; pre-order it here. The band will play a fan voted by request set at the Prognosis Festival in Eindhoven on March 20.

Watch the interview with Anders and Jonas below.

Review: M-opus – Origins

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The very notion of a double album should be enough to make most people giggle a little bit. There are implications of ‘concept album’ and insinuations of ‘prog-rock’ involved in that notion. Neither of these things are not cool, but they encompass exactly what Origins is, and exactly what M-opus do.

After the release of a stunning debut album 1975 Triptych in 2015, which was thought-provoking as it was sonically mesmerising, the Dublin, Ireland trio didn’t take it for granted and rush into a songwriting process for their follow-up.

m-opus_origins

The focus of the band’s attention has shifted somewhat, and although the debut was somewhat concept record, Origins is a piece of work that is entirely based on the story that deals with “redemption and destiny, the fulfillment of potential, through the story of a character who is a genius, but is his own worst enemy; a drunk gambler who is increasingly lost.”

Throughout of the album’s 28-track repertoire, you get epic arrangements brought to perfection which are refined through a pleasant filter. Origins intersperses jangled guitars with angular complexities that might fly over some heads – repeat listens are deserved. The songs are organised so intricately that all the nuances and difficulties that might have gone into recording such an extraordinary album are totally lost in its beauty.

At the other end of the spectrum, however, sit songs which will shower the listener with jagged shards of heavy pounding; jagged shards that will bypass your vital organs and instead embed themselves within the deeper, darker echelons of your mind. Some of this album is simply unforgettable.

M-opus really do lead by example: with Origins acting as a fantastic example of how to take inspiration from all the sub-standard facets of day-to-day goings on to create a stunning collection of songs, they’ve proved that not everything in modern life is rubbish.

Follow M-opus on Facebook.

Album Review: LUNAR – Eidolon

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Originality is tough in music, and especially so in progressive metal. So many genres have cross-pollinated over the years that trying to put a unique spin on music usually ends up with going so far off the reservation that coherency can be lost. It’s a shame that “progressive” has become a kind of cliche-ridden sound of its own, hence my temptation is to call Eidolon — the second album by Sacramento’s Lunar — a progressive death metal album. Not in the sense that it uses “prog” tropes, but because it genuinely sounds like a forward step in terms of what can be done with death metal.

I’m not often a fan of likening bands to other bands, because I think unless it’s an intentional throwback or copycat it does a disservice, but the first thing that comes to mind is Opeth by way of Fates Warning and I do not say this lightly. Eidolon has an intensity to it that is organically broken up with occasional clean or melodic sections that never sound out of place; the group — brainchild of drummer and songwriter Alex Bosson — never comes across as hokey or gimmicky.

Alex_Bosson
Alex Bosson, founder of Lunar

All right, let’s dig in a bit. The musicianship is as tight as any metal release you’re likely to hear this year or any other year. Every member is on top of their game.  And speaking of members, the core of the group is comprised of singer Chandler Mogel, bassist Ryan Price, and guitarist Balmore Lemus, along with already mentioned Bosson on drums. Eidolon also features guest contributions from members of Haken, Leprous, Thank You Scientist, Fallujah, and more.

The guitars layer beautifully, with chunky riffs both alternating and occasionally layering beneath more melodic lines. The rhythm section pounds along, with a bass guitar that fleshes out instead of simply sitting at the root notes, even getting plenty of room to shine on its own (which I appreciate) and a drummer that can handle blistering double bass and blast beats right alongside jazzier sections. All the while we have a vocalist who manages to be perfectly understandable when he growls, by death metal standards anyway, without ever losing that sense of intensity and roughness.

One of the best things about (progressive) metal is that feeling of not knowing what to expect next. Sometimes it’s less enjoyable if it feels like the band doesn’t have a grip on what they’re doing and keep taking left turns to the mood, but once again Lunar succeeds by having each song feel like a distinct entity while never losing the tone of the album as a whole. After the two three “proper” songs (after the instrumental intro “Orbit”), the appropriately named “Comfort” comes in with a melodic and prog-rock/jazz inspired beginning, blossoming into a behemoth of a track that puts acoustic guitar and jazz drumming front and center forming a foundation and building to an explosion of a soothing guitar solo courtesy of Haken axeman Richard Henshall.

At this point you might think you’ve heard all of Lunar‘s arsenal, and you would be all wrong and a bag of chips. The very next track, “Potion,” is way more into the prog rock territory, with underlying acoustic guitar melody and jazz bassline carrying it.

The closing 12-minute epic “Your Long Awaited Void” is like a revue of all the best bits of the rest of the album: heavy riffs, clean vocals mixed with growls, acoustic bits, guitar soloing, in addition to cello-laden atmospherics,…

The word “classic” gets tossed around a lot, but I honestly can’t think of a better word for Eidolon. From front to back and top to bottom, this album is both firmly rooted in death metal with a progressive bend while standing alone atop the mountain. It’s equally headbang heavy and enthralling, music to get in the mosh pit and simply sit in awe of. This is required listening, because there’s nothing else quite like it.

Eidolon is out now and is available from Bandcamp. Check Lunar on Facebook and Instagram.