soundstreamsunday: “I’ve Been Walking (part 2)” by Gazpacho

gazpachodemonIn 2014, Gazpacho’s Demon  was to progressive rock what, in that same year, Hozier was to pop and Sturgill Simpson was to country — voices that raised the bar, made others take notice and take stock.  Demon was Gazpacho’s eighth album, and many would argue they’d been producing classic, 5-star records since 2007’s Night.  This is true, but the organic, earthy power in Demon marked a new high.  Possessed of one of the most articulate, disciplined songwriting teams I can think of, Gazpacho’s fantasies are psychological, unsettling, symbolic, while their musical fire is in the restraint of their performances and a deep melodic sensibility that is immediately recognizable.  There are no baroque runs here, or an interest in shredding.  Everything is in service to the song.  I never get the sense Gazpacho is attempting to make PROGRESSIVE ROCK; they’re just trying to create the coolest music they can think of, and to share it with sympathetic audiences, much as prog’s first generation did.  And so Demon for me reads more like a folk opera, like Procol Harum’s A Salty Dog or Jethro Tull’s Aqualung, and like those records too the production is simple, naturally spacious, working dynamics as if all the instruments were acoustic and the songs traditional, even when the electrically crashing guitar/organ power chords could be straight outta Deep Purple.  In “I’ve Been Walking (part 2)” the best of Gazpacho is on view: Jan Henrik Ohme’s voice floats as a second melodic center over Thomas Alexander Andersen’s piano, and as the first part of the song blossoms with the added rhythm and violin, the texture and mix of the instruments convey the message as much as the lyrics.  There is a reflective reprise of the first track of the album before a segue into one of the more beautifully heavy, baffling songs I’ve heard this side of Fragile-era Jon Anderson, building its arpeggios into mellotrons and a stormfront of guitars. And then it’s over, and even at 12-plus minutes, this song ends too soon.

Gazpacho website

soundstreamsunday playlist and archive

*Above image is a detail from the liner notes to Demon, designed by Antonio Seijas.

Is 2014 Over Already?

Time flies when you’re having fun listening to great music! 2014 brought in a bumper crop of excellent music in general, and prog in particular. Here are my favorites of the year:


10. Robert Plant: Lullaby And …The Ceaseless Roar

Mr. Plant returns to his folk roots of Britain, and delivers a thoroughly enjoyable set of songs. A couple rock out, but this is mostly an acoustic tour de force that transcends any musical trends of the day.


  1. Lunatic Soul: Walking On A Flashlight Beam

This album didn’t garner the rave reviews of his first two, but I still think anything Mariusz Duda produces is far better than 90% of anything else out there. “Treehouse” may be my favorite song he’s ever recorded.

So much greater than a muppet.

  1. John Bassett: Unearth

This album opened my eyes to entirely different side of Mr. Bassett’s talent, and I love it. I hope he does more music in this vein – thoughtful, melodic, acoustic pearls.


  1. John Wesley: Disconnect

Mr. Wesley has been Porcupine Tree’s secret weapon when they play live, and on the side he has been quietly making extraordinary music of his own. Disconnect is his best ever, and it features the inimitable Alex Lifeson on “Once A Warrior”.


  1. Gazpacho: Demon

It took me awhile to get into this album, but it was definitely worth the effort. It is a beautiful package, from the artwork and lyrics to the music itself. The subject matter is very dark, but listening to the entire album is a cathartic experience. It also has Jan-Henrik Ohme’s strongest vocals to date.

nao cover THE THIRD DAY

  1. North Atlantic Oscillation: The Third Day

Their third album, and the third one to make one of my best-of-the-year lists. Soaring vocals, gorgeous string arrangements, a wall of sound that is indescribably exhilarating. If Brian Wilson produced Catherine Wheel, it might sound as good as this.

Stunning album cover.  A progged-out version of Dolby's GOLDEN AGE OF WIRELESS.  Brilliant.

  1. Cosmograf: Capacitor

A marvelous steampunk trip through metaphysical dimensions. Robin Armstrong’s imagination knows no bounds, and his musical talent matches it.

Second Nature

  1. Flying Colors: Second Nature

Wow. No “sophomore slump” for this band. One of the many Neal Morse/Mike Portnoy projects that are active these days, Second Nature is an outlet for the more melodic side of their talents. Throw in the genius guitar work of Steve Morse, and this is an irresistible set of songs.


  1. Haken: Restoration

Their Mountain album was my favorite of last year, and the only reason this isn’t number one is because it’s only 34 minutes long. I admit it – I’m greedy for more Haken music!


  1. Transatlantic: Kaleidoscope

With Kaleidoscope, Stolt, Morse, Portnoy, Trewavas finally become a real group. On earlier works, you could tell which bits were Neal’s, which were Roine’s, etc. Every song on Kaleidoscope is stamped with Transatlantic’s distinctive sound, and it is a glorious one.

Demon – A Love Story (or: My late, yet very timely review of Gazpacho’s latest offering)

The Demon Part:

Most of the reviews of Gazpacho’s latest album, Demon, are already in (including Progarchy’s own reviews). Mine here … well, it’s a little late, considering the album came out in spring and we are demoncovernow on solidly in autumn. Nevertheless, I am going to pat myself on the back and say I’ve made quite an improvement for timeliness for Gazpacho reviews. You see, in June of 2013, I reviewed Tick Tock on this same site. Considering that album came out in 2009, my review was approximately four years after the fact. Now, I’ve whittled my Gazpacho review time down to mere months from release – an order of magnitude improvement! Note: you are not allowed to mention that I’ve never reviewed Missa Atropos or March of Ghosts, capisce?

So, about Demon itself? Haunting is one word that can be used to describe this album. Strange is another one. This album … it’s out there. At times it gives me the creeps, the willies, and the heeby-jeebies. You know what else? It’s damn good, brimming with excellence on par with the other great albums they have released beginning with 2007’s Night.

Demon takes us on a journey through the ramblings of a disturbed individual descending into outright madness. The idea behind the album originates from the writings of an unknown apartment dweller in Prague, with the lyrics based on these ramblings. I’m not going to pretend to have any deep understanding of these lyrics; I don’t. I’ve read through them numerous times and followed them through a few listens of this album. Sure, I have my own ideas as to various possible interpretations. But I do not grok them at this point.

Musically, the album has a very experimental feel to it, or at least more so than the typical Gazpacho album. Sonically, it has a sound quite different than any of their previous works, and yet it is unmistakably Gazpacho.

The album kicks off with I’ve Been Walking. The introduction is light, with a sound effect and some soft vocals before ever so slightly picking up the pace. Throughout the track, slower, mellower, minor key parts alternate with occasional louder, wall of sound bursts. Piano, choral arrangements, mellotron, and the smooth vocals of Jan Henrik Ohme all take their turns as the feature instrument. The track closes with some melancholy solo violin which has become a trademark of Gazpacho. This track is extremely effective in setting the mood for the album as a whole.

Next up is The Wizard of Altai Mountain.   This song is almost whimsical sounding in it’s first of two very distinctive parts. At about the halfway point, the music takes a noticeable change of direction, to a folky accordion that reminds me of some traditional, Eastern European music. It fills me with the urge to drink vodka – no small feat with me being much more of a whisky/beer man. My mind’s eye can picture someone dancing the kazachoc, a traditional Slavic fast dance in which the dancer squats and alternatively kicks out his legs (yes, I had to look that up).

I’ve Been Walking (Part 2) follows, with a much different mood, one of a resigned sadness. Jan-Henrik Ohme’s vocals are excellent throughout the album, but they are especially great on this track. They are particularly effective in expressing the melancholy realization that comes with shattered illusions:

There’s no Altai Mountain

No eternal chord

Lost a diamond

No El Dorado

There is no reward

In the background of this piece a remote, old 78 plays to great effect. The mood of the track shifts a little bit toward the end, maybe as to signal some acceptance that there is “no El Dorado.” It’s one of the lightest parts of the album, along with the first half of The Wizard of Altai Mountain.

The final track, Death Room, is where the strangeness of this album comes to a head. The track announces itself with subterranean rumblings and electronic buzzing before settling into three note mandolin figure which produces some unbelievable tension that is occasionally punctuated by short saws of dissonant violin. This is one of the creepiest, strangest parts of an album full of them, and I can imagine Edgar Allan Poe feeling right at home listening to this as he spun out another macabre tale. Percussion soon joins and pulls the music along, until the piano announces itself and changes the mood with a sudden subtlety that nobody can pull of like Gazpacho. From there, the music progresses through a series of different moods, all suggestive of the unknown apartment dweller losing grip on his sanity. The track and the album proper ends with some very strange percussion that suggests the grip has finally been lost.

Earlier I offered a lame explanation in an attempt to justify the tardiness of my review, considering the album’s springtime release. But let’s get to the real reason. Currently, it’s Autumn – October to be specific. And this album is absolutely made for fall listening. The name Demon conjures up images of that most famous of October celebrations, Halloween. The CD case is a fall color, not unlike one you might see on a dying leave that is going out in one last blaze of colorful glory. And the music … well, it’s hard to define, but it’s definitely fall music. Recently, on Brad’s Facebook page, I saw 6pqvnqf00n6jghv9p3c3o39sj6544affaa7f81ahim shout his love for the month of October, describing it as “purgatorial twilight.” I cannot think of a better light in which to listen to this album. Not the dark, certainly not the bright light of mid-day sun. But late in a fall day, when the last gasps of sunlight collide with the spectacular fall colors that both marvel our sight but also portend the cold grayness of winter is approaching? There could not possibly be a better time to listen to Demon.

If you are one of those lucky souls that lives in an area with a noticeable change of seasons, this is the time you need to get out this album and give it another listen (or a first listen if you haven’t heard it yet). Put the CD in your car’s player, grab your iPod, whatever. Just make sure you are outside toward the end of the day in the light described above … and immerse yourself in the beautiful madness that is Demon.


The Love Story Part:

It’s a little over two years now since I heard my first Gazpacho album, Night to be specific. Since that time, I’ve worked my way forward through their catalog, listening to and owning everything right up through Demon. While I still haven’t perused any of their pre-Night catalog, I’ve definitely heard enough to have seriously fallen in love with the music of this incredible band.

Describing the music of Gazpacho to someone who has never heard it is a bit of a challenge. In my review of Tick Tock, I described them subtle and meticulous. While those adjectives certainly ring true, they only convey a small part of the story. Another time recently, while introducing someone to Gazpacho, I described them as a cross between Pink Floyd and late-era Talk Talk. That also conveys part of the story, but by no means does it in full. On another prog site I occasionally visit, I have seen them described as crossover prog … I still have no idea what that means. And I’ve seen a number of other descriptions of Gazpacho, many of which give part of the picture, but none that quite give the whole. It’s not like describing a band such as Iron Maiden as heavy metal. That description gives you a pretty good idea of what they are about, at least in a musical sense. With Gazpacho, giving a two or three word description is never going to be sufficient.

In fact, even describing them as being progressive can be problematic. Don’t get me wrong, I would classify Gazpacho unequivocally as being prog. But they are unlike any other band in the genre.

With so much of the prog to which I listened on my initial discovery in the late 1970’s – Yes, ELP, Rush, Jethro Tull – there were always virtuoso musicians setting off instrumental fireworks. Gazpacho seems to have turned this ethic completely on its head. You don’t hear long, flashy guitar or keyboard solos, the pyrotechnic drums with a beat that is both discernable and just out of reach, and so on. Much of Gazpacho’s music is built in some very simple riffs. And yet as a testament to their supreme skill and artistry, these simple riffs are combined and arranged into a much greater whole, one of dizzying complexity that gets hidden ever so slightly below a veneer of simplicity. Using a sports metaphor, much of progressive rock could be analogized to professional football or basketball – an obvious complexity accompanied with dazzling theatrics. Gazpacho on the other hand would be more like professional baseball – a simple, subtle game on the surface with a world of complexity underneath for those willing to dig deeper.

Architecturally, their songs defy any conventional structure, unfolding instead with a brilliant logic that becomes apparent by the time you’ve reached the end. It all adds up to a mixture that is challenging to grasp, but easy to love – and one that is progressive rock at it’s absolute, boundary smashing best.gazpacho-demon-cover2-2014

It’s when I survey the current prog landscape that it really hits me, the incredible brilliance of this band. Myself and others on this site have written much about how blessed us fans are in the current age of prog. I loved how the proggers of the 1970s pushed the envelope of rock music to new artistic heights. And yet in what may be the ultimate compliment the previous generation, the best prog bands of today are showing us how their prog ancestors were only scratching the surface. Bands such as Riverside, Porcupine Tree and their leader, Steven Wilson, The Tangent, Big Big Train, and so on – all have taken prog in various directions previously unimagined. So to has Gazpacho. But more than all of these bands, Gazpacho, at least for me, is the most difficult to describe in words. And what really makes that so is this – they are simply the most unique and original sounding band in a golden age of prog that has produced many unique and original sounds. Is it any wonder I’ve fallen so in love with these guys?

Norse Macabre: Gazpacho’s DEMON

gazpacho_demon_2014[A review of Gazpacho, DEMON (Kscope, 2014—digibook edition).  Lyrics by Thomas Andersen and Jan-Henrik Ohme.   Please forgive any typos.  I composed this on my iPad in an airport waiting area.]

Everyone’s favorite artists from Norway have released an eighth studio album, two years in the making. And, not shockingly, it’s brilliant, stunning, and ingenious. If NIGHT is the Poetic Edda of modern progressive rock, DEMON is the Prose Edda.

Our own progarchist editor, Craig Breaden, has already offered his always excellent thoughts on the album, but I can’t let a Gazpacho release go by without also discussing it. So, please consider this review a supplement to Craig’s, certainly not a replacement.

As with every Gazpacho release, on DEMON, Jan-Henrik Ohme’s vocals are immaculate, and Thomas Andersen’s and Ohme’s lyrics reach toward the highest of the high, the most beautiful of the most beautiful.

As with all of seven of their previous albums, on DEMON, the notes linger in a Mark Hollis fashion, melodies emerge through punctuated walls of sound, Ohme’s vocals soar in an introspective aural empire, every instrument is played with loving perfection and always contributes as a sonic res publica. One can find guitar, base, drums, and keyboards here. But, strings, accordions, umpa brass, and Eastern European folks instruments abound as well. Old phonographs spurt statically operatic voices, dinner party crowds murmur, wind howls, and the natural elements create a wash of color in the background, all adding to a perfectly late nineteenth-century and early twentieth-century haunting. Though frightening, DEMON’s story reflects an eerie Ray Bradbury horror rather than an H.P. Lovecraftian terrifying one.

It would be hard to find a band in 2014 more suited to long epics than Gazpacho. Really, the band’s only serious rival would be Ayreon. Here, I exclude bands such as Big Big Train, The Tangent, and Glass Hammer, as they rather happily create both concept albums and non-concept albums. Ever since NIGHT, though, Gazpacho has created concept after concept: NIGHT (a dream); TICK TOCK (a journey and escape): MISSA ANTROPOS (a pagan Mass); and MARCH OF GHOSTS (a series of short stories). The last especially offers a thematic prologue to DEMON.

While Ayreon reflects a deep knowledge and a loving embrace of science fiction and is close to infinity in its longing expansiveness, Gazpacho creates a fantastic and fabulist aura of quiet darkness and asks us to reflect on ourselves and our ancestors (our ghosts).

In a previous post here at progarchy, I noted that Gazpacho produces what might be called Eddic prog. DEMON only confirms that. Edda is a word that has no definite origins. It’s seemingly neither of Germanic or Latin origin, yet it appears as a vital word in Medieval Scandinavia. In our modern times, we attach it to the work of Snorri Snurlson. Not quite a Saga (also a perfected art form in Scandinavia), an Edda seems, by best definition, to be an “utterance of the soul.” Really, nothing could better describe the lyrics, the vocals, and the music of Gazpacho.

While I have no intimate knowledge of the band (though J-H Ohme is quite gracious on Facebook in answering my pesky questions and putting up with my innumerable tags of him), I suspect that DEMON is meant to be a second or third chapter in a long line of stories dealing with the supernatural. It began either with MISSA ANTROPOS (the calling of the Muses into this world) or with MARCH OF GHOSTS. The latter, though, seems more of a follow-up rather than a beginning. MISSA ANTROPOS certainly has the makings of a prologue or opening chapter to a long novel. If I could offer Gazpacho one piece of advice, it would be this: make the next album about Scandinavia. Images of Sigurd (baptized St. Michael after Christian evangelists appeared), the gods and heroes of the Seeress’s prophecy of Ragnorak, and the modern works of Sigrid Unset would all serve to continue this story so imaginatively begun by Gazpacho.. Imagine the use of traditional Scandinavia folk music (which bled readily from the pagan into the Christian/Lutheran), melodies, and instruments; and the imagery of Nordic prowess, AllThings, rune stones, and the Stave churches. My wannabe Viking heart swells just thinking about the possibilities.

Many reviewers have compared Gazpacho’s music to Radiohead or Sigur Ros, but I don’t hear that. If anything, Gazpacho offers a much more energetic vision first expressed by Mark Hollis and Tim Friese-Greene in 1988’s SPIRIT OF EDEN and 1991’s LAUGHING STOCK. Yet, these comparisons are inadequate. Gazpacho, as with all great bands and artists, is at once backward looking, inward looking, and forward looking. Rarely, however, do artists display the kind of confidence that this band so joyously does. Gazpacho is its own band and never a mimicry of another band. They may very well build on the music of Hollis and Friese-Greene, but they have taken it in directions that Talk Talk never could or would.

No, Gazpacho is its own. Its own beauty, its own excellence, and its own genius. Long may they pursue goodness, truth, and beauty, even while examining the horrors of the macabre.

Gazpacho – Raising Demons

ImageThis bombing went on for five years. The Supreme Court never passed any judgment on it and the military speaks with pride today that five years of the bombing of Cambodia killed 16,000 of the so-called enemy. That’s 25% killed, and there’s a military ruling that says you cannot kill more than 10% of the enemy without causing irreversible, psychological damage. So, five years of bombing, a diet of bark, bugs, lizards and leaves up in the Cambodian jungles, an education in Paris environs in a strict Maoist doctrine with a touch of Rousseau, and other things that we will probably never know about in our lifetime — including, perhaps, an invisible cloud of evil that circles the Earth and lands at random in places like Iran, Beirut, Germany, Cambodia, America — set the Khymer Rouge out to carry out the worst auto-homeo genocide in modern history. Spalding Gray, Swimming to Cambodia, 1987

These papers were supposedly some sort of manuscript or document or diary.  According to the story, he had been tracking a demon throughout history.  If the manuscript exists or not I have no idea.  That’s not the point.  It got me thinking, what would this manuscript look like, what if the story was true? What happened to the guy? It was supposed to be us trying make an album of what we thought that manuscript would look like and at the same time use that opportunity to look at evil. Thomas Alexander Andersen, Gazpacho, 2014

One of the albums that is so good that after the initial listens it has to wait for me to have time and peace of mind to give it a proper listen. Michał Pawłowski, guitarist/vocalist of newspaperflyhunting, on Gazpacho’s Demon, 2014.

Gazpacho’s Demon lives in shadowy place, vector-connected to other works in my head, where history seems to open up and then close back down, leaving the created work seemingly alone amidst a sea of ordinariness.  Set against the elegantly melodic, mid-tempo electric arrangements typical of Gazpacho’s other works, particularly Night and Tick Tock, and the elongated notes of Jan Henrik Ohme’s vocal, Demon is Gazpacho’s most effective demonstration yet of their approach to a music that is less concerned with genre and more interested in expression of thought.  Mikael Kromer’s accordion and violin interplay lend an earthy, acoustic grounding to the mix, while the rhythm section of Kristian Torp and Lars Erik Asp continue Gazpacho’s penchant for the deep groove, revealing a jazz past more commonly prized by generations of musicians growing up in Europe than in the States.  Combine these with the power brought by the electric core of the band, Thomas Alexander Andersen’s keyboards and Jon Arne Vilbo’s restrained, powerful guitar, and the heady result is a drama of sound, the actual sonic imprint furthering the narrative as voiced by Ohme.

Demon is nominally about the memory of a journal left by a man pursuing a demon across geographies and chronologies. This creates an interesting triple remove for the songwriters, as the story is less about the man or demon than the idea of the journal.  The brilliancy of Gazpacho taking this tack is hard to overstate.  The purity of a demon, a universal among religious or moral systems, balanced against the uncertainty principle that is humanity…and the messiness of a human chasing his devil as filtered through a diary (of a seer or a madman?).  What would such writing look like? How would I perceive it and where would I locate the demon, in the memory, the journal, the man, or the malignant spirit itself? How would I express it to someone else without becoming a demon chaser or a hellhounded man? I think what is so immediate about this record and the way Gazpacho engages its subject is that the story is entirely impressionistic, the images suggestive of the mirrors within the non-narrative.  I comprehend what’s going on in this album lyrically as a next-century response (or sequel) to the Stones’ Sympathy for the Devil.  Yet I would venture that our evils feel perhaps more deeply woven than they did five decades ago, our inability to find our demons and our continued need for the chase leading inexorably back to ourselves.

The tendency to dark drama in European metal is present, but in the place of a gray/black is a kind of constant waning light, a colored gloaming.  I’m consistently astounded by the ability of Scandinavian musicians to conjure qualities of light in the sounds they create, and Gazpacho’s talent for this on Demon is peerless.  As the lengthy I’ve Been Walking begins unfolding, with its crushing guitar matching the lyrical denial of our various versions of paradise, we see internal arguments on faith and evil’s meaning within it.  The Wizard of Altai Mountains follows, a radio-friendly reflection on following someone/something wearing “red pants and the ghost of a grin,” having to follow, despite a bone weariness and a sense of revulsion.  The accordion-driven outro to the song, given as much space as the lyric, reinforces the feeling that Wizard could easily be a Tom Waits tarantella, but where Waits would bring irony Gazpacho goes for something else entirely, a folksong sincerity that we’ve all but lost in modern music, except in progressive rock, which is one of that genre’s key strengths.  I’ve Been Walking then continues, embedding even more deeply folksong, like treasure in the buried, scratchy 78 verse:

“Have you news of my boy Jack?”

Not this tide.

“When do you think that he’ll come back?”

Not this tide.

“Has any one had word of him?”

Not this tide.

“When do you think that he’ll come back?”

Not this tide.

…and in its second section, with a guitar intro suggestive of Alex Lifeson’s intro riff on Rush’s Xanadu, the song contains one of the most richly gorgeous vocal melodies I’ve heard, delivering words like disconnected pieces of a puzzle.  Much is made of Ohme’s similarities with Radiohead’s Thom Yorke, but Ohme’s voice is more a bowed instrument, sustaining notes and finding variations in them as they decay.  The sympathy between Ohme’s approach and the band’s is quite remarkable, and the album’s conclusion, Death Room (on the CD there is a “bonus track,” Cage, that isn’t on the LP), is where the risky length, over 18 minutes, pays off precisely because the band knows how to arrange its material with such great dynamic effect, including the most tasteful use of a gospel choir out of context I can remember.

This is a great record from a great band who remains at a summit of creativity, and leaves them to grapple with a demon of their own: what next?

Note:  A beautiful and thematically rich record deserves the kind of packaging Kscope has given to Demon.  For the CD version, its yellowing journal look, courier typeface, and booklet of lyrics does justice to the music.  I cannot comment on the LP.  I was going to pony up for it, but the bonus track Cage was not included, and unfortunately at this writing Kscope doesn’t clarify if LP buyers will receive the MP3 for free if they aren’t buying through Burning Shed, their distributor.

Gazpacho Explains the New Album

A note from Thomas Anderson

Hi all connoisseurs and lovers of different music! We are in the happy position of being able to offer you the chance of indulging in the guiltiest pleasure of all for music aficionados. You can now purchase the new Gazpacho album.

It is called Demon and it is a true fully fledged concept album.

Here is the official info on the album:

Demon is inspired by a conversation Thomas had with his father a few years ago where he spoke of a dark force moving through history. During the conversation his father recalled a business visit to Prague in the seventies where he visited the family of some of his hosts.

The family lived in an old apartment, recently renovated after a fire. In the debris, an old manuscript was found. The manuscript was written by a previous resident, for which no records existed other than that his rent had been pre-paid for many years.

Written over two years, the band have described Demon as the ‘most complicated and strange album Gazpacho has ever made’ and whether the manuscript is truly the work of an obsessed madman or an urban legend it has certainly provided the basis for an interesting twist on a concept album. The manuscript contained various ramblings and diagrams which formed the basis of a diary, of sorts, of the man. He claimed to have discovered the source of what he called an evil presence in the world.

This presence, ‘The Demon’, was an actual intelligent will, with no mercy and a desire for bad things to happen. The author wrote as if he had lived for thousands of years stalking this presence and the manuscript contains references to outdated branches of mathematics, pagan religions unknown to the present world and an eyewitness account of the bubonic plague. So crazed were the writings that the document was donated to the Strahov Library in Prague, where it was thought it would be of interest to students of psychiatry.

The thought of this mysterious figure that had lived through the ages, hunting the ‘Demon’, seemed like too good of an idea not to write about. Thomas presented the idea to the band who were just as inspired by the story, and with Jan Henrik, he started writing the lyrics based on what they thought the manuscript would reveal, drawing inspiration from previously ‘discovered’ diaries and manifests.

The story is told in four parts, ending with ‘Death Room’ which are the last words of the unfinished manuscript written just before the disappearance of the unknown writer.

We hope you enjoy it.

Love from all of us, Gazpacho