Tag: Progressive rock

FARO

An Interview with ROCCO DE SIMONE of FARO

On By NickIn progressive rockLeave a comment

Progressive rock has always been a genre that thrives on innovation, pushing boundaries both musically and thematically. Italian progressive rock band FARO is no exception. With their latest album, Nu-Man, released in September 2024, the band delves into the complex themes of transhumanism and the evolving relationship between humanity and technology. The album presents a deeply cinematic and immersive experience, blending organic instrumentation with modern electronic elements to create a soundscape that is both evocative and thought-provoking. At the heart of FARO’s music is frontman Rocco de Simone, whose introspective lyrics and dynamic vocal delivery bring these themes to life. In this interview, Rocco discusses the conceptual depth of Nu-Man, his approach to songwriting, and the broader philosophical implications of living in an increasingly digital world.

NU-MAN by FARO prog band

Nu-Man delves into transhumanism and the evolving relationship between humans and technology. Do you think this theme resonates differently with listeners depending on their personal experiences?

I believe that our relationship with technology is deeply personal, shaped by our experiences and by how much we allow it to influence our lives.

In our album, we address the theme of transhumanism in a clear way, though through metaphors rather than explicit statements. I started reflecting on these ideas because I strongly felt that, especially after the pandemic, the world was heading in a direction where technology is becoming increasingly central to our existence.

How this theme resonates with listeners largely depends on their individual perspective: those who have personally experienced the weight of digitalization, isolation, or automation might perceive its more unsettling aspects, while others may see it as an inevitable evolution—perhaps even a positive one.

Whether this is good or bad, only time will tell. The real issue, however, is the evident process of dehumanization we are witnessing: the loss of empathy, the growing inability to experience deep emotions, and the diminishing capacity for critical reflection. This leads to a flattening of sensitivity, making it increasingly difficult to appreciate beauty in its most authentic forms, including the most profound and thought-provoking artistic expressions, while the superficial and the mediocre gain more and more space.

Nu-Man embodies this concept perfectly: a flawless being, yet incapable of truly experiencing emotions. No matter how much technology and artificial intelligence evolve, they will never be able to replace what only human beings can express—that spark that makes us truly unique.

The album has a cinematic and immersive quality. If Nu-Man were to be adapted into a film, what kind of story or aesthetic would you envision?

I enjoy auteur films set in small-town America, where the focus is on the characters’ lives and personal dramas. However, I believe Nu-Man would be better suited to a more dystopian and modern story, with a touch of madness and futurism. I envision a narrative that contrasts characters facing existential struggles in a society where feeling emotions or asking questions has become outdated. These characters could be the last remaining humans, on the brink of extinction, while everything around them spins at an unstoppable pace of technological modernity.

The setting would be decadent and dystopian—a world where everything from the past has been abandoned, rusting away, replaced by a present that leaves no room for reflection or genuine beauty. The tension between old and new, between the human and the technological, would create the perfect contrast to depict the growing dehumanization.

I have partially represented my visual vision, albeit metaphorically, in the Isaac music video, created together with my friend and photographer Pino Giannini. It’s dark, dystopian, and deeply dramatic, reflecting the atmosphere I envision for Nu-Man.

Progressive rock often challenges traditional songwriting structures. How do you approach crafting a song—do you prioritize melody, atmosphere, or storytelling first?

Unconventional structures or compositional complexities—though sometimes present—are not the main focus of FARO. What truly matters to us is the emotional authenticity of the music. Every track must resonate sincerely and convey something profound. We strive for a balance between atmosphere, melody, and storytelling, but in the end, it’s always the emotional impact that prevails. For us, every song is a journey meant to evoke a genuine reaction in the listener.

We always compose with a strong visual component in mind; our music unfolds as a sensory experience that goes beyond sound. The ambient and cinematic element is fundamental in our writing because it helps create that immersive dimension we consider essential. We want the listener to be able to imagine a scene, a place, an emotion—as if they were experiencing a film through music.

The balance between organic instrumentation and electronic elements is crucial in your sound. How do you decide when to let technology take the lead and when to keep things raw and human?

The sound component is fundamental for us because it is through sound that our compositions take on a unique identity. We are very attentive to sound research and prefer modern tones because they perfectly align with our emotional vision. At first listen, the use of cutting-edge sounds may give the impression of a shift towards digitalization, but in reality, it is the presence of organic sounds, like guitars, that prevails. Synthesizers and keyboards act more as a backdrop, creating an atmosphere that enriches and supports the sonic narrative.

Sometimes, we like to push the boundaries with layered sounds, combining guitars with highly expanded synthetic effects, creating a blend of raw rock and futuristic soundscapes. Our way of layering and orchestrating sounds inflates the overall texture in an original way, and the harmonic interplay gives life to an avant-garde effect. We aim to balance the electronic elements with more traditional instruments, creating a fusion that not only stimulates the listener but also enhances the emotions we want to convey. In this sense, technology provides us with opportunities that would otherwise be difficult to achieve, becoming a means to express complexity and deeper emotions.

You’ve mentioned feeling a sense of disconnection from the world post-pandemic. Do you think music can help bridge that gap, or is it also being affected by the same digitalization and detachment?

Yes, the world as I once knew it no longer exists, but as I mentioned, this isn’t necessarily a bad thing. It becomes a problem when we forget where we come from. Music and art, in general, are among the few truly powerful tools that remind us we are beings capable of deep emotions and a connection to something greater. Artistic expression is one of the most noble aspects of humanity—it allows us to rise above mere existence.

It doesn’t matter if music is influenced by digitalization; as I said, we ourselves use all the available technologies to express our vision. But what truly makes the difference is the soul behind the sounds. Even the most synthetic instruments can convey powerful emotions if used with intention and sensitivity. In the end, there is no gap to bridge as long as technology remains a means rather than the ultimate goal. The key is ensuring that the human element remains at the heart of everything.

Some of the lyrics on Nu-Man evoke existential and philosophical themes. Do you draw inspiration from specific philosophers, writers, or personal introspections?

The lyrics I write are often inspired by personal experiences or stories of people close to us. I love portraying the human soul as the central focus around which all our concepts revolve. My narrative style is often poetic and dramatic, centered on introspection, metaphors, and the unspoken. I draw inspiration from modern literature, but also from the cursed poets of the late 19th-century Decadent movement and classical philosophy. However, what stimulates me the most are film dialogues, which I consider an important source of inspiration.

I am particularly drawn to stories of people facing deep inner conflicts, often in difficult or dehumanized environments, where the struggle for survival intertwines with the search for meaning. Themes such as solitude, redemption, and the resilience of the human spirit are at the core of our compositions. The drama and pursuit of authentic emotions in these stories are what I strive to convey through music, with a vision that places the human being at the center—grappling with their vulnerabilities, yet also with their ability to endure and hope.

Given that you have a strong visual approach to music, how do you see the role of album artwork, photography, and music videos in complementing Nu-Man’s themes?

The album cover is actually a frame taken from the Isaac video, which I created almost entirely using the stop-motion technique. Initially, that image wasn’t meant to be the cover, but when we realized its visual and evocative power, we had no doubts—it was perfect.

The image shows the shadow of a mannequin falling backward, spinning into the void. A void that represents the absence of soul, of emotions. The mannequin is a symbol of all of us—manipulated, exploited, emptied until it dissolves, making way for the rebirth of a new being: perfect, yet devoid of humanity. This transformation embodies the core of our concept—the transition from man to a transhuman entity.

The Paradox video also fits into this reflection, but from a completely opposite perspective. I deliberately created it using Kaiber AI as a provocation, in contrast to Isaac, which is deeply artisanal and artistic. Isaac took me months of work, pouring in my passion for visual art, photography, and filmmaking. In Paradox, on the other hand, I let artificial intelligence generate the images, questioning how technology can be both a resource and a threat to artistic expression. Two opposing visions, yet both part of the same discourse: what remains of art and human identity in the era of extreme digitalization?

How do you feel about the current state of progressive rock and metal? Are there any new bands or artists that excite you?

Fortunately, progressive rock and metal continue to be vibrant and constantly evolving genres, even though today’s musical landscape is increasingly challenging for more complex and thought-provoking music. There’s also a recurring issue that often hinders this evolution: many listeners and critics approach music with blinders, clinging to stereotypes about what “prog” should be, forgetting that, by its very nature, it is a genre meant to be free from rigid structures and predefined formulas.

In past decades, bands like Rush, Queensrÿche, Tool, and later Dream Theater revolutionized the scene by blending diverse sounds and genres, allowing prog to evolve. Today, this process continues—perhaps in a less radical way—but it often goes unnoticed or is underestimated by parts of the audience.

Incredible bands like Leprous and the younger Sleep Token—whom I consider among the most innovative—are changing the rules of the game. I could also mention Tesseract or Periphery, groups that have successfully carried forward this evolution. A special mention goes to Sleep Token: I find them extraordinary. Their vocalist is outstanding, and they’ve managed—through great maturity and skill—to merge seemingly opposite genres like ambient, pop, hip-hop, R&B, prog, and djent. Not everyone can pull off such a feat, and the fact that they are dividing audiences between traditionalists and more open-minded listeners proves just how groundbreaking they are.

Before them, bands like Porcupine Tree, Katatonia, and A Perfect Circle took the sound to new dimensions, and we, in our own way, strive to follow that example—keeping the drive for experimentation and sonic exploration alive.

Italian progressive rock has a rich history with bands like PFM and Banco del Mutuo Soccorso. Do you feel a connection to that legacy, or do you see FARO as carving a completely separate path?

I am proud to be a part of a genre that, in the ’70s and early ‘80s, made Italy an innovative reference point on a global scale. It’s a shame, though, that for various reasons, it was born and died in that very period, leaving room for a music scene that, with few exceptions, has been a source of great embarrassment for me. Italy went from being a beacon of musical experimentation to a country dominated by trivial pop songs, often devoid of any artistic value and unable to compete with international realities.

As for Faro, I can say that no, we don’t feel at all like the heirs of PFM, Area, or Balletto di Bronzo. Our background is more closely tied to modern progressive rock in the British and American styles, which we still find more innovative and inspiring.”

You’ve spoken about your love for cinema and literature. Are there any particular films or books that directly influenced Nu-Man’s concept?

Cinema is a world that has always fascinated me for its ability to explore emotions, symbolism, and the human condition. If I had to choose one film that struck me, it would be difficult to narrow it down to just one, given the vastness of the works that have influenced me. Directors like the Coens, Tarantino, Lynch, and Coppola have an extraordinary ability to tackle complex themes, creating multi-faceted characters and stories that stay in your memory. These films, with their capacity to explore humanity through chaos, beauty, and mystery, are among the main sources of inspiration for Nu-Man. The search for truth, ambiguity, and unease that I find in their works are reflected in our album, which seeks to explore the human condition in a profound and challenging way, blending elements of introspection, evolution, and distortion. Although it is impossible to reduce all of this to a single film or book, I believe that the concept of Nu-Man emerges precisely from the confrontation with these complex worlds, where the individual confronts their own contradictions and the challenges of a transforming era.

The song Isaac presents a haunting metaphor of sacrifice. How do you approach writing lyrics that are both symbolic and emotionally immediate?

The lyrics of Isaac are deliberately metaphorical and unsettling, and as you rightly pointed out, the music and video complement the theme, creating a total work of art. My intention is to engage all the senses through art, creating an experience that goes beyond mere listening, embracing emotionality and visual vision. In this album, I was looking for a theme tied to change and transformation because every transformation, every evolution, inevitably involves the loss or death of something that we cannot take with us. Isaac, therefore, tells exactly this: sacrifice as a moment of necessary loss for a new birth, a new beginning.

My approach to writing lyrics is very spontaneous and natural. I don’t write from a pre-established plan, but try to be guided by the authenticity of the theme I choose. Even if the theme may seem fantastical or surreal, what matters to me is that it is authentic, that it reflects a deep human concept. I am not interested in stories that don’t center around the complexity of the human soul, even if they deal with themes like science or science fiction. The humanistic component must always be present, because it is what makes the story and emotions universal.

In the end, every lyric I write must belong to my most intimate emotions, the ones I feel deeply, on a marrow level. I never write anything that I don’t truly feel is mine, that doesn’t resonate with my experience and my deepest reflections. That’s why the themes I explore, even when sometimes fantastical, are always rooted in emotional reality and human experience.”

With streaming dominating music consumption, how do you feel about the way listeners engage with albums today? Do you think Nu-Man is best experienced as a whole, or does each track stand on its own?

Today we are living through one of the worst moments for music with true artistic value. Music, unlike 20 or 30 years ago, is often reduced to a simple pastime, a fast and superficial consumer product. In the past, however, it was deeply rooted in people’s lives: it represented a social message, it was the soundtrack of existences, memories, and human experiences. It was a means of cultural and political expression, capable of influencing fashion, thoughts, lifestyles, and entire generations. Today, it is increasingly rare to find listeners who experience it with that intensity, but there is still a small niche of true music lovers, people who seek authentic emotions and explore various genres with passion and expertise.

Nu-Man is an album that cannot be listened to casually or superficially. It is a sonic journey that requires attention and immersion, to be savored track by track or in one go for those who have the patience and sensitivity to let themselves be carried away. Each song tells a story of its own, but all are connected by a red thread that grows and evolves from the first to the last note. It is an album designed for those who seek a deep musical experience, for those who want something more than just background music.

FARO’s sound has evolved dramatically since Gemini. Do you think you’ve found your definitive sound, or do you expect more transformations in the future?

To think that we have arrived or found the definitive sound would, for us, be like declaring the end of everything. Each album is a journey in itself, an exploration of sounds and approaches that are always new and unknown. Our music thrives on evolution and experimentation, and the idea of crystallizing into a fixed style would go against our artistic nature. Each record is the reflection of a specific moment, but our path is in constant transformation, and it is this search that always pushes us forward.

What was the most challenging track to write or record on Nu-Man, and why? 

The making of this album challenged us on many fronts, with some tracks being particularly complex to develop. Paradox, for example, was one of those songs we almost gave up on because it seemed like it couldn’t find a clear direction. But the perseverance of Angelo and I pushed us to rework it several times, turning it into one of the album’s most successful tracks, so much so that we chose it as a single. Nothing in Nu-Man was easy, but challenges are part of our journey, and we’re always ready to face new ones.

Looking ahead, do you have any new creative directions or collaborations in mind for the next phase of FARO?

The Faro are aware that the journey is not over yet, and the next album will bring with it new elements and surprises. We’re at a turning point, feeling the need for a new change. We are not capable of repeating ourselves. Of course, the things that define us have shaped our personality and uniqueness, which in turn define our sound, but research and experimentation are always at the core of our creative process. We can’t help but explore new ways of expressing ourselves, and this can only open up new possibilities. As for collaborations, we are wide open to them: there could be big surprises on the next album. The emotion machine is always in motion, and all we can do is fuel it, every time and with more intensity!

Nu-Man is out now; stream/download from Bandcamp.

Echolyn’s TimeSilentRadio II and VII Hits Bandcamp Pre-Order For March 7 Release

On By russellclarkenzIn progressive rockLeave a comment

I was very fortunate to pre-purchase Echolyn’s magnum opuses (opi?), TimeSilentRadio II and VII, back in December just before the deadline for early release came down.

Us pre-purchasers received a sneak peek just before Christmas day, and we received both albums in digital form since the new year, but under omertà – no share!

So I haven’t said anything about them, though I have really wanted to.

Echolyn has just announced them for pre-order on Bandcamp, so it’s probably now ok to sing like a boid.

Suffice to say, they are superb recordings – the longer tracks on II appeal to my brain a little bit more than VII, but they are both amazing records.

The ultimate accolade I can offer is that I listen to II and VII on my daily walk – they are worth the investment of my time and thought, and emotion.

Pre-orders are open. Release is March 7th.

Go! Order! You won’t be disappointed!

https://echolyn.bandcamp.com/album/timesilentradio-ii

https://echolyn.bandcamp.com/album/timesilentradio-vii

THE PROG WILL LIVE ON

On By Adam SearsIn progressive rockLeave a comment

If you have heard any of the progressive rock albums released in the last 25 years, chances are there are several of them that were engineered or mixed by Rich Mouser. He has several hundred credits to his name including Spock’s Beard, Transatlantic, Neal Morse Band, District 97, Magic Pie, Flying Colors, Tears for Fears, Pattern Seeking Animals, Liquid Tension Experiment, Moon Safari, and Lobate Scarp. His latest mixes include “No Hill for a Climber” for Neal Morse & The Resonance and Joe Deninzon & Stratospheerius’ “Impostor!”.

Two weeks ago, the Los Angeles wildfires decimated Rich’s Mouse House Studio. Not only was it his studio but, with his wife Bouchra, they remodeled it over the last couple years to make it their home, as well. Fortunately, the couple was able to evacuate themselves in time, but most of their belongings, including a vast collection of vintage musical equipment (some aged over 60 years) and containing the studio’s centerpiece of a rare 56-input Calrec UA8000 mixing console, were taken in the Eaton fire, located in Altadena, California.


Ask anyone who has recorded there and they will tell you it was a magical place. 

Rich’s daughter Nicole has started a GoFundMe page to help him with the costs of replacing some of his instruments and supplement the cost of the sound equipment that was destroyed. She said this in a recent post on Facebook:

“To say we are broken by this loss would be an understatement; It’s honestly surreal. Losing a home is devastating, so losing your life’s work as well is insurmountable… Dad has a wonderful fascination with music that has consumed him since he was 15 years old, and it’s with that dedication he created The Mouse House Studios. Over the decades he has channeled his passion for making music towards helping, and collaborating with musicians to achieve their artistic vision. The heart that was in this place was palpable; so many talented people stepped-foot through the doors; so much creativity…This place was not just for making music, but a place for friends and family. Birthdays, graduation celebrations, family get to together’s and holiday’s. I can not stress enough how much hard work was put into this place; year by year, the house and studio blossomed – it’s honestly hard to grasp it’s gone…The outpouring of love that has reached my dad is overwhelming. It’s amazing how you can go through tragedy, and still experience the beauty of life at the same time; the beauty of love and friendship. If you are in the position to do so, please donate what you can. Every bit helps. If you can’t, at your convenience please share this fundraiser around.”

The Prog community has already showed so much support with Neal Morse and Mike Portnoy ,among some of Prog’s biggest names, taking time to help get the word out.

My personal connection with Rich started when I was looking for someone to mix Lobate Scarp’s debut album in 2012. Being a huge fan of Spock’s Beard and Transatlantic, I was well acquainted with his phenomenal mixes. In a million years did I never thought he’d agree to work on “Time and Space”, (I was a nobody and a recent transplant to California) but we met, hit it off, and he loved the project.  Since then, I must have spent over 3000 hours at The Mouse House, much of it creating our most recent album, “You Have It All”, which Rich co-produced, mixed, mastered, and played several additional instruments.  The finished album became my proudest accomplishment, and it wouldn’t have been possible without Rich. We spoke the same musical language. Rich and his wonderful wife Bouchra always welcomed me and my musical cohorts with open arms and open hearts and many times Bouchra would welcome us with delicious omelettes when we arrived for morning sessions.   We were getting ready to go back into the studio to record our next album there, but obviously that will have to be postponed because not only is the studio gone, I can’t picture working on this with anyone but Rich. Hopefully, with help from the Prog community, Rich and Bouchra can build another studio/ home, and we can all start making music again soon.

Thanks to the generosity of Prog fans and musicians all over the world, Nicole’s Gofundme is more than halfway to its $75K goal. https://www.gofundme.com/f/help-my-dad-rebuild-his-musical-legacy

Rich, in good spirits, posted last week before heading to the UK for MorseFest: “Thank you all for the tremendous support and love through these uncertain times. It’s like Big Hugs from all over the world!!” https://www.facebook.com/rich.mouser/videos/1795775040827089/?ref=embed_video

So many amazing memories were made at The Mouse House and while we are grateful that Rich and Bouchra and their families are safe, we are looking forward to making even more in the Mouse House 2.0.

Pocket Bandits

POCKET BANDITS: Prioritizing Melody and Arrangement

On By NickIn progressive rockLeave a comment

New York-based progressive fusion trio Pocket Bandits are on the verge of launching their full-length debut album titled Nine. The nine-tracker is full of adventurous, improvised, but also calculated musical elements that as a whole work splendidly well. The members of the band—Simon Bjarning (drums), Samuel B. Lupowitz (organ), and Joe Massa (guitars)—speak for Progarchy about the upcoming release, inspiration, influences, and more.

“Nine” is your debut album—what’s the story behind its creation, and why did you choose the title “Nine”?

SAM: We were into the idea of doing a retro-sounding, not-quite-self-titled debut, something like With the Beatles or Ladies and Gentlemen: The Rolling Stones. I think Simon suggested By Pocket Bandits, and when we thought about what was by Pocket Bandits — an album? A bunch of songs? Nine songs! — we wound up with Nine by Pocket Bandits.

SIMON: We all have a love for the Beatles and since there are nine tracks on the album, we also decided to make a reference to “Revolution 9” from the White Album.

Your sound is described as a modern twist on the old-school organ trio. What inspired you to explore this format, and how do you make it your own?

SAM: One of my musical heroes, John Paul Jones from Led Zeppelin, once said he learned to cover bass parts while playing keyboards so he could switch instruments without having to worry about “some bass player” messing him up. I work as a keyboard player 90% of the time these days, but I love playing bass, and I was really inspired by the challenge and the liberation of covering both. Joe was the one who had the initial idea to put an organ trio together; he’s a big fan of Eric Krasno and Soulive, and Simon came into the fold with a real love of three-piece bands of any instrumentation. But I think early on any attempts to play “traditional” jazz organ trio music went by the wayside; we just kind of play and write what we like and make it work with this instrumentation, which winds up sounding pretty far from, say, Jimmy Smith or Delvon Lamarr.

Each of you brings a distinct musical background to Pocket Bandits. How do your individual experiences shape the band’s sound?

SAM: I think spending the majority of my musical life accompanying vocalists and writing lyrics has been a huge influence on how I approach playing in an instrumental ensemble. As much as we like to write complex, unexpected, intricate music, we also prioritize melody and arrangement. We want you to be able to sing and dance to our music as much as if there were vocals. 

SIMON: We are very open to how each member plays, and we immediately explore our own sounds to be a good fit.

Can you walk us through the creative process for a song like “The Pocket Bandit” or “Second Drink”? Where do you start, and how do the tracks evolve?

SIMON: “The Pocket Bandit” was actually quite simple. I wrote a bass line – almost making the riff the melody. It’s a funny little tune and I had no idea what to call it so the working title became “The Pocket Bandit” and it stuck 🙂

SAM: As collaborative as the end results wind up being, all three of us are pretty self-sufficient as composers. Generally one of us will bring in a demo with the tune and arrangement (with at least rough examples of the full instrumentation). Once we get in a room together, our natural personalities tend to color in the black-and-white outline of the demo, even if the tune is mostly written already. Often one of us will start filling in melodies or extra hooks that become a crucial part of the song, but if you listened to Joe’s pandemic-era demo of Second Drink, most of what’s on the record is there, at least in an embryonic state. You’d miss a couple of things though — like, imagine “Come Together” without Paul McCartney’s bass part. It’s not the same tune, even though, technically, it is.

Simon, you’ve performed with everyone from Evanescence to symphony orchestras. How does your background in classical and rock influence your approach to drums in Pocket Bandits?

SIMON: Yeah, it’s been a fun and diverse ride for sure. Those gigs were Livenation gigs, and I performed with bands like Evanescence and others as a percussionist. The thing (one of many) I love about Pocket Bandits is that I’m kind of leaving the idea of genre behind. Of course, we’ll have approaches as we work on tunes, but most of the time, I’m just letting my ears guide my hands and feet.

I guess my background spoke louder years back, but as I’m getting older – in my case anyway – I’m becoming more my own player and actually liking what I do, haha. I grew up in Copenhagen, Denmark, and as it is over there as well as here, there’s a bit of pigeon holing going on in regards to being a jazzer or a rocker or a classical player. I’ve always been a little bothered by that, so maybe unintentionally I’ve never thought I was one type of player. I do, however, try to stay inspired, listen to my own sound, develop that, and discover new recordings or check out videos on YouTube, etc. I’m sure that there’s a pattern somewhere that reveals the true nature of my background, hahaha. Some days I listen more to heavier styles, some days it’s more jazz, and I have my classical periods as well. 

Sam, as the Hammond organist and multi-tasker juggling basslines, melodies, and harmonies, how do you balance the demands of your role in the trio?

SAM: it’s been an exercise in balancing what comes naturally to me with how far I can push my chops. As an organist and as a bass player, I have strong opinions about what I would want each instrument to do on its own, and I will hit the woodshed until I’m able to execute those independent parts together. That said, the most important thing is that the music FEELS good. As much as I want my left hand (and foot) to be James Jamerson, and as much as I want my right hand to sound like Billy Preston or Cory Henry, it’s also been educational to learn that sometimes less is more. Being crafty and finding ways to play the two roles in a way that locks together rhythmically, rather than trying to integrate two independent parts, has made for some slicker arrangement choices that sit in the pocket better than when I’m trying to force it too much.

Joe, your electric guitar work on the album is described as vibrant and intense. Who are your biggest influences, and how do you approach your tone and phrasing?

JOE: Influences include but are certainly not limited to: Larry Carlton, George Harrison, John Frusciante, Eric Krasno, John Scofield, Andy Summers.

The biggest factor in approach is not having to account for a vocalist so it’s important to keep a balance between creating interesting and captivating melodies and making sure all the chord changes/harmonies are covered. Being an instrumental group also opens up some more options when it comes to composition as well, both from a structural and melodic standpoint and it’s a fun challenge to walk the balance of pushing the envelope while still trying to be as accessible as possible.

You’ve mentioned being inspired by bands like Soulive and Snarky Puppy. What elements of their music do you admire, and how do you incorporate those influences into your own compositions?

SIMON: Those guys are so good! The inspiration no 1:-). As a drummer, I use the energy and the jazzy and gospel-like elements to stay inspired. I pay attention to where Sam and Joe are going and I structure my parts around what they’re doing, leaving room for improv, in the same fashion as SP and Soulive.

SAM: We love complex music that makes you dance! These bands have chops and progressive ideas for days, but it’s always the groove that grabs your attention first.

The album closes with “The Sidler,” a jazzy and bombastic track. What was the inspiration for that piece, and how do you approach the challenge of ending an album with such a bold statement?

JOE: I honestly wrote this song with the intention of using it as an album closer. I had written the outro separately from the first part of the song and once I put the two sections together, it came out pretty seamlessly.

SAM: This was definitely the song we put the most extra studio production into — more layers of guitars, keyboards, and percussion than we have access to live as a three piece. Playing “Sidler” live has forced us to be really thoughtful about dynamics and textures, making sure we really let it build gradually and not peak too early. We certainly kept that concept in mind for the studio, but being able to build in extra parts and utilize some different instruments to expand the orchestral palette really helped us intensify the build.

Beyond your original compositions, you’re known for unique covers of artists ranging from The Beatles, Steely Dan to Super Mario Brothers. How do you choose which songs to reimagine, and what do you hope to bring to those renditions?

SIMON: My approach is usually “Hey, I like this tune. Should we cover it?”  Nothing deeper than that on my end. We cover Life On Mars as well as Kid Charlemagne. Those are very far apart stylistically, but they have in common that they are really great tunes. That’s a big draw for us.

SAM: We just want to have fun! We love to choose songs that get a little “aha” from the audience, especially songs that land in an interesting way without lyrics or vocals. I think music from video games or movies or TV would be harder to integrate into a band with a singer, but the themes from Succession or Super Mario 64 are familiar in a different way than what might come up on a Spotify playlist. And I don’t think people generally expect three white guys around middle age to bust out contemporary pop tunes, and while our audiences have been very receptive to our more challenging music, I love to feel the lift from the audience when we hit the chorus of a Chappell Roan or Billie Eilish song. And sometimes our song choices are just about a power move. We can cover Kid Charlemagne because Joe can crush the guitar solo. We can bust out Kashmir because we can give it the weight and grandeur that it requires without it feeling like an underwhelming bar band version (and I don’t have to try to sing or dress like Robert Plant). We like to flex those muscles! We’re in a weird, challenging time for live music, and I think we all want to make sure we deliver freshness and surprise while still being inviting, rather than alienating.

How has the Central New York music scene shaped your journey as a band, and how do you see your music reaching audiences beyond the region?

SAM: Joe is born and raised in this area, his father is also a musician, so he knows this scene well. Simon and I both moved to this area from other parts of the world in the last decade or two, and I think we both love the opportunity and diversity of musicians and styles we’ve connected with. Pocket Bandits seems to fill a musical niche that’s different than a lot of other things going on in our area, but it’s also engaging and (to my surprise and delight) accessible to people stumbling across us at a bar. But part of the appeal of this project has been that it’s a little easier to pack up and go — we’ve all got families and extramusical commitments, but we all want to get out there and play for as many people as possible, and I’m hoping some jazz and progressive rock festivals, along with breweries and other small indie venues, will take to us too, as we begin to book gigs in support of Nine by Pocket Bandits.

Your live performances are clearly a big part of your identity. What do you think makes a Pocket Bandits show special and memorable for your audience?

SAM: I think it’s our chemistry, that we’re having a great time seeing where the music is going to take us. I think that joy is infectious. These guys make me play better, and I’m always as excited as anyone to see what’s going to happen when we get going!

SIMON: I think our focus on musical diversity and our striving towards virtuosity. And to put smiles on people’s faces. Positive energy is important to us. 

The pandemic played a role in forming Pocket Bandits. How did that period of reflection and limitation influence the band’s vision and music?

SAM: Joe and I had been playing together in multiple bands nonstop for so many years, and I think the two of us were just dying to get back to playing together after this sudden, unplanned hard stop. With all the challenges around lockdown and people taking care of their families and the other life changes that came with Covid, something small and low maintenance (with no vocals, you don’t even need a PA system) made sense. It just felt more manageable to try for something more intimate than the seven-to-ten-piece bands with horns and a bunch of vocalists we’d been working in. And the downtime meant Simon was available, and we’d been admiring his playing in the region and hoping for a chance to work more closely with him. 

But all that said, the stress and anxiety of that time did make it challenging for me to rise to the occasion of covering organ and bass on this very complex music. It was a couple of years of casually working on music as a trio before I felt I could get it together to really commit. After those first few variant waves were past us, we really hit the ground running with writing and gigging.

Funk, jazz, progressive rock—your music spans multiple genres. How do you strike a balance between these influences while staying true to your sound?

SAM: Honestly, I think it’s just what comes out when we play! We’re all heavily inspired by those genres in different ways, and it all becomes part of the stew. It feels authentic because it is authentic — not a lot of thought about “is this too jazzy, is this too aggressive.” It’s just what we like and what we do!

What’s next for Pocket Bandits after the release of “Nine”? Are there plans for touring, new music, or other projects in the works?

SAM: We’re not looking to hit the road for months at a time, but we’re trying to travel around the northeast US and beyond as much as we can, anywhere that will have us. It’s always a challenge getting a new ensemble off the ground, but with this album out in the world, we’re really looking forward to playing for as many people in as many places as possible. And we’re always writing, so I don’t think it will be very long until the next record is underway!

Pocket Bandits’ Nine is out on January 24, and is available for pre-order on Bandcamp. For more about Pocket Bandits, visit their website. Follow the band on Facebook and Instagram.

Bakelit

BAKELIT Brings Progressive Rock and Artful Ambition

On By NickIn progressive rockLeave a comment

Swedish keyboard maestro Carl Westholm, known for his work with Carptree, Candlemass, and Avatarium, has launched his latest venture, Bakelit, with the release of their debut album, Asleep or Insane. This project merges the atmospheric depth of progressive rock with the experimental edge of electronic art rock.

In this exclusive interview, Carl shares insights into the creative process behind Bakelit, the challenges of going solo, the inspiration behind their music, and what fans can expect next from this new project.

Asleep or Insane by Bakelit

Carl, you’ve been involved in many iconic projects like Carptree, Candlemass, and Avatarium. What inspired you to create Bakelit, and how does it differ from your previous work?

This project actually started with an ambition to create something entirely on my own, without involving anyone else. Over the years, I’ve had a folder on my computer filled with songs that didn’t fit into my other projects. It’s not that I don’t enjoy collaborating with other musicians—I do—but sometimes, it’s refreshing to try something different.

At first, I wasn’t sure where this would lead, but as the project evolved, I realized some songs needed input from others—like drums, guitar, and lead vocals. That’s when I reached out to some trusted friends and collaborators from my past projects. Although the songs were already written, their contributions elevated the music to a whole new level.

The songs for Asleep or Insane have had a long journey. Could you share more about how they evolved into their final versions?

The earliest versions were purely instrumental, featuring only synthesizers, drum machines, and my organ or Fender Rhodes. Occasionally, I’d add bass. Over time, melodies emerged, and I began experimenting with vocal arrangements, but I wasn’t satisfied with the results.

I eventually brought in my friends. Lars played drums while listening to the original drum machine tracks, which gave his playing a unique groove. We decided to keep both layers, and it worked better than I’d expected. Similarly, Öivin and Cia added their personal touch to the lead and background vocals, creating something I could never have done alone.

Bakelit blends progressive rock with electronic art rock. What influenced this fusion, and how do you balance these two styles?

It’s always difficult to pinpoint influences, especially with this project. I’d say the process itself shaped the sound more than anything else. There wasn’t a conscious decision about the final style—it emerged naturally as the songs developed.

You brought collaborators from earlier projects into Bakelit. How did these relationships shape the album?

I gave everyone a lot of freedom. The songs and melodies were already written, but I left the interpretation and attitude up to them. For example, Lars and Ulf approached the drums and guitars entirely in their own way, which added a unique character to the album.

The singles “Coolest Place on Earth” and “Remember Who You Are” introduced Asleep or Insane. Why were these tracks chosen, and what do they represent?

“Coolest Place on Earth” was the first single because we all felt it was the most accessible track, with a catchy chorus while still being a progressive rock song. It’s a bit of a departure for me, but I was happy with the result.

“Remember Who You Are” came next. It’s a heavier song that showcases all the band members’ talents. Honestly, I don’t remember exactly why we picked it as the second single, but it felt like a natural follow-up.

The music videos have received praise for their dreamy, surreal aesthetic. How important is the visual aspect to Bakelit?

Thank you! I wanted the videos to feel dreamy and slightly unreal, but still introduce the band without resorting to the typical “five people playing on stage” setup. It’s another mix of two worlds—visual and musical.

You released Asleep or Insane under your revived label, FOSFOR Creation. Why this choice, and what does it signify?

FOSFOR Creation has been my own label for over 20 years. I started it with Nicas (from Carptree) to release our music independently. It feels good to have control over the process, even though working with a major label might have offered more resources. At this point in my career, it’s easier to rely on my own efforts rather than reaching out to labels for help.

The album title, Asleep or Insane, suggests duality. What themes or ideas run through the album, and how did you choose the title?

I love the duality in the title—it reflects how I often see the world. Sometimes, you’re not sure if you’re dreaming or just going insane. While the album doesn’t follow a specific concept, the songs are connected by this sense of uncertainty and introspection.

Are there specific tracks on the album that hold special significance to you?

“Coolest Place on Earth” stands out for me because I dared to take a different direction, and it worked. It’s a song I’m particularly proud of.

What has the reception been like for Asleep or Insane, and how does it feel to see this project come to life?

I’m thrilled with the reception, especially in the past few days as the number of listeners has grown significantly. Of course, I’d love for more people to discover it, but the positive reviews we’ve received so far are very encouraging.

What’s next for Bakelit? Can fans look forward to live performances or new projects?

Absolutely! Everyone in the band is excited about the idea of performing live, so we’re working on putting together a live act. I also hope to explore more creative projects in the future.

As a seasoned musician, how do you see the evolution of progressive rock, and where does Bakelit fit into it?

Since the album is so new, I still can’t listen to it objectively or place it within the genre’s evolution. Ask me again in a year!

What do you hope listeners take away from Bakelit’s music, especially this debut album?

I hope listeners give the album time to grow on them and experience its blend of progressive rock and electronic music. It’s a fusion of two styles that I think offers something unique.

Asleep or Insane by Bakelit is out now, offering a fresh and innovative take on progressive music. Check it out on Bandcamp here. Follow Bakelit on Facebook and Instagram, and visit their website.

Big Big Train Live in ’25: The Likes of Us in North America Tour Announced for April 2025

On By kruekuttIn Big Big Train, progressive rockLeave a comment

“Big Big Train’s sound is as tight and lush as ever, but it’s also very much a rock show… There’s an edge to their rich textures. An urgency that keeps even the gentlest moments interesting. Almost everyone has a lead-ready voice… Attributes of a band quietly rewriting the rules for what a rock group ‘should’ be. It’s prog rock in excelsis… but always with a song in its heart, even without words. How cool it is that a group like this exists today.” (Prog Magazine live review, November 2024)

From Inside Out/Sony and our good friend Roie Avin:

Big Big Train are delighted to announce seven further shows to take place in April 2025 in North America. In addition to returning to the United States (following a successful short run of shows in March this year), the band will also make its debut in Canada, with details of two Canadian shows expected to be announced shortly. The majority of these shows will take place following the band’s co-headlining appearance on board Cruise To The Edge. In addition, Big Big Train will play for the first time in Portugal at the beginning of May at the Gouveia Art Rock festival.

At these performances the seven piece band will be promoting their recent studio and live albums The Likes Of Us and A Flare On The Lens, which were released by InsideOut/Sony in March and September respectively this year to great critical acclaim.

Lead vocalist Alberto Bravin says: “We really enjoyed bringing Big Big Train to the United States for the first time earlier this year and playing to such enthusiastic audiences. We’re excited about returning and playing a mixture of recent and older material. As well as visiting some venues and locations that we played in March this year, we’re also bringing the band to some new areas as we seek to build our profile further. With two nights again in New Jersey, we’ll be varying the set list to some extent as well. Roll on April!”

Drummer Nick D’Virgilio comments: “We had an absolute blast last year playing in the States and on board the Cruise, so we were keen to do a longer run of shows this time around, including venturing north of the border into Canada. We’re taking a step by step approach to North America – if we can make this second run of shows successful, then the next step would be to get further west and south.”

Violinist Clare Lindley continues: “I’m looking forward not only to Big Big Train’s return to North America but also to the band playing for the first time ever in Portugal at Gouveia Art Rock. The festival has a great reputation and we relish the opportunity to add to the list of great bands that have played there over the years.”

Bassist Gregory Spawton says: “Over the last couple of years Big Big Train has really matured as a live band. Since September 2022 we’ve played almost 50 live shows and I think audiences have been able to see and hear how strongly we’ve gelled. This line-up works so well together, both musically and socially, and we’re keen to build on our current momentum.”

Keyboardist Oskar Holldorff adds: “On tour in September and October this year it felt as if we grew as a band every night. Alberto, NDV, Greg, Rikard, Clare and I simply love playing together and we feel we’ve found a real gem in Paul Mitchell, who joined us on trumpet in September and October and will be with us again next year.”

For the balance of 2025, Big Big Train will focus on recording their next studio album, expected to be released by InsideOut/Sony in the first half of 2026.

“We’ve got some great material in progress already for the next Big Big Train studio album,” comments guitarist Rikard Sjöblom. “Everyone has been contributing to the writing process to varying degrees and we’re confident about building on the foundations that we laid with The Likes Of Us.”

The band’s shows in North America and Portugal are likely to be their only appearances in 2025.

BIG BIG TRAIN – LIVE IN ‘25 – THE LIKES OF US IN NORTH AMERICA TOUR

Wednesday 2nd April – Sweetwater, Fort Wayne, Indiana, USA
Friday 4th April – Wednesday 9th April – Cruise To The Edge
Thursday 10th April – Arcada Theatre, St. Charles, Illinois, USA
Friday 11th April – The Token Lounge, Westland, Michigan, USA
Sunday 13th April – Electric City, Buffalo, New York, USA
Thursday 17th April – Regent Theatre, Arlington, Massachusetts, USA
Friday 18th April – Rivoli Theater at The Williams Center, Rutherford, New Jersey, USA
Saturday 19th April – Rivoli Theater at The Williams Center, Rutherford, New Jersey, USA

Tickets for all shows go on sale at 10am Eastern time on Friday 13th December. A pre-sale open to the band’s 2025 tour patrons and members of the Passengers Club for all shows (except Cruise To The Edge and the Gouveia Art Rock festival) opens at 10am Eastern time on Wednesday 11th December. Ticket links and Tour Patron information are available at www.bigbigtrain.com.

See you in Illinois or Michigan, fellow Passengers?

— Rick Krueger

The Osiris Current - One

Review: The Osiris Current’s “One”

On By NickIn progressive rock1 Comment

The Osiris Current’s One is a progressive rock/metal album that grabbed my attention from the first listen. The California-based band blends heavy desert rock with occasional oriental influences, creating a sound that is extremely expansive. With five tracks, each offering its own unique experience, One proves to be quite a dynamic and unpredictable journey.

The album opens with “Touching the Void,” a track that would undoubtedly shine in a live setting. The explosive vocal delivery, combined with crushing riffs and a thick desert rock atmosphere, immediately establishes The Osiris Current’s distinct sound. The energy is palpable, drawing you into a world where the heaviness of the music feels like an unstoppable force.

One by The Osiris Current

“The Plan” continues this intensity, with pounding drums, sharp vocals, and a relentless groove that builds into something almost cinematic in its power. The track’s blend of progressive metal elements and raw aggression is impressive, but it’s “Sanctuary” that really shows the band’s range. The song shifts effortlessly between moods, with guitar melodies flowing like water, perfectly capturing the album’s fluidity. It’s this seamless integration of heaviness and melody that makes One so engaging.

One of the most striking features of the album is the way The Osiris Current balances intensity with moments of beauty. “Mud” is a prime example, where delicate, ethereal female vocals weave through gritty, tank-like riffs. The contrast between the soaring vocals and the heavy instrumentation creates a mesmerizing effect, demonstrating the band’s ability to craft complex soundscapes that don’t sacrifice aggression.

The closing track, “Around the Bend,” is an epic 11-minute journey that encapsulates everything the band excels at: atmospheric tension, aggressive grooves, and soaring melodies. The song’s layers of vocals, riffs, and drums come together in a way that feels epic and intimate, a perfect finale to an album that’s anything but predictable.

One is a stunning debut that showcases the band’s ability to mix heaviness with beauty, intensity with subtlety. The songwriting is impeccable, the performances are top-notch, and the production is flawless. This is a progressive metal album that will likely find its way onto many year-end lists, providing it reaches right ears. If you’re a fan of forward-thinking metal with a unique sound, One is a must-listen.

A Musical Memoir Like No Other

On By alisonscolumnIn progressive rockLeave a comment

Musical memoirs embrace many styles and formats, but it’s probably fair to say there has never been a story quite like that of King Crimson alumnus, Jakko M. Jakszyk.

For starters, that’s not his birth name, a fact he is keen to point out from the very beginning and provides a key to the essence of his story.

The book’s overriding theme is his personal quest to establish his true identity against the backdrop of an extraordinary musical career, crowned by fulfilling a personal dream of becoming a member of his teenage heroes, King Crimson.

That he has been able to carve out a successful career as a musician, vocalist, songwriter, composer, documentary maker, producer and sound engineer, as well as one time actor – and once, almost a promising soccer player – is testament to his extraordinary talent, superhuman determination and unwavering tenacity. To write this story is to try and make some sense of it all.

But what is clear is that his existential journey towards finding himself has been the driver for informing a greater part of his creative life.

There are so many facets to his story, but as his “public” name would otherwise suggest, Jakko, a nickname given to him instead of his birthname Michael, of Irish/America parentage, but was adopted by a Polish/French couple when he was a babe in arms whose surname he took.

Norbert, his adopted father, came to England after World War Two. He had been spared action on the Russian front due to an accident which damaged his hand, but ended up fighting with the Allies for the Polish Free Army in Italy. However, his wartime experiences left indelible internal scars. He met his wife Camille when she came to England and worked for an American family close to where he had settled.

Royal Albert Hall

Jakko’s childhood proved difficult and oppressive. His adoptive father was a strict disciplinarian who never really appreciated what Jakko did, even when given the VIP treatment at the prestigious Royal Albert Hall in London to see him perform many years later.

Discovering bands like Henry Cow, Matching Mole and ultimately King Crimson, drew him towards the flame of music and the creative arts when he was still at school.  “There was a huge hole inside me; I was just desperately trying to fill it up,”  Jakko recalls.

An overheard conversation finally paved the way to him finding his birth mother, an Irish woman, Peggy Curran, a singer in a 50s band, and the reality that his father was in probability a US airman stationed in the UK in the 50s.

As he served his musical apprenticeship in various bands, he finally found his mother, calling her at her then home in Arkansas but from the outset, she would not reveal his father’s identity.

What he did discover then was that she had married again, had three sons, also a daughter Debbie who was Jakko’s full sibling. He and Debbie finally met up in New York in an attempt to put together some more pieces of the very fractured family jigsaw.

His solo career was thwarted several times, promised album releases never materialising. However, when Geffen Records showed an interest in his work, Jakko had a chance to go to LA where he met soon to be lifelong friends, the songwriter, Jon Lind and Larry Williams, sax player with the influential Seawind horn section, that was featuring on two of his latest solo album’s tracks.

Finally, he met his mother and extended family in Little Rock, Arkansas. It proved a difficult and uncomfortable meeting because of her never-ending manipulation of the truth and her continual self-denial.

Michael Jackson

Other Stateside meetings brought him into contact, accidental or otherwise, with David Bowie, Jeff “Skunk” Baxter and Gene Simmons.

However, it was his encounter with Michael Jackson at Westlake Audio in LA which left, not surprisingly, something of a lasting bizarre impression. Laying down some of the tracks for Bad with Quincy Jones, Jackson told Jakko he liked his shoes, which led into a surreal conversation about shoe shops in London’s famous shopping area, Oxford Street.

Meanwhile, his family situation got even more complicated when he found he had another full brother, Darren, who was living in Florida but they eventually met in England.

On the musical front, Jakko’s star continued to rise when he joined the ranks of the 21st Century Schizoid Band comprised four alumni from King Crimson who made albums and toured This led to him making the highly acclaimed Scarcity of Miracles with Robert Fripp and Mel Collins release in 2011.

An invitation to sing Entangled with Amanda Lehman on Steve Hackett’s Genesis Revisited II thrust him even further in the Prog limelight. Then came the call he had been waiting for all his life – from Fripp, asking him if he would accept the challenge of being Crimson’s second guitarist and lead singer. As his friend Nick Beggs would quip: “Well that’s the longest audition in rock history!”

Joining King Crimson would be the pinnacle in Jakko’s remarkable career. However, his personal situations was far from resolution. His adopted parents both died (and provide the most heart-breaking of reasons for the naming of this book). More revelations from the USA emerged, his mother dying, taking even more secrets with her including the possibility of there being a further offspring

And finally, reaching the age of 64, Jakko learned the identity of his father, but having died in violent circumstances at a very young age, there’s no knowing if he was ever aware of Jakko’s existence after he returned to the States and married his childhood sweetheart.

Genesis

What is more, following the storming of the Capitol Building on 6th January 2021, Facebook posts showed that one of his Arkansas half-brothers is a white supremacist with views that are a total anathema to Jakko and the creative world which he has inhabited most of his life.

This summary only scratches the surface of this remarkable, heart-wrenching and utterly compelling story, which stuns, confounds, delights, astounds, amazes and horrifies in equal measures.

As well as the constant deeply affecting quest for identity, there are plenty of lighter moments too, one of them being a “lost” weekend he spent in Amsterdam with his son Django, which takes father/son bonding to a new “high”!

Who is Jakko Jakszyk? With the constant shifting sands that still underpin his life, he fears he will never ever know.  Even at the end of his story, he remarks: “The answers themselves just manifest more questions. And then there are no answers anymore.”

To buy the book, go to: https://thebandwagonusa.com/collections/kingmaker-publishing

Review: The Snozzberries’ Self-Titled Exploration

On By NickIn progressive rockLeave a comment

It could be said that Asheville’s THE SNOZZBERRIES is one of the rare bands on today’s scene that bring such a fruitful mixture of progressive rock, psych rock and funk. They don’t limit themselves to any confines in their music. While they are very technical people who can play with precision this doesn’t mean that the band goes and tosses around excessively long instrumental sections just to keep reminding the listener of their skill. For being the sophomore release, The Snozzberries is the upcoming album from the band, and it is a record that needs time in order to be fully comprehended. There are styles and musical circumstance that get explored on this release only.

Backing somewhat dark themes Ethan Heller’s powerful vocal delivery which provides the ideal vehicle to deliver the words. Another one of THE SNOZZBERRIES’ strengths is their ability to have complex songs that still manage to be packed in relatively short pieces. This allows choruses to become hooks, and don’t rely on uber skilled technique to impress. Like stated earlier, the experimental aspects of the music are well above par.

The energetic drumming gives the album a tribal feeling that along with the twisted psych-y melodies creates a perfect atmosphere. The music on The Snozzberries is very upbeat and catchy which helps visualising it, almost making it seem as if the listener is a protagonist. All of the melodies are completely memorable and brilliantly written. The songs vary in length, but the music still manages to be very accessible.

The Snozzberries is out on November 1st. Follow THE SNOZZBERRIES on Facebook and Instagram.

Gladiolus

Review: Gladiolus – Inertia

On By NickIn progressive rockLeave a comment

With the amount of records being released in the present era, ranging from the bedroom to high-class studio productions, it is quite a challenge to satisfy my hunger for music lately. Most of this has to do with the fact that the music being released today lacks sincerity, especially considering the avalanche of the ongoing “AI artists.”

GLADIOLUS from Brisbane, Australia could be described as a true progressive rock/metal band with touches of death metal, offering well-thought melodies, interesting vocal arrangements, and passages that connect the dots that are quite enjoyable on there debut full-length release Inertia. 

The album opens with “Myopic,” which after a short ambient intro shows that GLADIOLUS have a lot to offer. With often changes, the band distances themselves from delivering just a pure, lifeless showcase of technical proficiency, something that these guys definitely have, but rather present the work that is alive, dynamic and above all, interesting.

References to various stylistically different artists can be heard in GLADIOLUS’ music. Their explorations within OPETH’s or PORCUPINE TREE’s melancholia speak of that, but the band is not afraid to delve deeper and expand their horizons. As Inertia flows by, a listener is taken to a sound-trip that gets more metal-esque. Each of the songs on the album has its own personality, and labelling this record under a single genre would do this band a lot of injustice. As an example, “Disintegrator” is a hard-on prog number with sound that lies somewhere between HAKEN and BETWEEN THE BURIED AND ME.

The craftsmanship and musicianship are top-notch that it ultimately makes me think how is it possible that these young guys deliver such a mature material? And that is a great thing. Starting from two center-pieces “Flicker” and the title track (both exceeding the 10-minute mark), as Inertia flows by, GLADIOLUS are even more prolific; they are like a gladiolus flower that opens up slowly.

To summarise, Inertia is a record largely based on the progressive rock/metal channelling many different elements. This is a true epic, both in length and amount of quality material, which requires quite a few listens to get into it. How far GLADIOLUS are ready to go? Time will tell. But for now they are on the right path.

Take a listen of Inertia on Bandcamp. Like GLADIOLUS on Facebook and follow them on Instagram.