Tag Archives: Prog Sphere Promotions

Karcius - Photo 3

KARCIUS: Creators of Evolution

Karcius emerged in early 2000’s and since its inception the band managed to keep a constant progress, keeping the indelible mark established with their debut Sphere. After ten years and four albums, these Montrealers are determined to change the face of progressive music in the new millennium. Where will that takes us all, let’s find in the interview with the band’s guitarist Simon L’Esperance.

Karcius - Chairs

Karcius was formed in 2003 and for ten years you released four albums. Can you clearly see the progress you managed to make between these records? If you compare your debut „Sphere“ with the latest record „The First Day“, how much did you change your approach when working on new music?

Yes in fact it’s a major evolution. We started as very young players and we evolved a lot as musicians and as human beings too. We created this project to follow the steps of bands like Liquid Tension Experiment and Bozio Levin Stevens, even Return to Forever, for 3 albums we were more focused on a fusion between any style we liked. It was a band with no boundary. In 2009 we hired Sylvain Auclair to replace Dominique Blouin on bass. We were looking for a change of direction at that time so Sly just got in and was also an incredible signer. Two for one ! He has a enormous background in prog, rock and metal so it so the fit was right on. We wanted something more fluid and less complex in a way so it turned out we were songwrtting more than we actually compose instrumentaly. I think it’s a great turn for us and for the purpose of our music.

Comparing „The First Day“ with previous album „Episodes“, I would say that art rock element is more emphasized on the new album. Did it come on purpose or as a natural shifting?

It was totally in purpose. We were looking for a sound alike Pink Floyd, Peter Gabriel and even The Beatles. We wanted a music with more space and more ambiances. Something where the listenner can travel and can be moved in different moods and emotion. I am really influenced as a record producer by Daniel Lanois and he uses the term « sonic landscapes » I love the image. I think the shift in the music was in purpose but the changes are very natural and guided by our evolution as musicians too.

Though you try to make a balance within the instrumentation on „The First Day“, piano parts navigate the album course. How do you go about composing in general? Do you usually bring your own pieces and work together on them ?

This album is based on a 4 days jam we made in a beatiful place in the woods.We got together and created a lot of the ideas you hear on this album. We worked a lot more on this but the basic ideas were there. We usually work together some riffs or melodies someone bring, it’s really rare someone brings a final idea in this band. It’s always been a 4 pice band with 4 brains working together. This is the essence of Karcius :Friendship and creativity. We do not calculate the space of each other in the record we just go for the music.

Karcius First Day Cover

Let’s  talk about the influences everyone of you brings in the Karcius’ music. We can hear tons of classic 70’s progressive rock, hard rock, classic rock, metal, ambient, even funk.

Wow, you are opening the Pandora’s box ! We have influences from classical to jazz, rock to world beat 60’ to actual music …To make it simple we love music and we love to listen to music. Let’s say Pink Floyd, Peter Gabriel, Sting, King Crimson, Return to Forever, Foo Fighters, lot’s  of African music for rythms, lot’s of soundtracks, Steven Wilson, The Beatles, Daniel Lanois, U2 and so on….

One of the quotes taken from your press kit says that you guys are helping to bridge the gap between prog rock and jazz fusion. I agree with that, but what is going on that bridge? You have a totally new world in between that has to be explored.

I think it is a way of saying that we dont’ stick to traditionnal song forms and we blend a lot of improvisation with written music.  It’s not a new concept at all in music but bringning a jazzy twist to a heavy rock song or having some big African drums in a Pink Floyd kind of song is what we try to say in this phrase. No limits with the fusion of genres.

When working on new music, do you often see it as a challenge?

This is the most challenging thing in life. It’s really hard to find a purpose for new music, a direction, a message, a story… then it’s harder to deliver this message properly This is intense and we love it, we live for it and we love challenging each other with new ideas.

Karcius - Photo 3

You are not for the first time on the Progstravaganza sampler. We featured you guys on the fourth edition of our compilation series with the song „Purple King“ taken from 2006’s „Episodes“. On the new sampler you are featured with „Water“ (The First Day). Both songs come with sort of a laid-back vibe, with organic sound. Can you make a parallel between these two tracks ?

The producing of both records I think. We recorded all our albums at Studio Victor in Montreal. It’s our home base in a certain way. The Hammond B3, the Piano, the room, the console, the mics, I think this is were we get this sound. Thomas and me worked a lot on the producing of these records and I think you can hear our producers sound in there. Any band who would like to be produced or mixed by us can contact us anytime, we love working with new bands.

Over the years you’ve been pretty active playing live. Share a story, something interesting that happened to you while being on the road.

Last tour we did in French Guyana was amazing and quite surprising. We did the trip to play The Crescendo Guyana festival. We knew the producer but we were way far of expecting this crazy country. Bugs, heavy heat, very roots conditions, the jungle and all thèse crazy conditions.…This was the trip of a life. We made the soundcheck at around 120 degress under the sun, my pedal board just stoped working, we were totally cooking there !! I think we lost 5 pounds each this day. The show was amazing and the crowd just crazy but this stage was in the deep jungle, we never taught there would be so much people there and we just gave everything we had ! Hello to all these guys, it was unbeleivable. This is one crazy place in the world trust me !

What are your future plans?

We are currently working on some new material and I beleive we will be recording next year, we are working on a project with videos and filming. We’ll see where it’s going !

Thanks a lot for having time to answer my questions and thank you very much for being the part of Progstravaganza 13.

Thanks to you! Prog on!


TRAFFIC EXPERIMENT: Writing Music and Lyrics as a Soundtrack

Named after a road sign in Guildford, England – Traffic Experience broke into the progressive world choosing probably best possible ways. Recording in a studio where Fairport Convention used to write their music, with Andy Jackson as a mastering engineer (who produced Pink Floyd’s „The Final Cut“ album), the band led by guitarist/vocalist Stuart Chalmers released an album that presents a sonic journey with emphasized visual character.


What made you name your band after a road sign in Guildford? Were you in lack of names back then? I have to say that Traffic Experiment sounds really good.

I saw it written on a temporary road sign and it stuck in my head as a potential future band name. I was putting the band together years later and it had come back to me when writing one of the lines in Once More (with feeling) and I still liked it. It’s now also taken on a bit of a secondary meaning for us as we are continually trying different ways of passing our own music around, getting people to discover it.

Tell us something more about your beginnings with the band.

I’d demoed the first album at home in 2005 and was looking to put a band together to record it. After a couple of false starts I met Tom (Vincent, drums) and Simon (James White, bass), both of whom were phenomenal studio and live musicians and they were really up for doing the album. We really hit it off musically and on a personal level and Traffic Experiment was effectively born.

Your first album ”Blue Suburbia“ was recorded in (formerly) the private studio of Fairport Convention. Did you have any particular feelings knowing that this renowned band used to record their songs there?

It’s always inspiring working in a studio that you know extremely well-respected musicians have recorded in (and owned at one point). Woodworm was one of those fantastically atmospheric studios with a great history (I think Radiohead even recorded some very, very early stuff there) but it actually ended up feeling like a home from home (on and off) for a few years. Sadly, it had to close its doors a couple of years back.

“Blue Suburbia“ was recorded in 2006, but it took you four years to release it. Were you looking for a label to release it? According from what can be heard on the album, it’s pretty strong collection of tracks.

It actually took us those 4 years to finish it! The time taken was mainly down to financing it (and a lack of deadlines). We didn’t even bother trying to approach any labels and always intended to finance and release it ourselves. I’d never produced an album before so there was a lot of learning along the way. It was a fairly complex, layered record so we had to be quite efficient in the way we funded it. We recorded all the vocals, guitars, synths and effects at home (in a pretty basic studio in the back of my parents’ garage) to reduce how much we spent out on studio time. We recorded all the drums, bass, grand piano, acoustic guitars, Hammond and Rhodes in the live room at Woodworm, overdubbed the various other parts at home and then headed back to Woodworm to mix it – as and when we could afford it. We sometimes went months with nothing happening. Once mastered, we had no money left for a designer so I then spent a further nine months doing all the album artwork in my spare time before we finally released it.


What is the story of ”Blue Suburbia“? There is definitely a lot to be heard within those 11 tracks. It’s interesting that the album creates a strong visual vibe. How did you manage to do it?

Blue Suburbia is really just about that undercurrent of suburban life that looks all fine on the outside but can be totally falling apart under the surface. It was all based on my hopes, fears and frustration of being a 20-something trying to make my way in the world for the first time as a “grown-up”.

Although it didn’t really start out as a concept album, I started to tie some of the themes (conceptually and musically) together and there did end up being a chronology to the tracks, in that they ended up being in the order that the events that inspired them took place.

I think I’m actually a bit of a frustrated film-maker and always approach making music as if producing a film, writing music and lyrics as a soundtrack to the visuals in my head. As a kid I used to listen to whole albums from beginning to end on my parents’ CD player, lying on the floor with massive headphones on and eyes shut, being totally absorbed by the music. I think when I’m writing and producing I’m always trying to recreate that.

Andy Jackson, who worked with Pink Floyd, mastered the album. How did you get in touch with him? Anything special that you heard about his involvement with Floyds?

I was looking around for a mastering engineer and noticed that Andy was now doing that commercially and, given the type of album we’d just done, he seemed the perfect choice. He had recorded Pink Floyd’s ‘The Final Cut’, still one of my favourites and (unusually) the first album that got me into the Floyd. I asked him a bit about it while I was there (knowing just about every millisecond of it) and he told me he hasn’t actually listened to it since!

Who came with the idea of covering and recording the Doctor Who theme? You named it Vashta Nerada, after a flesh-eating shadow from the TV series. Are you fans of the show? Speaking of it, how do you comment on Peter Capaldi’s getting the role of Doctor Who?

I’ve always adored the Doctor Who theme and hearing it takes me straight back to being 6 years old and watching it (I was terrified of Cybermen!). I was on the lookout for a track that we could completely rework into our own style and was watching the show and thinking how little I liked the latest incarnations of the theme. I found a clip of Peter Howell showing how he created his version for the BBC radiophonic workshop in the 80s and it set a spark off. I could suddenly hear all these Floydy type guitars, synths and vocals.

In terms of the new Doctor, Peter Capaldi is a superb actor and an inspired choice. I think he’ll be absolutely brilliant in the role.

On December 21st 2012, when everybody was in a fear of the world’s end, you guys entered the studio to record and film session of tracks from the “Blue Suburbia“ album. What was going on in your minds during the recording/filming process?

Mainly playing the songs well! It was entirely coincidental that it took place on the 21st. We picked it as the shortest day so that we could do an earlier shoot (the studio looks really atmospheric when lit up at night) – but it tied in quite nicely and provided the End of the World theme for the film.

It was quite an intense session and unlike anything we’d done before. We’d already funded the making of it through a PledgeMusic campaign and suddenly you realise people have already paid for the recording you are about to make and you really can’t afford to screw it up! It was a great experience being able to record it in Steve Winwood’s studio though.

Are you working on any new songs? When can we expect a brand new release from Traffic Experiment?

Yes. We’re busy writing the next Traffic Experiment album at the moment and hope to release that sometime in 2014. With this new album I’ve started with the whole theme first, then sketched out the song titles/chapters and have started fleshing it out from there. I think it will end up sounding much more of a single work than than the first one and am also considering that we may make a full film to go along with it.

“Once More (With Feeling)“ taken from “Blue Suburbia“ is on Progstravaganza 13. What can you say about the song? What’s the meaning behind its title?

Once More (with feeling) was a song I wrote in my first job working for a large corporation. I felt I’d been on an upward trajectory right through school and University and, now that I was in the ‘real’ world, my life had ground to a standstill. Every day had become completely unfulfilling and exactly like the day before – and all to pay the bills and just exist. I felt I had to put on an act because it was expected of me, trying harder every day to look like I enjoyed it and meant it – hence the title of the song (a reference to the old musical expression of saying: do it again but this time try and look like you mean it).

How do you see progressive rock in 2013?

There’s lots of fantastic new and interesting stuff out there at the moment and it’s great to see websites such as yours really helping promote it. Even though very little touches the mainstream radar there seems to be a massive community across all the various social media that really embrace progressive music and that can only be a good thing because it’s a genre where I think some of the most interesting and lasting music can still be made.

Traffic Experiment on the web:






HELLHAVEN: In the Volcano of Great Prog Rock

What is art metal? Maybe the best answer on this question is checking the Polish band HellHaven, who are the part of our latest Progstravaganza sampler. We talked with the band’s guitarists and keyboard player Jakub Węgrzyn. Check the interview below.


How did the HellHaven story begin?

HellHaven came into existence in Myślenice in order to bring to life original and unorthodox music.

At the beginning HellHaven was inspired by bands in heavy metal or hard rock genres. This period, for us, was a quest to find our own sound, an idea for future music and creation of a strong and solid group backbone. After 12 months of writing our own original material in 2010, using our own financial expenses, we’ve created mini-album “Art for Art’s Sake”. The record was a concept album which music could be described as a combination of progressive metal and heavy metal music styles. The debut record was positively received both by critics and by fans. Thanks to the members’ commitment in the band’s activity, HellHaven music was often presented on polish radio stations.

The new sound, presented on our debut record, lead to the band’s many successes. With the start of 2011 we’ve decided to start to work on a more complex music material for the second long play record. During that time we’ve signed a contract with German record label “Legacy-Records” which allowed us more creative and technical possibilities. In 2012, after 12 months of creating new material, HellHaven registered more than 50 minutes of music dubbed progressive rock/art rock, and we’ve named it “Beyond The Frontier”. From this point we are trying to show HellHaven’s music to the whole world. As much as possible.

You describe your music as art metal. What do you mean by that? Is it art rock with metal edge or totally something new that’s known only in your terminology?

Our starting point was to put ourselves into waves of unpredictable, creative, crazy and remarkable music with no borders. We knew that this would be very hard task for us. After making new material, we’ve realized that we’ve created some kind of mixture of prog, art rock with a touch of prog metal, but not as “vintage” as people were used to known. When we were playing our first shows, some people from music magazines and radio stations couldn’t find the proper name for our music style. In fact, they describe our music as “art metal with heavy art rock influences, with a touch of post rock and native music”.  The truth is, that in our style people can find influences of heavy metal, art rock, post rock, prog rock, even polish national music and so on. Crazy mixture, that makes us quite original in this hard days (when thousands of bands plays exactly the same music). What we are proud of, is “art” in our music style. It means, that music is not just a few notes, which go through your brain, but it is also some kind of a theatrical performance that touches deeply your sensitivity.


When I heard the „Beyond the Frontier“ album for the first time, the song Beyond the Frontier (Part 2) made a biggest impression on me. What is your favourite song off the album?

Hard to say – every song has it’s own beauty. But from my personal point of view I will choose “About Reading and Writing”. This song is quite romantic, very diverse, with beauty guitar solo, and soft, fragile vocal parts. Also it has great spatial synths. This song says “they can make something that floats above ground, flies thorough clouds” I think.

„About Reading and Writing“ off the album is also on our latest Progstravaganza compilation. Why did you pick this song for the sampler? Tell us something more about its structure and your view on it.

 Well, I think that I’ve already answered it in last question, but let me try to say something more about the purpose of choosing this song to be a sampler. This song gives you HellHaven in a nutshell. It has everything, that we’re proud of – art, prog rock elements, heavy riff, nice final solo, great vocal parts, a lot of synths… If you would like to show HellHaven in one song, I think “About Reading and Writing” would be the best choice. Of course, that is just my opinion. I know, that many people say, that Perikarion is the best mixture of what we are able to create. Also Paper Swan shows our respect to what we’ve learned after many years in the band.

On a studio report video taken from the album session, there is a moment when Marcin (bass player) „uses his head to play“. So, is it always that funny for you guys during the recording process? Anything interesting to share from the recording sessions?

Oh, a lot of funny things happened. That’s why we are still making music ! Music has to give you a lot of joy, fun and should makes your dreams come truth. During recording sessions a lot of little problems appeared. Like when we had problems with electrical current on Marcin’s bass guitar. We had to connect his head and toe by the wire to the strings, to make it ground. Funny story, but saved our… day J What is more interesting, Perikarion was played during recording session for the first time ever ! We’ve never practiced it before. But we are very proud of what we’ve done that day (well, with the support of many beers).

In the same studio report, Marcin uses to compare the song “Hesitation” with “Spanish inquisition”. Would you elaborate on that more?

I had to call Marcin directly, to make this answer as closes to the truth as can be. Marcin says, that in Hesitation, riffs are unpredictable. We could say about them, that “nobody expects the Spanish Inquisition” like nobody expects which riff suddenly appears in this song. I have to say, that sometimes we are crazy like Monty Python.

Your songs exude energy. How much of your daily life influence the music? Is the music the way of manifesting the energy you carry in yourselves?

The biggest influences were from our childhood, and what we were listening to at those times. We were growing up in hard times, just after Poland regained its independence from the rule of communist Russia. Life has taught us that in order to achieve something, you have to work very hard for it. I think that this gray reality of post-communist Poland made in us a urge to creating something, that will manifest our fresh, shiny energy, in-mind power, our new way of living, of understanding. We wanted to make something that will show to whole world that guys from Poland can do something valuable, and we are not worse than rest of the world. Nowadays we are proud to say, that Poland has one of the brightest prog and art rock bands in the world.


How would you describe your music in one word?


Have you thought about employing any traditional instruments in your songs? I am asking this because „Beyond the Frontier“ is quite eclectic release? Any space for some classical elements in your music? Maybe soprano singing?

We wanted to do it, but our friend, Ryszard Kramarski (leader of polish art rock band Millenium), who watched over technical aspect of our recording session, said very wise words, that this album will be the better, the less people not from the band will be involved. In another words, we’ve decided to make it almost with just our own, HellHaven’s knowledge of making music. Just us, and two violinists to show people what THE BAND can really do. But in the future… yes, we will definitely ask more friends to join us with this great musical adventure.

Are you working on any new songs?

Yes, yes, yes… it is unstoppable process, that makes our life very pleasant. For now, we have two new songs that we are working on. They expand what we’ve done on “Beyond The Frontier” for sure. Those, who are familiar with our unpredictable style, will be glad. People, who like simple, short tracks, will be disappointed. New album will be another “impassable frontier” that we will cross through with a great success, I hope!

How do you see the progressive rock scene in post-2000’s?

Because I live in Poland, I will say something about our scene – from year to year polish prog rock scene is growing massively up. Month after month appears new great bands that really can create beauty music. More and more music editors from all around the world say that Poland is a volcano of great prog rock. We are so proud of that, and proud, that our music is a part of it.

At the end I would like to thank you, that you gave us possibility to present our music, to say a little bit about us, and polish rock. I hope, you will enjoy our newest album. For us the greatest reward is the listener’s smile and shivers on his/her back.

Thank you, stay prog !

Follow us on FB and say hello : https://www.facebook.com/hellhavenband


YSMA: Forward-Going Tone Of Progressive Rock

Since I introduced myself to the Munster, Germany based instrumental progressive act Ysma 2 months ago, my enthusiasm for this band kept advancing precipitously. Their debut „Vagrant“ has been on my playlist for quite a while now and having them on Progstravaganza 13 initiated this interview with the band’s guitarist Daniel Kluger.


Introduce yourselves!

Of course! We are four guys between 24 and 34 from Münster and Götingen (Germany) forming Ysma, an instrumental prog band: Fabian and Daniel are playing electric and acoustic guitars, there is Torge on bass and Jens on drums. We have been playing together for four years now and just released our debut record called “Vagrant“ in April.

Outside of the band, we are finishing our psychology studies (Torge, Daniel) or working as a healthcare support worker (Jens) and addiction counselor (Fabian), respectively.

And how would you describe your sound?

The sound on “Vagrant“ is a blend of different styles and genres. We equally like the aggressive, forward-going tone of progressive rock and -metal as well as the more quiet, ambience-focussed moments with a lot of room for each note. Listening to the record, you will find purely acoustic pieces next to loud, dynamic prog songs or the occasional jazz reference. Overall it is not necessarily a modern sound, as our drummer has a jazz background, for example. We also did the whole process of recording, mixing and mastering on our own. Taken together, we combine our ideas of instrumental songwriting with frequently changing dynamics throughout the songs, making sure that progressive elements will not be forced into the tracks at the expense of the atmosphere or the vibe we try to transport.

Where did your name come from? I tried googling it, but all I found was this band from Munster in Germany.

I’ll take that as a good sign ;) The name in fact has no meaning – in accordance with our instrumental approach, we wanted our band name to be a blank projection screen which would not nail us down on a certain theme. Thus, quite pragmatically, we were looking for something distinctive and decided to make up a word whose sound we liked, keeping in mind that it should be fitting to make a nice-looking logo out of it. That is how we came up with the name “Ysma“. However, there seems to be a cartoon character with a slightly different spelling that has no connection to the band at all.

You employ many different genres in your sound, how do you usually label what you do?

We usually go by “(instrumental) progressive rock“. Outside the prog community, even this label is hard to explain to someone listening to our music for the first time, so any further distinction would just make it more difficult.
The different genres that you mention show the various facets of prog or prog-related music that continue to inspire us and that we like a lot, so we kind of instinctively integrate these influences into our own music, as well. That is how there might be jazz-ish elements side by side with hints of progressive metal or fuzzy rock parts. Labelling all of this “progressive rock“ is a good way of being able to do whatever we have in mind without stepping on the toes of people who care about labels a lot more than we do ourselves.

Any bands that influenced you in particular? Is King Crimson one of them?

As in any other band, I guess, there certainly are artists or bands whose styles we particularly like. We have different musical backgrounds, but we all share our admiration for Opeth’s songwriting, for example. Tool, Porcupine Tree, Riverside and Pain of Salvation are other bands that have influenced us in our musical approach, just to name a few. When it comes to the early, classic prog bands, King Crimson would indeed be one the most influential ones to name. I’m pretty sure that if you go back one step and see who has been an example or an influence on the bands that you look up to nowadays, you might come across King Crimson on a regular basis. The fact that their music is still up to date shows you how much there is to extract from the ideas that the early prog bands brought up thirty, forty years ago.


„Vagrant“ is in an instrumental album and I am afraid to ask you what is its story, because the stories are usually told. But anyway, due to many dynamic changes and experimentation, it’s clearly that you want and do say a lot. So, what is that? What are you trying to show with the album?

It is true that stories are usually transported and expressed through the lyrics. In our music, the titles of the songs themselves are thought to suggest a direction of associations or imagery that we think fits in with the atmospheric nature of the respective song. The album does not have one specific concept or theme that is followed throughout, you would much rather find several different ideas expressed from song to song.

For example, the thought behind “Primetime Dreaming“, the shortest track on the record, is the futuristic idea of certain images being implemented in your dreams, so that dreaming becomes tailor-made to the extent that it is fully controllable, hereby losing its very fascination (to us, at least). Accordingly, the atmosphere of the song is dreamful and open in a way, but with a cold undertone. So the titles are not meant to explain everything, but to give you a basic idea of what was behind the music for us. What happens in your imagination while listening to the music is up to you and should not be predetermined by anyone, that’s the beauty of it.

One other thing we especially care about is to leave space within the music. Of course, there are faster and more densely packed tracks, but the dynamic changes – both within and between songs – are an important means of coming to rest, of “breathing“ in some musical manner.

Do you agree that being an instrumental band leaves a more freedom for you to explore, create your own ideas and feelings to the music?

Undoubtedly so. Not only does it free things up for the musicians, but for the listeners, as well. That is exactly what I meant moments ago: without the lyrics, the only thing you have is the music and the title of the track. This leaves a lot of room for interpretation and association, which is great! It enables you (as the listener) to make up your mind about what you personally take from the music.

Another aspect is that instrumental music is such a niche that the people who decide to listen to it usually have a mindset that supports this kind of listening, being susceptible to mental images and connotations. We do like to explore our musical horizons and the feelings that go along with that, which is why it is great to talk to somebody who then tells you that he has been interpreting the theme of a song totally different from your own way of thinking. There is no right or wrong, and this freedom comes from letting the music speak for itself.

Are you working on the Vagrant’s follow-up already? Do you have a clear vision on the next album’s direction or your joker is improvisation?

Yes, we are working on the second record right now, even though it is still in its early stages. There were songs that originally belonged on the first album, but just did not fit due to the length of the record. Additionally, there is a lot of new, unheard material we finished and we are excited to start recording and arranging again.

I would not say we have a clear vision for the sophomore record other than further exploring our style of playing and coming up with new ideas, some of which we have been planning on realising for quite a while now. What has changed in my opinion is that while in the past we used to write separate songs for, say, a heavy and an acoustic or purely melodic idea, we now challenge ourselves to integrate these pieces into a more coherent piece of music that – as a result – is an interplay of different atmospheric ideas. We started this approach a while back, ending up with longer songs that in the end left us much more content from the songwriting perspective. A good example might be “Alan Smithee’s Suicide Note“ featuring a diverse atmospheric spectrum from very laid-back to metal-edged breakouts to melodic soloing.


On Progstravaganza 13 you are with the song „The Wanderer“. It’s fuzzy, heavy and melodic in the same time. What can you say about the song?

“The Wanderer“ is the opener and somewhat the title track of our debut record. The artwork shows a man wandering around (“vagrant“) having all kinds of bizarre encounters, e.g. with giant flying jellyfish. “The Wanderer“ can be seen as depicting episodes of his journey, which is why the song lacks a leitmotif (to use a German word): at times this journey may be weird or troubling, another time it may as well be calm, opening up many possible ways to go for us musically. In a sense, this song gives you an idea of what is following up on the album as “The Wanderer“ contains many of the elements that constitute our music: as you say, it is heavy, it is jazzy, it is melodic and somehow comes to an odd conclusion that hopefully makes the listener curious as to what else there is to be heard afterwards.

What’s next for Ysma?

We are currently preparing for our first ever unplugged concert, which is going to take place in an Irani greengrocery’s shop in our home town. Arranging the songs for this occasion gives us the chance to look at the music from a completely different angle, trying new things and just having fun with some of the tunes. Those who already know the songs hopefully will enjoy some of the newer versions we would like to try for the acoustic gig. Changing the instrumentation and bringing in guest musicians is going to highlight new aspects of the material we are very much looking forward to discovering.

The acoustic gig will be in late October. Around the end of the year, we are going to play some concerts promoting “Vagrant“ a little farther from home in front of an audience listening to the music live for the very first time, which will be exciting. Other than that, our focus lies on finishing the songwriting process for album #2 as well as rehearsing, recording and mixing the new pieces – we cannot wait to play the new material on stage for the first time.

Thank you so much for having us on Progstravaganza 13!

Ysma on the web:



Aaron Clift And His Experiment

Drawing their influences from the classic of progressive rock and putting them in a blender together with their classical music influences, The Aaron Clift Experiment is exploring the vast and unknown. We got in touch with the band behind this band, Aaron Clift himself, and discussed about the band’s vision, influences and their appearance on our new Progstravaganza sampler.


Progstravaganza: What can you tell us about your beginnings in music?

Aaron Clift: I come from a very musical family – my dad, aunt, and uncle all played piano, and my dad also played French Horn, sang in choirs, and performed in musical theater.  My mom used to play a lot of records for me when I was a baby, so I was exposed to lots of music when I was young.  At age 12, I took up the viola in my school orchestra, and I later learned how to play piano and guitar and sing.

It was also around this time that I first started listening to rock music.  Initially, I was just listening to bands that were popular in the early 90’s, such as Soundgarden, Alice in Chains, and Nirvana, but I soon started listening to a lot of the bands my parents grew up with such as Black Sabbath, Queen, and Led Zeppelin.  In my freshman year of high school, one of my friends introduced me to Pink Floyd’s album, “Dark Side of the Moon.”  For me, it was my first exposure to progressive rock.  Up until that time, the only way I had heard classical music and popular music combined was in songs like “Night on Disco Mountain” and “A Fifth of Beethoven” (my parents had the “Saturday Night Fever” soundtrack and used to play it for me sometimes).  What amazed me about DSOTM was how the songs seamlessly combined the sound of rock music with the formal structure and thematic organization of classical music.  I was hungry for more of this style of music, so I did some research online (quite an ambitious thing to do in 1995!) and got some recommendations on Dream Theater and Genesis.  I ended up buying “Images and Words” and “Selling England by the Pound” all in one day, and that began my still-going love affair with progressive rock!

Progstravaganza: How did The Aaron Clift Experiment originate?

Aaron Clift: I studied music formally at Tufts University.  It was during my college years that I wrote my first rock songs with my band, Attack Plan R.  I also go heavily into classical composing and performance.  Ever since my college experience, I had always dreamed of a way to combine my love of both classical and rock music.

In late 2007, I finally decided to make the dream a reality and started writing some of the songs that appeared on The Aaron Clift Experiment’s debut album, “Lonely Hills.”  Back then, I didn’t even have a band.  All I knew is that I wanted to write classical songs in a rock style.  From 2008 – 2009, my classical pianist friend, Julianne, was helping me out on keyboards, and in 2009, I met future The Aaron Clift Experiment drummer, Joe Resnick, through a producer we both knew.  That fall, the three of us recorded demo versions of “Seven,” “Lonely Hills,” and “My Andalusian Love.”  After listening back to the demos, I realized that there was a hole in the sound that needed to be filled by guitar and bass and that I wanted to record a full album of songs with a real band (rather than continue as a solo artist).  From 2010 – 2011, I wrote the remaining songs that wound up on “Lonely Hills.”  I also bought my Open Labs Neko LX5 keyboard in early 2010 and decided to take over the keyboard duties for the nascent band.  In late 2011, Joe Green joined on bass and Jim Ragland joined on guitar.  With me on keys and vocals and Joe Resnick rejoining on drums, The Aaron Clift Experiment was born.  In early 2012, we rehearsed for about a month, and in February 2012, we went to the studio and recorded “Lonely Hills.”

Progstravaganza: Your music is influenced at large by the leaders of progressive rock genre such Genesis, Pink Floyd, Rush, but there are traces of classical composing of Schubert and Beethoven. Do you think that these two musical directions are in harmony with each other or totally diverse? How does that harmony work in your case?

Aaron Clift: All the members of The Aaron Clift Experiment have extensive training in popular and classical music, so it’s hard for me to imagine us not combining the two genres in our music.  Because I studied classical composition for so many years, I tend to approach songwriting in much the same way an orchestral composer might write a classical work.  I don’t know if this approach is necessarily innovative, but I’d like to think that approaching popular songwriting from a classical angle gives The Aaron Clift Experiment’s music a unique edge that you don’t hear in a lot of rock music.

Lonely Hills

Progstravaganza: Your only album to date is 2012’s, “Lonely Hills,” an exploration within the already mentioned classical and progressive rock genres based around the topics of love and loss. What can you tell us about the creating process of the record?

Aaron Clift: A lot of bands have been playing together for many years before they go and record their debut album.  “Lonely Hills” was kind of the reverse of the typical rock and roll story in that the songs on the album predated the existence of the band that played them.  Our story is more like The Foo Fighters’ – where it started as a solo project that later turned into an actual band.

Because I had already written the guitar, keyboard and vocal parts on the album before the band was formed, putting together the music as a group was mostly a matter of learning the songs from sheet music (if you watch our documentary, “The Making of Lonely Hills,” you’ll see everyone reading from sheet music when we were recording in the studio).  Our producer, Matt Noveskey, was instrumental in helping shape the sound of the album.  We couldn’t have done it without him!

Progstravaganza: “Lonely Hills” features five songs in total, from which the closing, “The Castaway Saga,” is an epic divided in four parts. I am interested to hear the story behind this piece.

Aaron Clift: In early 2010, I re-watched the Tom Hanks movie, “Castaway.”  I hadn’t seen the film since it was in theaters and was still just as impressed with the movie’s storm scene as I was when I saw it for the first time.  I thought it would be interesting to write a song that was inspired by that scene and put a twist on the story by setting the action in the protagonist’s mind and using the storm as a metaphor for the protagonist’s existentialist crisis (kind of also borrowing some influence from Pink Floyd’s, “The Wall”).  When I finished writing “Shipwrecked,” I realized that I wanted to know more about what happens to the song’s protagonist after the storm, so I wrote several other songs that continued the story, and before long, “The Castaway Saga” was born.  Kate Bush’s song suite, “The Ninth Wave,” off of “Hounds of Love” (one of my favorite albums of all time) was also a big inspiration for the story and feel of “The Castaway Saga.”

Progstravaganza: “Arsonist Games” is on our latest Progstravaganza sampler. Besides being included on it, the song is also being featured in a soon-to-be-released horror movie called “Squatch! Curse of the Tree Guardian.” Let us know something more about this. To put it simply, what is the deal with the song?

Aaron Clift: “Arsonist Games” is the only full-band song on “Lonely Hills” that I wrote on guitar first before later adding keys, resulting in a much heavier song than I usually wrote up to that point in time.  The main guitar riffs for the song were influenced a lot by Black Sabbath (you can hear traces of “Sabbath Bloody Sabbath” in the song), which is probably fitting for a song that deals with themes of manipulation and betrayal.

I met Carlos Samudio, director of “Squatch! Curse of the Tree Guardian,” at a networking event in early 2012.  He told me he was looking for a hard rock song for a horror movie about the legend of Bigfoot that he would be directing.  So, I sent him a copy of “Arsonist Games,” and he liked it so much that he decided to include it in the film.  You can check out snippets of the song in the movie trailer, and I’m being told that the song will appear in a climactic part of the film.

Progstravaganza: Besides holding the vocal duties in the band, you also play keyboards. Who is your favorite keyboard player? I am asking you this because you did pretty decent job covering Led Zeppelin’s “No Quarter.” This song is one of my favorites – a piece showing that John Paul Jones is out of this planet.

Aaron Clift: Thanks.  “No Quarter” is one of my favorite Led Zeppelin songs as well.  Playing the song live is a blast and often becomes a centerpiece of ACE’s live show.

My favorite keyboard players is Tony Banks (Genesis).  His solo on “The Cinema Show” was what encouraged me to pick up a keyboard in a rock band.  I also love  Jon Lord (Deep Purple), Ray Manzarek (The Doors), McCoy Tyner, Bill Evans, and Thelonius Monk.

Aaron Clift

Progstravaganza: Name a few albums you keep in a constant loop these days?

Aaron Clift: Lately, I’ve been listening a lot to “Meridian I” and “Meridian II” by Los Angeles-based progressive metal band, Phavian.  ACE did a show with them in July, and I was very impressed by their virtuosic musicianship and detailed compositions.  I’ve also been enjoying some albums by some excellent Austin bands, including “Are You Getting On?” by Blue Cartoon, “Post Future” by Paraguay, and “Super Metal: Edition Z” by Immortal Guardian.  On Pandora Radio, I’ve got James Brown and Isley Brothers  stations for some classic soul music and a Tech N9ne station for some underground hip hop (Tech N9ne’s “All 6’s and 7’s” album always inspires me when I’m feeling like I’m in a lyrical rut).

Progstravaganza: What is the reaction of audience on your music? How much have you been active playing live since the band’s inception?

Aaron Clift: I’m very appreciative of the overwhelmingly positive feedback that The Aaron Clift Experiment has gotten from fans and the media alike.  It’s very exciting to be getting recognition from so many progressive rock fans.  I’ve read Prog Magazine for many years, so being featured in the March 2013 issue of the magazine was a dream come true.

We’re a relatively new band, so up until now, we’ve only played local shows.  However, next year we plan to play our first shows out of Austin, and then hopefully do some touring in support of our second album when that comes out.

Progstravaganza: What the future holds for The Aaron Clift Experiment? Are you already working on new songs?

Aaron Clift: We are indeed working on new songs.  Now that we’ve been together as a band for some time, the new songs are rocking much harder than our older material and are a much more full-fledged band effort.  We expect to premier some of the new songs this fall and hopefully record a second album next year for release in early 2015.  The future is looking very good for the band!

The Aaron Clift Experiment on the web:






DIALETO: Based On Improvisation

The fact this Brazilian instrumental power trio, led by guitarist Nelson Coelho, signed for NYC label MoonJune Records to release this year’s “The Last Tribe” speaks enough. Being in a superleague with other great players such Allan Holdsworth, Chad Wackerman, The Wrong Object and other MoonJune artists, Dialeto had a tough task to accomplish and they did it in a heartbeat with “The Last Tribe”.


Your new, third album „The Last Tribe“ is also your first on MoonJune Records. How are you satisfied with the release?

Very satisfied, if it wasn’t for Leonardo Pavkovic there will be no album at all, because there is very little interest in this kind of music here in Brazil and Moonjune is making a terrific work promoting us worldwide, we’re getting great reviews in the Prog niche in places we couldn’t imagine otherwise, like Poland, Greece, Croatia, Holland, Korea…

You play instrumental progressive rock with guitar leading the way. How much of your work is based on improvisation, and how much space you set aside for planning the song structures?

Everything is created from some sort of improvisation even the Themes and the Riffs. I start playing and when I find something that I like I separate it and become to elaborate more and more. In terms of song structure I like the simple Jazz approach of “Theme-Improvisation-Theme” and I use it a lot, but there are some songs that asks for something else , Chromaterius and Vintitreis , for instance, then some other parts emerge naturally .

With „The Last Tribe“ you go completely instrumental comparing with your previous work „Chromatic Freedom“. Did you come into a stage where you think that your instruments can tell the story rather than singing about something?

Well, to be honest, I’m much more attracted to the guitar playing than to singing and I think that this is clear in our previous works, the voice plays a small role in the compositions. It just happens that in this new album I didn’t feel the need of this 4th instrument even because I’m using a loop pedal or because Pescara’s touchguitar is filling the space pretty nicely.

Nelson CoelhoWhat can you tell about your guitar technique? It’s obvious that you pay more attention to melody through your soulful solos rather than shredding.

That’s right. I’m not a very technical guitarist, I do have some skills but just enough to express myself and sometimes I may do some very dirty licks that I think it’s much more expressive than if it was perfect and clear. And yes, my main focus when improvising is to create a nice melody with strong emotion attached, so I pay a lot of attention in the articulation of the notes, bends up and down, vibratos, pickings, legatos, slide and pick, pick and slide, whamy bar, all mixed up to work as if the guitar was a character speaking in a language that you may not understand but you can feel the intention and the emotion very well.

There is King Crimson in traces in the sound of „The Last Tribe“, referencing „The Power to Believe“ album. Which artists influenced your work on this album? What are some of your all-time favorite albums?

King Crimson was always a great influence for us, but there are lots of other influences as well and I couldn’t tell if there are some specific influences on this album. The influences are always unconscious and mixed up in these so many years of music listening. As my personal influences I’ll say: Jimi Hendrix, Frank Zappa, KC, Robert Fripp, Brian Eno, Mahavishnu, Santana, Jeff Beck, Allan Holdsworth, UK, Pink Floyd, Yes, Genesis, Mike Oldfield, Led Zeppelin, Deep Purple, Bela Bártok, Stravinsky, Bach, Ligetti and many others.

Some of my all-time favorite albums would be: King Crimson – Red, Larks Tongues in Aspic and Starless and Bible Black; Frank Zappa – Shut up and Play Your Guitar, Zoot Allures, Grand Wazoo, Joe’s Garage; Jimi Hendrix – Are you Experienced, Band of Gypsys, Electric Ladyland; Fripp & Eno – No Pussyfooting (this is a masterpiece); Brian Eno – Another Green World, Before and After Science, Music for Films; Pink Floyd – Ummagumma, Wish You Were Here; Mahavishnu – Birds of Fire; Santana and John Mclaughlin – Love Devotion and Surrender; Mike Oldfield – Tubular Bells, Ommadawn, Hergest Ridge; Jeff Beck & Jan Hammer Group Live; Led Zeppelin – everything except “In Through the Out Door”; Deep Purple – Machine Head, Deep Purple in Rock, and this is really important, Captain Beyond’s 1st album.

Well… There is a lot of albums, hehehe, sorry.


Prog rock and progressive music in general are the subject of many debates. How do you see the evolution of the genre? Does it need to change? Do you think that a lot of today’s progressive music is about musical virtousity and not about actual bringing something new?

Well, frankly, I don’t care that much about the genre discussion, it’s not that I wanted to do. Prog music or fusion or whatever, it just happens that the music that I like to play is usually catalogued under this genre and sometimes, in Dialeto’s case is Heavy Prog or Fusion or Art-rock or Hard Prog. But, thinking about the original meaning of progressive music I think it should really bring something new, something that you have never listened before, something that you probably will not understand at first listening and will be very curious about what’s happening. That’s what I felt when I first listened to Larks Tongues in Aspic back in the 70’s and more intensively with Fripp & Eno’s “No Pussyfooting”, this one took me many listening to fully understand and appreciate but then it really opened a new door of perception for me. In that vision it’ll be very hard to find some real progressive music these days. There are bands that try to emulate Yes, Genesis, Floyd, ELP, KC , which I think is a really bad idea, there are bands that focus on virtuosity as you said, which is legitimate and sometimes cool but often boring and soulless as well, and there are bands like Dialeto that just deal with musical concepts traditionally associated with Prog, such as odd time signature, dissonances, exotic scales, moods and textures, which is not usual in the mainstream but not necessarily innovative by itself. In “The Last Tribe” the only song that I think may be considered progressive in these terms is “Chromaterius” , you’ll need to listen to it many times to fix the chromatic melodies in your memory. Another Dialeto’s song in that same page would be “Divided by Zero” from “ Chromatic Freedom” it takes some time to understand the main riff and its form. I love that feeling of strangeness.

„Windmaster“ opens your new album and also this is a song you chose for the Progstravaganza sampler. It kicks off with a very nice melody and keeps the pace steady all the time during its almost six and half minutes. What does this song mean to you as a composer/performer? Does it give you any special feeling when you are playing/listening to it?

As a composer I’m very happy with the main theme which constitutes a long melody that has many well articulated parts that brings a nice sense of movement and seems to tell a little story. Then, as a performer, there is the improvised solo that evolves in different parts and then grows and grows..and then grows a little more. I like that adventurous intensity very much.

What does the art cover for „The Last Tribe“ mean?

I’m also a 3D artist so, this image (which some critics hated so much) was created as part of an animated short movie for the song “The Last Tribe”. The characters are members of a hypothetical tribe that are facing its own extinction. In this very dark ambient that they are living they find this very curious and luminous bird that came from the moon. The bird will lead them to a place where they will see their future. The movie is in production but…well…it will take some time to finish.

Last five albums you listened to:

Espectro – Violeta de Outono
Copo D’Água – Rainer Tankred Pappon
Conjure – Herd of Instinct
Burden of Proof – Soft Machine Legacy
Heritage – Opeth

and, of course, all Moonjune Sampler and Moonjune Recommends digital albuns.

What the future holds for Dialeto?

Maybe we should also follow the luminous bird to see our future. But the plan for now is to play live everywhere, some Prog Festivals would be really nice.

Thank you very much Nick and Prog Sphere team for the questions.


Dialeto online:



ARABS IN ASPIC And On Progstravaganza

With a naughty band title, and an even naughtier album covers, Norwegian group Arabs In Aspic deliver a deliciously indulgent yet light-hearted music which is sure to win over the hearts of prog fans everywhere. The band has been active over 15 years, changing its name from Arabs to Aspic to Arabs to Aspic II and again to Arabs in Aspic. These Arabs from Norway open our newest Progstravaganza compilation and it was a right moment to talk with the Northerners about their music.


How did the story with forming Arabs in Aspic go?

ARABS IN ASPIC II emerged in 1997 from Norway led by guitarist and vocalist Jostein Smeby and rythm guitarist & Theremin player, Tommy Ingebrigtsen. Since they met through their common love for 1970s heavy rock music, especially Black Sabbath, they’ve been playing together with different personnel, each playing different kinds of heavy music until ARABS IN ASPIC surged.

They said goodbye to playing covers and the band was ready with Hammond organ player Magnar Krutvik, drummer Eskil Nyhus and his brother, bass player Terje Nyhus. The quartet was later joined by Stig Arve Jorgenson on backing vocals and Hammond organ, as Magnar changed to playing acoustic guitar and synth. After a few years and two releases (Progeria, EP and Far Out in Aradabia, CD) the band was put on hold due to various reasons.

In 2006 Jostein, Eskil and Stig hooked up with bass player Erik Paulsen and formed what was briefly known as Arabs in Aspic II. The new spirit and musicianship led to some serious song writing, and numerous demos were recorded during the following years.

I have to say that the whole thing about the name of the band is a bit confusing for me. You have your latest album on iTunes listed under the name Arabs in Aspic.  So, what’s the deal with the name?

When Arabs in Aspic resurrected after a few years on ice, the lineup changed and we called ourselves Arabs in Aspic 2, since this was the second lineup. However, when we decided to change it back to just Arabs in Aspic, our facebook page had too many likes and we weren’t allowed to change the name of our page. It’s as simple as that :D

One of the first impressions I got when I listened 2010’s „Strange Frame of Mind“ was if Black Sabbath would go prog, they would sound like you do. Could you tell us something more about your influences?

Strange+Frame+Of+Mind+coverFor Jostein, Sabbath has been the main inspiration to study music. His vinyl collection contains mostly music made between 1969-1973, that probably colors our music. He’s listened to a lot of classic heavy as you might hear, but also a lot of Krautrock. Jostein’s living room is filled with strange music… However, we all get inspiration from all kinds of music, artwork, facts or even news. Stig and Erik have a more “technical” prog backround with Genesis, King Crimson, Zappa, Yes, PFM, Weather Report, DT and more, which blends very well with the more heavy style of Jostein and Eskil.

You have three full-length albums released so far and one EP released in 2003. When you look now on your opus would you dare to say you made a drastic change in your sound (in terms of music, not production) since your first offering „Far Out in Aradabia“ (2004)?

Without a doubt. We sound different, cause we are a different band. Our current lineup has only two original members left, me and the drummer Eskil. We also have 3 singers instead of one, and much more keys by Stig of course.

Your latest release is this year’s „Pictures in a Dream“ and though you maintained to keep the heaviness in your music, the album sounds a lot proggier than previous albums. Do you agree? Is that a natural progress or you decided to force that prog side during the recording process?

That depends on your definition of prog. In some reviews of “Pictures in a Dream”, we don’t play prog at all. Some call it classic heavy or classic hard rock. I agree with you and with the opposite opinion actually. I think the album has a lot of classic heavy, but it also contains all sorts of music and temper-/tempo changes. I call that prog. We don’t care to much what we put together as long as we like it. For the reviewers who only listen to Neo Prog, Arabs in Aspic isn’t progressive rock. People can call it what they want. Our opinion is that there are only two kinds of music, good and bad music :) We like to define ourselves as Heavy prog. It’s a natural process that we get proggier, since our newer members Erik and Stig are prognerds, but we actually tried to prog this album down a bit, and focus more on classic elements and vocal harmonies. On our next album you will need a calculator to get it :)

Pictures in a Dream

„Pictures in a Dream“ is personally one of my favorite albums released in 2013 and I am interested to hear what albums did you guys listen to during the recording process of the album? How much what you listen while writing music influences the final product, in your opinion?

 Jostein: Oh, thanx! That’s nice to hear:) When I get in the process of recording an album, I don’t listen to similar music at all. I feel sorry for my friends who come and visit in this process. I play only raw tapes of Arabs in Aspic:) The writing process is something that happens all the time. We have enough music almost ready for two or three  more albums, but when it comes to recording, we have to puzzle our pieces right to get an album, not just a bunch of music or a bunch of songs. Our coverart designer is also important in this process. I often re-write all the lyrics after the recordings are done, to make it fit the temper of the music, and the artwork. My vinyl collection is in my backbone, so I guess that colours our music. But as I said earlier, I can get inspiration to write music about anything. A punchline in a movie, a picture or a painting can give me enough to come up with a riff or a melody line. I record every idea at once. If I don’t have a guitar I sing it.

How much were you active in playing live in the past? What’s the response of audience on your music?

Then years ago we played a lot, but only in Norway. We did about 30 gigs a year. We had a faithful audience, who appreciated a wall of sound. People buy improbable amounts of beer when we play:) I don’t know if that is cause they are happy or if it’s to kill the pain :)

We haven’t been too active with the new line up yet, but we will. Last summer we had a gig in Quebec and a couple in Norway, and we have been asked to play some places in Europe. Our adience seems to get in a good mood and like our energy. We have gotten great feedback from all kinds of people from 12-70 years, male and female. Jostein’s wife, Helena, will participate in the Winter Olympics this winter, so that is our main priority now. But after that, there will be lots of live music… :)

Arabs in Aspic, Live in Quebec 2012 (Photo: Rejean Lafortune)

Arabs in Aspic, Live in Quebec 2012 (Photo: Rejean Lafortune)

Your song „You Are Blind“ opens our latest Progstravaganza compilation. What can you say about the song in particular?

This is the heaviest part of our new album. It’s made to hear in context with the previous and the next song. The previous song is a real heavy piece of music, but this one starts even heavier, on the last beat of the previous song. The next one is a instrumental floater, to tighten up our sholders :) “You are blind” is a tribute to Black Sabbath, Deep Purple, Led Zeppelin and Beatles if you listen close. And that is not a secret. It’s composed this way to make you smile if you hear the codes. The lyrics are a settlement with system vs individuals. The strange mid part is a funny story. Only Jostein knew what it would contain when we recorded it. He asked Eskil to keep the beat on his signal. Afterwards, Erik got one attempt to do a far out bass solo. The space echo guitar is also done in only one take, but reversed and fucked up with fx. This part is most likely inspired by the time Jostein studied modern classic music, with composers like Edgar Varese, Arne Nordheim and Igor Stravinskij. Most likely, many of his compositions are inspired by this era.

What would be your choice to share a stage with, if you had that chance to pick a band?

That would be bands that are in some way related to our music. This would give the audience a good evening. And if the audience have a great time, I’m sure we will enjoy it also. It’s no primary goal for us to support a famous band, playing on a large stadium. When we do gigs we hope that the audience is there to check out our music. None of us like the thought of an audience just waiting for us to be finished. But we must admit, that if Tony Iommi had asked us to do a support job, we would have said yes:)

What comes next for Arabs in Aspic?

Holy Moses, we have plans! This August we will do 3 gigs in France. Later this year we will do at least 2 gigs in Norway and maybe 2 gigs in Stockholm. But priority number one is more recordings. We have started a pre production of what is ment to be a triple vinyl, with the working title; Heavy Progressive Rock. This is planned to be a heavy record, a very progressive record, and a record in between, the way we do things now. Most of the music is written already, so stay tuned for more madness from Norway!

And don’t forget to find us on http://www.facebook.com/arabsinaspic, Spotify, iTunes and your random record store.

Arabs in Aspic is:

Jostein Smeby – guitars + vocals
Stig Jørgensen – organs + vocals
Erik Paulsen – bass + vocals
Eskil Nyhus – drums + cymbals