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Soul Enema

Interview with SOUL ENEMA

Israeli prog quintet Soul Enema have recently returned with the release of their second studio album “Of Clans and Clones and Clowns” (reviewed here), which has been in the making for a number of years. The band collaborated with a few guest musicians, with the most prominent names being Ayreon’s Arjen Lucassen and ex-Orphaned Land guitarist and composer Yossi Sassi.

Soul Enema’s keyboard player and composer Constantin Glantz spoke for Progstravaganza about the band’s origins, the meaning behind the band’s name, writing, inspiration, and more.

What made you go for the name Soul Enema?

No offense to the sensitive souls, but this damn thing serves the people. It comes to you in your sleep; it has wings of an angles and eyes of the world. Then you wake up and feel like a new man. That was a little secret, maybe I already told too much. The simplest answer is the obvious one – the name reflects what we do. It’s mainly about cleansing out the negative emotional stuff, which is a major catalyst for music and lyrics writing sometimes, and putting some soul into it – that’s how the creative process goes, roughly speaking. However, I can’t say we end up exclusively with the doom and gloom package – there is a whole palette of ways to channel different emotions, so there is a place for every kind of animal. Since we also have something that I would call “a punk element” and a (self)-ironic touch, there’s no real problem with using any kind of words and metaphors if needed. Maybe it’s a greeting from the era, when Rock, and Progressive Rock in particular, was influenced by an experimental forms of counterculture and had full inner freedom to push the boundaries in any direction, for better or worse.

How do you usually describe your music?

Well, it’s an eclectic ensemble for the post-post-hipster world of the late period civilization, so usually we face some problem with describing it. I could present it as anything from Abba to Zappa, from King Crimson to King Diamond – which isn’t miles away from the truth, actually. It has many contrasting moods, from melancholic to cheerful, pastoral, manic, satirical, absurdist, etc. It has many different ethnic influences; Europe, Asia, Africa, etc. Space or Psych Rock elements as well – I’m not sure which planet they come from. There is some Metal in it, though nothing too brutal to make your grandma really scared. Some “avant-garde” elements as well, but it’s still melodic and memorable enough for my four year old kid to sing along to most of those melodic lines and tunes.

Soul Enema

What is your writing process like?

Usually I create full demos in midi, and then revisit them to add or edit something in the composition. That’s the musical part. The lyrics mainly come afterwards, and generally they have a theme behind them; it’s not a “stream of consciousness”. The lyrics definitely have to sound good with the music, but sonic and rhythmic compatibility alone is not enough. The arrangements might be revisited during the recording process due to particular features of musicians involved. In example, we added more voice-like-instrument parts, and some sitar arrangements, when Noa and Michael became involved.

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

There’s no single major inspiration, but I will provide a list of relevant connections, to make things more substantial: Devin Townsend, Ayreon, Orphaned Land, Faith No More, Genesis, Pink Floyd, Frank Zappa, Voivod, ABBA, King Crimson, Cardiacs, Eloy, Sparks, Black Sabbath, Secret Chiefs 3, Pelevin, Spengler, Machiavelli, Orwell, von Trier, Vasya Lozhkin, Ethiopian music, John Zorn, Guinea pigs, baboons, little kids, dear bollocks, Aral Sea, death, decay, techno death, death-grind with elements of hummus and paprika, life after death, and strangely enough – life before death. That’s just the beginning of the list, but I will have mercy on you!

What is your favourite piece on the upcoming album “Of Clans and Clones and Clowns”?

No way to tell, really. They all are different and essential elements of a puzzle. I can say that “In Bed With an Enemy” is a characteristic example of our serious side, and tracks like “Cannibalissimo Ltd.” represent our ultra serious side – the one you can’t even talk about, without including a serious amount of idiocy.

Of Clans and Clones and Clowns

What makes “Of Clans and Clones and Clowns” different than other similar albums/artists in your opinion?

Look, it’s a problem to find albums that are really similar. Maybe if that was easier, I wouldn’t even bother to write music and lyrics this way. It’s done because this particular combination is what I miss as a listener, so it’s a pure case of “if you want to have it your way, do it yourself”. So, yep, it has different non obvious instruments, arrangements, this and that, but the more important thing here, is that it’s placed in a way that cuts through different dimensions. That’s how I see it, at least.

What should music lovers expect from “Of Clans and Clones and Clowns”?

The things that struck me the hardest, as a listener, were those where I didn’t expect anything at all. I just happened to be there at the moment when that music was playing, asking myself: “Wow, what the hell is that?! I’ve got to figure out the name of this band!” So, expectations are not really essential – you may just come with a clean sheet, no prejudice, hit the play button and let it flow. Hopefully we have already done the rest of the necessary work.

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

“Damn, I would marry this record!” Seriously, any kind of emotions are welcomed. The only unwelcomed scenario is no emotions at all. We have many colors and moods there, so in fact, it’s perfectly understandable to experience all kinds of different things on your way through.

Which do you like most, life in the studio or on tour?

Life in the studio, of course – it’s far better suited to deal with an actual creative process, which is the main reason to engage in such a consuming activity as this kind of music-making.

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

That’s a tough limit. Well, three albums for today only. Yesterday or tomorrow they may be different:

Cardiacs – “A Little Man and a House and the Whole World Window” – this will do instead of a morning coffee. In fact, it might twist you the way no coffee would be able.

The Cure – “Pornography” – this will do for moments of sadness and desperation; after all it’s a desert island, not a five-star resort, so you are there to try and survive.

Pixies – “Bossanova” – this will do when I need some good-spirited easy going music. I thought of taking a Dillinger Escape Plan album to scare off the wild carnivore animals around, but… well, maybe tomorrow.

“Of Clans and Clones and Clowns” is out now and can be ordered here.

Soul Enema

Review: Soul Enema – Of Clans and Clones and Clowns

I’ve been struggling to find an album from this year’s crop of new releases that’s been able to hold my interest through repeated listens, but with “Of Clans and Clones and Clowns,” the latest after a very long wait from Israel’s Soul Enema, I think I’ve finally hit on something. The band’s first official release back in 2010, “Thin Ice Crawling,” was introduced as an album which takes risks, but with the new record which has been in the making for quite a long time, Soul Enema continued to work on diversifying and honing their sound.

Opener “Omon Ra” pretty much sets the tone for everything that’s to follow. “Of Clans and Clones and Clowns” walks a line between progressive and power, with plenty of ‘70s style synths and a very strong Eastern influence. The band members work brilliantly together. The harsh vocals add a nice sense of gravitas to the album’s heavier sections, while cliché clean/harsh pitfalls are deftly avoided.

Of Clans and Clones and Clowns

“Cannibalissimo Ltd.” shifts gears a bit and has more of a prog rock feel, with a main riff that will definitely work its way into your head and some killer lead work.

“Breaking the Waves” is a largely subdued progressive affair with a driving chorus that’s addictive as hell. “Eternal Child” is a successful ballad with a symphonic line serving as a backbone and wonderful vocal performance by lead singer Noa Gruman. This tune also features Ayreon’s mastermind Arjen Lucassen.

When an album is mixed and mastered by Jens Bogren we expect good things, and “ does not disappoint. The various instruments, vocals, and percussion are all distinct and well defined in the mix, with nothing overpowered or underserved.

In the end, everyone else who’s a fan of more lighthearted progressive fare should also give this album a spin, there’s a lot to like.

Listen to the album here.

ART AGAINST AGONY Announce "Russian Tales" EP

ART AGAINST AGONY Announce “Russian Tales” EP

Germany-based collective Art Against Agony announce today their new EP titled Russian Talesscheduled for the release on July 22nd. The ensemble of musicians and artists combine different elements; their instrumental music evolves around progressive metal, experimental rock, jazz fusion and avant-garde.

Speaking about the forthcoming EP, the band commented: “The ‘Russian Tales’ EP gathers all of our experiences from our tour through Russia during the Siberian winter of 2016: Driving 12000km and playing 20 shows in 3 weeks was heaven and hell, with wonderful hospitality & delicious food, marvellous nature & wild animals, but also including insomnia, anxiety & social break ups.

To coincide with the release of the Russian Tales EP, Art Against Agony will embark on a tour across Russia in late July, followed by dates in Brazil in August. For the full list of dates see below.

Russian Tales is available for pre-order from Bandcamp (downloads) and Bigcartel (CDs). A video trailer for the EP can be seen below, and “Coffee for the Queen” single can be heard on Bandcamp here.

Russian Tales EP Track Listing:

1. Königsberg Präludium
2. Nothing to declare?
3. Tea for the Dragon
4. Coffee for the Queen
5. Saratov Incident

Art Against Agony – “Against All Odds Tour 2017” live dates:

29.07. Back Luny Festival, Russia
30.07. Kaluga, Russia
01.08. Yelets, Russia
02.08. Voronezh, Russia
03.08. Tula, Russia
04.08. Zelenograd, Russia
05.08. Saint Petersburg, Russia
08.08. Sao Paulo, Brazil
09.08. Sao Jose dos Campos, Brazil
10.08. Rio de Janeiro – Botafogo, Brazil
11.08. Petropolis, Brazil
12.08. Rio de Janeiro – Barra, Brazil
13.08. Sao Joao de Meriti, Brazil

Soul Enema

SOUL ENEMA’s “Of Clans and Clones and Clowns” Out on June 23

Israel-based Progressive Metal band Soul Enema is announcing a release date of the upcoming album  titled Of Clans and Clones and Clowns. Out on June 23, the album is now available for pre-order from Bandcamp and iTunes.

The promising band’s second album represents an interesting and varied combination of influences, including 14 tracks mixed an mastered by legendary Jens Bogren (Opeth, Devin Townsend, Paradise Lost, Symphony X).

Soul Enema has issued a statement on the forthcoming album saying:

Looking back it took a lot of time and effort to create ‘Of Clans and Clones and Clowns,’ and the final result brings the feeling of a real accomplishment. It was a long, complicated process, constantly laden with a myriad of good reasons to give up or compromise. It probably couldn’t be any different, as our goal was a mature, well-produced statement, consistent in quality throughout, and at the same time versatile enough in its various moods, styles and approaches.

A creative and diverse Rock/Metal album, exploring vast melodic and rhythmic territories — from ABBA to Zappa, from King Crimson to King Diamond, between East and West and way beyond — in true progressive fashion. Like any reflection of the world we live in, it takes a wild ride over a wide emotional spectrum: sad, funny, perfectly sane, totally insane, very direct, quite obscure, and everything in between.

Of Clans and Clones and Clowns also features guest contributions from Ayreon’s Arjen Lucassen, Yossi Sassi (ex-Orphaned Land, Yossi Sassi Band), Sergey Kalugin and Yuri Ruslanov (from leading Russian proggers Orgia Pravednikov).

The band commented: “We had a great honor of featuring the instrumental talents of these,  as well as other wonderful musicians. Our next aim was to ensure that all of these components  work in the final picture, and that’s the reason why we welcomed one of the best guys on the list to mix and master this work — Jens Bogren. It deserved the best possible treatment, just as you as a listener deserve the best possible quality. The mixing process was far from trivial, and it took some effort to shape everything our way – clear and powerful enough, yet not overproduced. So, if you like what you hear, please order yourself a CD, or the highest quality digital download, to have it the way we really meant it to sound – full-scale and uncompromising. We hope you will have your own exciting experience with the album!

Soul Enema released a few singles from Of Clans and Clones and Clowns,  as well as a brand new teaser announcing the album. See the teaser below.

Of Clans and Clones and Clowns is out on June 23th, and it can be pre-ordered from Bandcamp or iTunes. Visit Soul Enema’s official website for more information, and follow them on Facebook.

Of Clans and Clones and Clowns

Of Clans and Clones and Clowns Track Listing:

1. Omon Ra

2. Cannibalissimo Ltd.

3. Spymania

4. Breaking the Waves

5. The Age of Cosmic Baboon

6. In Bed With an Enemy (ft. Y. Ruslanov, S. Kalugin)

7. Last Days of Rome

8. Dear Bollock (Was a Sensitive Man)

9. Aral Sea I – Feeding Hand

10. Aral Sea II – Dustbin of History (ft. Yossi Sassi)

11. Aral Sea III – Epilogue(ft. Sergey Kalugin)

12. Octopus Song

13. Eternal Child (ft. Arjen Lucassen)

14. Of Clans and Clones and Clowns

Soul Enema line-up:

Noa Gruman – vocals

Yoel Genin – guitars

Michael Rosenfeld – bass, sitar, violin

Dor Levin – drums

Constantin Glantz – keyboards, programming, songwriting, production

Kuhnspiracy

Album Review: Kuhn Fu – Kuhnspiracy

Kuhnspiracy resonates on a number of levels. In the most obvious sense, it’s a testament to the skill, imagination, and resourcefulness of guitarist Christian Achim Kühn, an artist who operates with a profound depth of understanding in both formal and creative realms. But it’s also a link to the relationship that Kühn formed with Esat Ekincioglu on double bass, Lav Kovac on drums and Ziv Taubenfeld on clarinet.

Kuhnspiracy shows that a fruitful relationship was formed from that initial connection. With this second album by the group, Kühn gives other instruments the attention they so richly deserve. At different times he coaxes tuneful lines, deep grooves, upbeat notions, and plaintive strains from his guitar, inviting the bass’s woody weight and wisdom to the fore. He taps into a jazz rock with “Barry Lyndon” and “Deus Ex Machina,” brings avant-garde breeziness in “Signore Django Cabolo” and “Mono Industrial Post Depression.

Kühn proves to be a dynamic presence and a masterful arranger throughout, Taubenfend‘s instrument’s sound rings clear and true at every turn, and there’s nary a lull in activity or creativity across these eight tunes. Kuhnspiracy hits all the right marks and holds attention from beginning to end.

Bandolirium

BANDOLIRIUM to Release Debut Album

Argentinian Prog-Tango Metal act Bandolirium, led by bandoneon player Amijai Shalev, are set to release their self-titled debut album this Friday, May 12.

Although there were tries in the past to blend Tango and Progressive Metal together, Bandolirium’s approach to this idea goes a few steps further by including a bandoneon—a type of square concertina popular in Argentina—in their music.

About the idea to create Prog Metal music with the inclusion of the instrument, Shalev commented: “I feel it’s a natural result of the music I listen to and my personal background. Great part of being a composer is finding the unique combination that we are and the way we see our environment. Living in Buenos Aires, this combination seems obvious to me, it hasn’t been done before just because people have a tendency to keep on doing the same stuff. In Prog Metal you hear very often rhythms and melodies from different cultures, so if we want to do Argentinian Prog Metal, Tango is a great inspiration, also using the bandoneon in metal parts is interesting because the sound is similar to keyboards but you can work the dynamics of an acoustic instrument, and of course for Tango audience the metal sound is something new.”

Progressive Metal and Tango have a lot in common, the intensity and drama especially, but even specific rhythms that are used in metal are found in tango.

Bandolirium has previously released a cover of Metallica’s classic “For Whom the Bell Tolls.” Shalev said: “I think that our version of ‘For whom the Bell’ tolls is an example how close tango and metal (in this case thrash) can get.”

About the creative process of the self-titled album, Amijai said: “I composed all the parts with scores at home, a very intimate process, for the drums I only wrote a reference and our drummer, Marcos Edwards, composed the real drums. While rehearsing we made the changes and corrections; there were many of them. It was a very interesting work, we learned a lot doing it.”

Bandolirium is out on May 12th.

Bandolirium is:

Amijai Shalev – bandoneon
Marcos de Cristobal – guitars
Matias Brandauer – bass
Marcos Edwards – drums

Bandolirium online:

Website

Facebook

Bandcamp

About Bandolirium:

The best definition for Bandolirium is instrumental Prog Tango-Metal. This project aims to express a contemporary sound rooted in the city Buenos Aires, combining tango elements with metal sound and prog music. The group was founded in Argentina in 2016 by Amijai Ben Shalev who is also the composer and arranger.

Monolithic Elephant

Review: Monolithic Elephant – Monolithic Elephant

Mothership is a ‘70s hard rock-influenced, blues-based, heavy rock band. The band’s self-titled debut release is a 66-minute journey back in time with a focus on the bass, drums and guitar, along with the vocals. Monolithic Elephant is a three-piece outfit, hailing from Milan in Italy. The band is comprised of singer/guitarist Andrea Ravasi, singer/bassist Alessandro Riva, and singer/drummer Santo Carone.

Monolithic Elephant album art

Monolithic Elephant harkens back to when music was pure and heavy, not watered down. The band opens the album with “Moloch,” which intro is over a minute of ambient/atmospheric sounds, followed by a very Sabbath-inspired, heavy and plodding tones. With the following 2-song suite “The Unbaptized and the Virtuous Pagans,” the album inevitably falls under the heading “mostly instrumental” for its extended jam sections, but it’s worth noting that when there are vocals they come on with structure behind. The song continues the heaviness, but the tempo kicks it into another gear, energizing the song. The band often flirts with heavy psychedelic rock, as well as prog, but tunes remain to be rooted within the heavy genre. Monolithic Elephant don’t feel by any means tied to a formula, and drummer Santo Carone has his work cut out for him keeping the jams tied to the ground throughout the album. To his credit, he does, and even at these songs’ farthest out, there’s something for listeners to hold onto. It’s part of the overall balance that Monolithic Elephant seem to have a natural hold of, between stoner rock, jam and psych.

“Drawing Minds” opens with a classically inspired guitar intro that is very surreal and tranquil, showing off some dynamics in the confines of the music. That doesn’t last long before the heavy riffs kick in and hammer you. While the riffs are dark, heavy and ‘70s-inspired sludge, the solos are anything but sludge. Rooted in pentatonic, Ravasş showcases fiery chops that slide into more traditional rock soloing. Being a three-piece, the bass is present in the mix. Alessandro Riva has moments in the spotlight in which his chops are the focal point.

Monolithic Elephant unloads with a debut album that captures the energy of rock in a stripped-down sonic landscape. The riffs are heavy and crushing. As a three piece, Monolithic Elephant fills the room with sound. While the band could be considered a “jam” band, there is a method to the madness, and the trio showcases raw skill and ever-expounding energy.

Mute Prophet

Interview with MUTE PROPHET

Mute Prophet is a symphonic prog metal band from St. Louis who in December 2016 released their debut album “The Unheard Warning,” and already in March this year they re-released it with the remixed version of the album, simply because they were not satisfied with how the original mix turned out. Kevin Goetz, Chris Tompkins and Adrienne Odenthal spoke for Progstravaganza.

Hey folks. How are you doing?

All: We’re good!

Your debut album “The Unheard Warning” was put out in December. How do you feel about the release?

Kevin Goetz: I’m happy with it, especially after the remix we did in March. I did the mixing and mastering myself – we recorded everything at our home studio – so I had some personal grievances with the production on the December release that I later corrected, but as for the songwriting and the recorded performances, I’ve always been incredibly satisfied.

Chris Tompkins: It’s unreal. It’s one of those things where we’ve been trying to do this for so many years, it kind of hasn’t clicked yet that we finally have an album out.

Adrienne Odenthal: To me it’s like being past the first hurdle. Kind of the celebratory moment where now we can start on all our other plans without saying, “Well, we should probably save that for after the album’s done.” It’s not planning anymore, it’s action.

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

Kevin Goetz: It was incredibly challenging. We’ve been trying to put this thing together for going on six years now with a bunch of line-up changes and style changes and stuff like that, and finally in December of 2015 we decided to scrap everything, build a top-of-the-line PC, drop all other musical obligations and spend the entire year just working on this.

Chris Tompkins: And up until 2014, it was only me and Kevin working on this. Our previous members didn’t contribute much of anything, so the creation of this album was really just us for a long time until Adrienne joined.

Adrienne Odenthal: It was extremely challenging for a lot of unexpected reasons. We had countless technical difficulties, including having multiple hard drives fail and take a lot of the recordings with them that we’d have to redo. There were a lot of small details that none of us anticipated, that we had to improvise solutions to before we could progress. I also went and learned marketing, graphic design, merch creation, and a lot of other side jobs that we still had to do ourselves, while Kevin worked on the mixing and production side of things.

The Unheard Warning

What other artists similar to your genre that are coming from St. Louis are you friends with?

Kevin Goetz: We actually haven’t met any other bands in our genre, believe it or not! We’re kind of the musical equivalent of that reclusive kid who stays home from all the parties, though hopefully once we start touring we’ll have more chances to network with other bands.

Chris Tompkins: Yeah, I really think it’s just that we haven’t gotten out there much yet. There are plenty of bands we’d like to meet, at least. We saw a local band, Final Drive, open for Children of Bodom at one point, and that was really cool.

What is your opinion about the current progressive metal scene?

Kevin Goetz: Personally, I love it! I think that because anyone can now release an album out of their bedroom, without having record labels as gatekeepers, anyone now has more of a shot at success than has ever really been possible. I actually teach music on Youtube and Skype, and I get a lot of students talking about how they’ve experienced this themselves. Basically, if you’re good at what you do, you can make it. Success is entirely on your own merits now, and that’s incredibly encouraging to me.

Chris Tompkins: I’m really happy with it. There are so many people out there now making really good music. It’s kind of intimidating, but it’s also cool because there’s always someone to learn from. It felt like, about ten years ago or so, metal was kind of stagnating a little bit. The progressive scene wasn’t quite there yet. But now, it seems like prog is moving more and more into the major overall metal scene.

Adrienne Odenthal: I feel like it’s going in a really interesting direction. Everyone’s experimenting in different ways to find something that hasn’t been done before.

Can you tell me something about your influences?

Kevin Goetz: In terms of songwriting, I get a lot of influence from symphonic metal bands like Nightwish and Epica, mixed with the guitar work from bands like Periphery or Animals As Leaders. In terms of my actual guitar playing, I think my biggest influences are Alexi Laiho, Rusty Cooley and Herman Li.

Chris Tompkins: Paul Gilbert, Michael Romeo, and Kiko Loureiro are probably the big ones for me.

Adrienne Odenthal: I’ve spent a lot of time studying the vocal styles of Floor Jansen and Simone Simons, and my main influence on growling is Angela Gossow.

What are you listening to these days?

Kevin Goetz: I’ve been trying to get more into modern metal, since I realized I’ve been kind of stuck in 2006 with my musical tastes. So I’ve been looking into bands like Born of Osiris, Veil of Maya and the like, but I still spend most of my time listening to my “classics,” stuff like Epica, Children of Bodom, Dragonforce, Shade Empire or Nightwish. A lot of Finnish stuff.

Chris Tompkins: Periphery, Animals As Leaders, Jared Dines’ solo album…I haven’t had a whole lot of time lately to listen to much music.

Adrienne Odenthal: Children of Bodom, Nightwish, In Flames, Epica, Shade Empire, Periphery, Delain and Revamp.

Your 5 favourite records of all the time?

Kevin Goetz: Sinthetic by Shade Empire, Once by Nightwish, Follow the Reaper by Children of Bodom, Inhuman Rampage by Dragonforce, and The Divine Conspiracy by Epica.

Chris Tompkins: Iconoclast by Symphony X, Follow the Reaper by Children of Bodom, Rebirth by Angra, Technical Difficulties by Racer X, Inhuman Rampage by Dragonforce.

Adrienne Odenthal: Follow the Reaper by Children of Bodom, The Jester Race by In Flames, Oceanborn by Nightwish, Sinthetic by Shade Empire, Holographic Universe by Scar Symmetry.

Can you tell me a little bit more about the gear you use to record “The Unheard Warning”?

Kevin Goetz: We used Reaper for all recording and mixing, with everything coming through a Focusrite Scarlett 2i2. Drums are Toontrack’s EZDrummer, guitars are LePou’s free guitar plugin Legion, orchestra/keyboard are a collection of free soundfonts I’ve assembled over the years, and the vocals were recorded through a Sterling ST51.

Chris Tompkins: Kevin plays a Schecter C7-Hellraiser, and I actually use a custom-built 8-string that we’ve had ambitions of prototyping into our own guitar brand. Strings were I think Ernie Ball Power Slinkies. I think we mostly used 2mm Dunlop picks, but I think I used a 1.5mm on a couple of my solos.

Adrienne Odenthal: My vocal cords, and Monster coffee…which I probably shouldn’t be drinking as often as I am.

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

Kevin Goetz: Actually, we’re already working on our second album, and we’ve also started planning covers of similar bands, to try to get our music in front of a larger audience. I’ve also been using my music lesson channel on Youtube to try and do some additional promotion.

Chris Tompkins: We’ve also been sitting on a documentary that details the creation of the album, which is something we’ve had fans express interest in.

Any words for the potential new fans?

Kevin Goetz: If you haven’t heard us before, and you’re interested in symphonic metal with a modern progressive twist, check us out on Spotify or Bandcamp.

Chris Tompkins: Or Youtube. And thanks for reading!

CAST

Review: Cast – Power and Outcome

Mexican symphonic prog rockers Cast are back with another symphonic adventure of epic songs. A modern symphonic prog-rock album with heavier moments, the music has a lot of quiet and beautiful atmosphere where the melody is carried slowly. The opening “Rules of the Desert” is 11+ epic that is absolutely mind blowing. “Power and Outcome” is an album where the emotions flow perfectly accompanied by the musical lines. Make sure you hunt it down and enjoy it!

Power And Outcome - cover

“Power and Outcome” showcases an impressive combination of creative instrumentation and heartfelt vocal delivery; the band has created a suite of music that coheres in a deeply compassionate and emphatic way. This is a rich and eclectic record with echoes of classical music, the Canterbury progressive rock, jazz and a bit of metal.

“Power and Outcome” is a masterclass example of current progressive music that perfectly fuses vintage and modern sounds with an equally on-point balance of subtlety.

To conclude, this is an incredible album. It’s a lengthy, complex, emotional, and pretty much perfect example of modern progressive rock.

Links:

castofficial.com

Facebook

Hyaena

Interview with HYAENA

Hyaena from Orleans in France is set to release their debut album entitled Existence on April 5th.  The 12-track record offers quite a lot for fans of progressive death metal; it was produced by renown producer Jamie King who is best known for his work with Between The Buried And Me and Scale The Summit.

Hyaena was very kind to answer my questions about their new release, but also gear, scene, and more.

Hey folks. How are you doing?

Bam: Great! Thanks of asking.

Alex: Fine too!

Chris: Pretty good!

Virgile: Cool cool!

You are about to release a full-length debut album entitled “Existence.” How do you feel about the release?

Bam: It’s a great feeling! We have worked so much on this, we hope you guys will dig it!

Alex: It’s a real achievement for all of us, a true satisfaction!

Chris: I’m so proud of it, and quite excited to see what people think.

Virgile: Excited, we’ve been working on this for a long time.

existence

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

Bam: It was a very long process due to a change of our lineup. At the start, I was the only guitarist so most of the album was written with one guitar part. Then Alex join us in the process, so we started to add new riffs, that was lots of work!

Chris: I came from a grindcore/death metal band (Necrofist) wich worked in a very different way, we used to compose together during rehearsals. Bam and Nathan used computers and softwares but I didn’t. That was the biggest challenge for me! It was worth it though.

What other artists similar to your genre that are coming from France are you friends with?

Bam: We are not friends but I think Hypno5e is the band that sounds the most similar to us. I’d love to tour with them one day!

Alex: The Dali Thundering Concept is a great French band I like. These guys are nice!

Virgile: I have so much respect for Klone and Psykup!

What is your opinion about the current progressive metal scene?

Bam: This scene is very special, because there is so many genres in it. I personally think that it’s the best period for the progressive metal scene. Some of the best albums I’ve listened where released couples of years ago.

Virgile: I think it’s a scene that crosses the ages, it’s not the easiest music in the world, but the most colorful one!

Can you tell me something about your influences?

Bam: I grow up listening to bands like Dir En Grey (and lots of visual kei), so the Japanese sounds are really a part of my influences.

Chris: I have to say that, like most drummers, Thomas Haake influences a lot my drumming.

Virgile: The voice of Maynard James Keenan stuck in me. It’s like he can sing in every band in the world and do something different, but you’ll always know that it was him. I love the personality of his voice.

What are you listening to these days?

Bam: It depends of my mood [haha]. But these days I listen to Within The Ruins.

Alex: These days I listen to Polaris, Architects, Northlane!

Chris: Vidhjarta and AAL.

Virgile: Statea by Vanessa Wagner & Murcof, and The Night God Slept by Silent Planet.

Your 5 favourite records of all the time?

Bam: Dir En GreyUroboros & Dum Spiro Spero / Tool10,000 Days / The ContortionistLanguage.

Alex: ArchitectsLost Forever / Lost Together, Periphery II, The ContortionistExoplanet, DayseekerOrigin.

Chris: MeshuggahNothing / The dillinger escape planMiss Machine / Origin – Antithesis / Les musclésMerguez party / BotchWe are the romans.

Virgile: Tool10,000 Days / The ContortionistLanguage / NINYear Zero / DeftonesAdrenaline / Coal ChamberCoal Chamber.

Can you tell me a little bit more about the gear you use to record “Existence”?

Bam: Guitars and bass were recorded with an AxeFx II – not sure about the patch but I think it was the Das Metall amp with a TS808mod drive for the tone!

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

Bam: We plan to make as much as possible shows and maybe a tour for the end of the year!

Chris: And save the world. But we want to tour first.

Virgile: Haha.

Any words for the potential new fans?

Bam: Thank you! Spread the word and we hope to play close to you and share a beer!

Alex: Thank you for your support, I can’t wait to play this album live for you guys!

Chris: Sounds good.

Virgile: Music is life!

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