We had a chat with Johan and Alice about how the band came together, the making of Altar, what it was like playing their first-ever live show at Sweden Rock Festival, and where things are heading next.

First off, congratulations on the release of Altar! What themes or ideas lie at the heart of this new EP?

Johan: Thank you so much, we are all very happy and proud over how it turned out! Musically it’s a continuation of what we did on the Duality EPs, but the level of musicianship and the arrangements was raised considerably by the contributions of Marcus (guitar), Olly (bass) and Seppo (drums). But for me, the heart and the core remains the same.

Your music combines pop-influenced vocal melodies with the weight of melodic and progressive metal—how did you arrive at that unique blend?

Johan: Before starting WATB, I spent a few years mainly in death metal bands and projects as a vocalist. But I missed the more melodic side of metal, and I missed playing guitar as well. I wanted to do something similar to the great bands I listened to in my 20s, but somehow do a fresh take on it. My thought was that I needed to work with someone with a completely different musical perspective than myself, and that is why I started to work with Alice. Her background is very different to my own, but somehow we speak the same musical language and manage to make it work.

Alice, you initially had doubts about joining a metal project. What changed your mind, and how has your journey into metal shaped you as a vocalist?

Alice: Of course I had doubts, because I had not done anything like that ever before. But I’m so glad I did it, that I put my doubt aside and just threw myself out there. I think my way of writing songs has opened up for the better thanks to We Are To Blame, and also my way of singing. Now I’m a lot tougher, and I’m not as afraid as I was to stretch my boundaries and broaden my horizon.

Johan, what inspired you to seek a pop vocalist for a metal band in the first place?

Johan: As I mentioned, I wanted to work with someone who had a different perspective than me, and a lot of pop artists have a great feeling for melodies. And I figured that it could bring something different to the music, something that I couldn’t do with a metal vocalist. And working with Alice has been amazing, not only the music and lyrics she writes but how she has influenced me to write as well. Even for the songs that I’ve written lyrics and vocal lines for, I could not have written if I hadn’t worked with Alice.

The band is named We Are To Blame—what’s the meaning behind that name, and how does it reflect your music or message?

Johan: We as humans often tend to divert responsibility to something outside of ourselves. It can be anything from being too tired from work to do laundry, to blaming former generations for global warming, to hating other people because an authority figure says so. The name ‘We Are To Blame’ serves as a reminder to look at what we ourselves can do to be the best versions of ourselves, to look inside and work on what we can control, instead of focusing on the things we cannot change.

Altar follows the critically praised Duality EPs. How would you say your sound has evolved between those releases and now?

Johan: To me, the biggest difference has come from getting a complete lineup of incredible musicians. Marcus, Olly and Seppo managed to take what we did earlier and make it a thousand times better! Even the old songs, just rehearsing for the first time with these guys made my jaw drop. The core of the songs are still from the same mindset as before, but the execution is at an entirely different level.

You played your debut live show at Sweden Rock Festival 2024—what was that experience like for you as a band?

Johan: Oh, I don’t know if I can find the words for it. It was the first time we played live with this lineup, and we actually rehearsed for the first time with the full band 3 days before the show. But the experience was pure magic, just the opportunity to play at Sweden Rock Festival was something you only dreamt about as a kid, so to actually stand there and play music for that crowd was simply surreal!

There’s a strong Scandinavian character to your music, mixing light and darkness in a way that feels very Nordic. Do you think your geography and culture influence your sound?

Alice: Both yes and no. I think the main reason we have our mixed sound is because of our different musical backgrounds. All our different experiences have led us towards our sound.

Johan: To an extent i agree with Alice, but Sweden has a very strong music life with accessible musical education that i very strongly believe is a big reason for why Sweden delivers so many amazing musicians. I, and many others, are deeply saddened that the current government is dismantling it, but I have hope that the tides will turn and that we will rebuild it.

You use both symphonic and electronic elements in your arrangements—how do you decide what to bring into each song’s atmosphere?

Johan: We just try to serve the song with each decision. Some songs or parts require a lot of synths to really pop, others an orchestra. Sometimes it’s better to keep it sparse. I tried to put into words how I reason with each part, but in the end it all comes down to gut feeling. Does it make me feel something, or enhance what I’m already feeling? If so, it stays. If not, it goes away. 

Lyrically, your songs often deal with personal and emotional themes. Where do you draw inspiration from when writing?

Alice: All the inspiration to my lyrics I pick from my own life. It can be both very personal and close experiences but also something I read in a book that stuck on me. I always have to feel something in myself so I can write honestly and truthfully. It’s important for me to give a little bit of myself in our music to be true to myself.

Johan: I agree with Alice wholeheartedly. If I write about something that doesn’t make me feel something, how can I expect the listener to feel something?

As a band that’s hard to place in a single genre, how do you navigate creating a sound that’s both familiar and fresh?

Johan: It was a concern when we started writing music, but as things fell into place I’ve gotten more comfortable and secure in what we do. So at this point, I trust our taste and the decisions we make and just roll with it. As long as we make music we are proud of, I have full confidence in what we do as a band.

What kind of feedback have you been getting from fans and press around Altar?

Johan: So far it’s been nothing but positive! Our fans seem to enjoy the new stuff, and we are so excited to share more music with everyone.

Looking ahead, what’s next for We Are To Blame—new releases, more live shows, or perhaps a full-length album?

Johan: As a matter of fact, we are currently working on our first full-length album! No dates are set yet, but we are finishing up the last pieces of recording and have started to work on the mixes. So keep an eye out on our socials for news, and before you know it you will have more ‘We Are To Blame’ to listen to!

For more about We Are to Blame visit the band’s website, and make sure to check out Altar on Bandcamp.

The post WE ARE TO BLAME: Different Perspectives appeared first on Prog Sphere.

Haunting, dynamic, and emotionally layered, “Distant Lines” brings together atmosphere and intensity — reflecting the core identity of Fallen Letters. The single was born during a writing period influenced by Katatonia’s Last Fair Deal Gone Down, with the band building around a melancholic-yet-hopeful riff by guitarist Aditya Ramesh. Lyrically, the song captures the inner tug-of-war between comfort and change — a universal emotional struggle.

“‘Distant Lines’ sits right at the heart of Mindfractures — both sonically and thematically,” says the band. “It blends introspection with momentum, melancholy with resolve. It acts as a gateway into the fractured emotional landscape the album explores.”

Formed in 2023 as a studio project by founding members Aditya Ramesh (lead guitars) and Vishal Naidu (vocals, rhythm guitars), Fallen Letters has since evolved into a full band with the addition of Mukund Narasimhan (drums) and Abhay Prakash (bass). Initially created without the expectation of performing live, the project quickly grew as the music deepened — and as audience interest increased. The band self-recorded the album in India, with mixing and mastering handled by Johan Martin (Punch Sector Studios, Sweden), a protégé of renowned producer Jens Bogren.

Described by the band as “emotionally heavy and sonically dynamic,” Mindfractures explores themes of identity, internal disintegration, and the tension between vulnerability and resilience. The album draws from a broad spectrum of influences — Opeth, Tool, Katatonia, A Perfect Circle, and Deftones — while also weaving in ambient textures, post-rock atmosphere, and the blend of clean and harsh vocals.

“We always lead with emotion,” they explain. “Technicality matters, but only if it serves the song’s feeling.”

Alongside the single, Fallen Letters are teasing a visually rich and interactive experience leading up to the album launch, including more singles, animated videos, and an online portal featuring hidden content tied to the album’s conceptual arc.

About Fallen Letters:

Fallen Letters is a dynamic four-piece Alt Rock/Metal band from Bangalore, India. Influenced by Blackfield, Deftones, Opeth, and Katatonia, they blend Alt/Prog Rock and Metal to create a unique

sound. Founded by Vishal Naidu and Aditya Ramesh, the band crafts compositions that evoke deep emotions and melancholy. Their meticulous songwriting invites listeners on an emotional journey, with each note filled with purpose and depth.

Fallen Letters online:

Facebook | Instagram | YouTube

The post FALLEN LETTERS Premiere New Single “Distant Lines” Ahead of Debut Album “Mindfractures”, Out September 26 appeared first on Prog Sphere.

First off, congratulations on the release of Explode Yourself! What does this album represent for you personally and artistically?

Thanks so much!  After two live releases, it was time to document what the band truly does, with the kind of detail a studio setting allows. And in the wake of other things that we’ll talk about below, it was also the right time, energy wise, to capture that. 

The album was born out of your recovery from both cancer and heart surgery. How did those experiences shape the music and message of Explode Yourself?

I certainly emerged from both with a renewed appreciation of life, which is of course the gag-inducing Hallmark card cliché—“life is so precious to me now, I don’t take things for granted,” blah blah blah. That is true, but it’s only half the story.

The other and more impactful side of that coin is that now there’s no energy  for bullshit: cancer is fatiguing, full-tilt open heart surgery is hella fatiguing and took more than a bit to bounce back from. So one doesn’t have the stamina or patience for nonsense any more. My level of “I don’t give a fuck”-ery is astronomical now! [laughs]

I have to pour my energy into whatever available bandwidth I have, for what matters. So I prioritize—but because of that, what I prioritize to gets pretty condensed, intensified. It has my all.

That in turn allowed the music to be more streamlined, more direct, more focused: trim away the excesses, get rid of agendas and categories—whether this music had to be this or that, a “free jazz” album, a prog album, a style, a genre. None of that matters. Just let it—be. As such, this album is probably the most direct and focused work I’ve done to date.

That intensification I just mentioned, along with the zero tolerance for BS,  also gives this album a certain attitude and spirit throughout, I think. And some tunes really show that edge. 

The album also feels like the most accessible work I’ve ever done—not by design or agenda, but by simply streamlining, not worrying about genres, and getting directly on with it to the heart of the matter, so to speak: creating joy and offering love. 

The phrase “explode yourself” is striking—what does it mean to you, and how does it connect to the themes of the album? 

You know those refrigerator magnets with the cut-up individual words? One day about 10 years ago, I came home and my son had put up on the fridge with those magnets: “explode yourself then convulse.” Nothing else, no context, just that. I thought, damn, there’s a song title there…

So the tune was created back then.

But it found its true meaning and place in this album, in the wake of the health issues. Exploding yourself with, and for, the love of life! The title also hints a bit to the common energies between sex and  improvised music—I’m talking at the deep energetic level, where the core of your essence lives, where your atoms vibrate. From the parallel shapes and undulations of bodies and wave forms, to sonic and physical vibrations, to either act being vulnerable, honest, open states of consciousness that require both connection and release to others. Both processes tap into a very deep and common well of the life force. 

How would you describe the sound of Love Unfold the Sun to someone who hasn’t heard your music before?

Someone once said, more or less, at a gig to me; “If Mahavishnu, Miles and Broetzmann’s Die Like A Dog quartet had a party in an Istanbul punk/metal club, it would be you guys.” That’s a  pretty fair assessment.

(Actually she was a little more risqué than that, implying a post-orgy love child between Mahavishnu, Miles, the Die Like A Dog quartet, Oum Koulthoum, Turkish makam improvisations and Black Sabbath, but I cleaned up the reference for most press. [laughs]). 

Usually I tell people who are curious and wouldn’t know those references that it’s a hard classic rock/metal/Middle Eastern/free jazz mashup band. 

Your group is known for a freer approach to the world/jazz fusion genre. What sets your musical interplay apart from others in the same space?

I’m pretty steeped in free jazz, as all the band members are, so the output comes from that operational perspective. I did a lot of acoustic solo work in the ’90s in the free jazz/improvised music space  (in those days I was exploring how free jazz and improvised music ideas would mesh with pre-Paco De Lucia flamenco elements) and had the good fortune to meet and work with some luminaries and play some important festivals and venues in the genre (FMP, Nickesldorf).

At the same time, there’s my cultural background, which we’ll get into below, and I’m also a rock and roll kid. [laughs] So that’s a part of it, too.

Everyone in this band has that free jazz background and sensibility and sensitivity – in free jazz, it’s all about the listening to each other—and they each bring that to the table, full force. I wouldn’t have it any other way: I sought out that skillset when finding bandmates, and I’m so blessed. And they’re not afraid to rock, either.

I think others in the world music/fusion space may not always come from that background and experience in free jazz, or hard rock and metal, for that matter. Or if they do, maybe they just don’t love those genres as much. [laughs] Which is fine. They’re just coming from somewhere else, and they bring their own thing and create their own beauty.

Can you talk about the process of recording the debut album—how did the studio environment influence the group’s dynamic and energy?  

Well, it’s the debut studio album… We’ve done live releases, but those can have issues technically, so we needed  to get into a better environment and document in detail what we’re capable of. We tracked it all in three days, and all the soloing and interplay is live (except for the guitar solo in Delirium, which I had to retrack), so we kept it honest to what we do.

At the same time, being in the studio allowed me to fill out the timbral and textural palette some, so I went back and overdubbed a bit—some backing power chords, doubling the backing riffs;  replaying some of the written melodies a little cleaner, a harmony line in near the end of Steppe Up. The oud solo over the intro in Explode Yourself and the oud in the bridge in Delirium were also post group session additions… So, little light touches here and there, but not detracting from what we do as a unit.

What role does improvisation play in your compositions, both live and in the studio?

It’s huge! I love the dialogue and conversational aspect in free jazz, I live for that. I’d rather dialogue with my bandmates than do a static solo. There’s room for soloing, sure, and the need for it timbrally and texturally to break things up a bit, but the magic happens in the conversations, for me.

The compositions—and I try to provide strong ones for us—are the mere springboards, the frameworks, for the improvisation. The improv is the focus. 

The written material is the fuel for the journey. When we start playing, it’s our collective duty and responsibility, and joy, to create and offer up that journey for the listener, take them with us.

As a guitarist and oudist, how do you navigate blending traditional and modern musical languages? 

I grew up in a very mutli-culti environment, with my father being German-Irish and my mom Mexican, with a Lebanese branch in her family tree. So I grew up listening to mariachi, flamenco, Oum Koulthoum, Fairuz, the Beatles, Herb Alpert, Broadway musicals, etc. It was a very eclectic musical household!

There was also a stretch of living in France as a kid, and that exposed me to all the North African/Maghreb influences, where we were living (Montpellier). And Montpellier is quite close to the Camargue region, which has a strong flamenco element–so along with the Maghreb presence, I had additional reinforcement to the earlier flamenco and Middle Eastern childhood exposures.

Coming back to the States I discovered rock ‘n’ roll, and gradually went more and more into prog, then into fusion, then very briefly into straight jazz/bebop, then into free jazz.

So it all comes out—I’m  a product of all that mix and those environments.

But how all of that can meld cohesively is what continually, perpetually interests me. That’s probably at the core of all my work, the constant thread. 

Over the years, some elements have been more to the fore than others. The acoustic ’90s work, for example, had a more traditional cultural element. Pray For Brain (the band I had about 10 years ago) was more prog-rock, more cerebral (and a tad gentler than LUTS).

But Love Unfold The Sun is, I think, the first band I’ve put together that can bring all those spaces together in equal measure, in a unified, organic way. And I think this album conveys that ability for that vision, over the span of it. 

Early on, I realized that to focus on any one of those spaces – i.e., to be an exclusively traditional flamenco player or oudist or rock guitarist or jazz head –  would be dishonest to myself and deny the other aspects of my background. So I simply honor that diversity, embrace it all and celebrate life in my own skin, be authentic to my totality and let that synthesis flow out in the work…hopefully in an interesting, organic and cohesive way. 

We could do a deeper dive on technically how I approach juxtaposing and  navigating traditional and modern musical vocabularies by breaking down a tune or two, though that’s probably too detailed for this article. But let me know if you wanna go there… 

Was there a particular moment during the making of Explode Yourself that felt like a breakthrough or emotional turning point for you? 

That happened in post-production. Only after it was all mixed and I was reviewing the first mastering passes, did it hit me, how joyous, how streamlined, how unencumbered and free  it felt. And it took me a hot minute to put it together, why it was that way…, which we talked about at the top of our convo. 

I’m glad it hit me later, rather than during the process: it would have overlaid an agenda, it would have forced a mandate of “Im going to make an album that will be celebratory out of all of these experiences”. But it just happened of its own, and the epiphany of why it feels as it does came later.

The album radiates joy and vitality. Was that an intentional contrast to the heaviness of your health journey, or a natural evolution of your mindset?

 I am so glad and pleased you picked up on that! Thank you!!

 That really is what it’s about: It’s a raucous, joyous celebration, – exploding yourself with and for the love of life, as I said,  – vehicles for musical conversations stripped to the core to let the music breathe and live and play.

It wasn’t an intentional contrast to the health issues, but more a natural outgrowth from them – that streamlining and condensing process, as we talked about above.

 I don’t view the health challenges as heavy, by the way. Yes, they were serious and recovery from both was grueling, , but what it gave me – to be able to revitalize and streamline and focus, to say no to nonsense and agendas – such a blessing, such a gift. Serious and painful gifts, no doubt, but I’m grateful for them.

Who are some key musical influences—global or otherwise—that helped shape the sound of this record?

 We talked about the broader influences above, but specific influences –  artists that were game changers for me – include, but not limited to, and in rough order of discovery:

Led Zeppelin, live. I’ll put it to you that they were the most free jazz and telepathic rock band live , ever, and I loved them for that. Grateful Dead and jam bands improvise, but GD and many of the jam bands  don’t listen to each other –  they’re not responding, just playing and noodling. No telepathy, no true interplay or sensitivity.  And LZ’s writing was impeccable.  

I could expand at length, but you have finite space

 McLaughlin/Mahavishnu. Out of all the fusion bands of the time, their degree of interplay and telepathy was astonishing, and they coupled it with some of the most sophisticated and elegant writing of the era, IMO. That’s an unbeatable combination – and parallel to LZ in their own way on those two qualities –  and the benchmark both bands set in how to marry those two elements has stayed with me. 

Stravinsky , Rite of Spring;  Alban Berg, Wozzek Game changers. What you learn from those two works compositionally  – how to create so much from such tightly controlled parameters and initial resources – will last you a lifetime, both in composing and improvising. 

Cecil Taylor.  Huge game changer. I had the blessing to know him and work with him briefly. Profound, almost too profound to discuss. Suffice to say, deep and permanent in shaping my outlook, how I organize material, etc.  

Peter Broetzmann  free jazz legendary saxophonist/taragoto – ist, also no longer with us, sadly.  I think his Die Like A Dog Quartet , along with Cecil’s trio with Tony Oxley and William Parker, was probably the best free jazz group in the last 30 years. The rapport, the listening, the synchronicity and sensitivity, the wisdom to lay out, the dynamic and timbral range, . …

 A big model/template for LUTS, actually, not just in the lineup (trumpet/bass /drums as the other band members), but in how they did what they did. 

 I had the good fortune to meet him several times  as well. We talked about doing something, but it never came to pass. 

Munir Bashir, Necati Celik,  Iraqi and Turkish oud players, respectively. Though my family branch is Lebanese, my oud vocabulary gravitates more to the Turkish style – just feel a deep affinity with it – and some Iraqi school as well. 

After the open heart surgery, I found myself  listening to a lot of modern progressive metal. Weird choice for recovery music! I discovered Jinjer –  such an amazing band. And for me to like a band with no soloing or improvisation is saying a lot! But their writing is high craft and complex without ever being showy,  then their execution of that material so tight and flawless, and Tatiana’s vocal deliveries so wide ranging and impassioned. Brilliant, brilliant band.

Early formative guitar influences would run the standard gamut: Page, Lifeson, Howe, Zappa, etc. An underrated one from those days no one talks about is Kim Mitchell of Max Webster: great writing, and his melodic /harmonic choices in his lead playing so unique. 

What does the Southwestern U.S. scene bring to your music? Has the environment or local culture played a role in your sound?  

I think geographically, the desert here, the mountains, the sky and quality of light here, are inspiring to be around, so that influences, perhaps. The  free jazz/creative/improvised music scene here is actually quite strong now, creatively at least, if not economically. Chris Jonas, who does a ton of amazing things and whom I met on the Cecil gig, lives here now; Jeremy Bleich; Jim Goetsch is here, Kim Stone (of the Rippingtons and Spyrogyra) is here, David Forlano, Trey Gunn… a bunch of interesting folk have settled here, so it’s a very creative place to be. 

What do you hope listeners walk away with after experiencing Explode Yourself?

 If they pick up on the vitality and joy as you have, then I’m very happy, and very blessed and honored! We will have done our job, if those qualities resonate with others. 

Looking ahead, what’s next for you and Love Unfold the Sun—touring, more releases, collaborations?

I would love, love, LOVE  to tour this band! I’m ready, and would love to offer what we do on a wider scale. We’ll see how the response is to the release, and start working from that. 

 I’m planning on a solo acoustic release late summer /early fall – revisiting the territories I was doing in the 90s, as mentioned above, but with a fresh perspective. There will be oud on it as well.  I may expand the free flamenco concept to a group setting; that’s something I’m seriously thinking of.

 I  also have a lot of archive material that just surfaced from helping my mother move – so I have some of those acoustic concerts from the 90s, early incarnations of LUTS from the 2000s, a live duo set with Ava Mendoza…. Lots to pour through, evaluate, see if it’s release-worthy or not.

Karl Sanders (of the death metal band Nile) and I have talked about doing a duo project together; hopefully we can make some headway in 2025 on getting that going.

LUTS drummer Dave Wayne and I are also in a band called Present Moment, a free funk/jazz collective spearheaded by saxophonist/keyboardist Jim Goetsch and with Kim Stone on bass.  Present Moment also has a new CD out now  as well. I’m interested to see where that band goes, too!

Explode Yourself is out now via Norumba Records and is available from Bandcamp. Follow Love Unfold the Sun on Facebook.

The post LOVE UNFOLD THE SUN: Appreciation of Life appeared first on Prog Sphere.

Congratulations on the release of Smoking Gun! What inspired the concept and themes behind this album?

Saskia: I was raised on a ranch in South Dakota for a few years as a child. I would fantasize about cowboys and western movies. As I got older, music was a part of my life and Southern Rock was definitely a part of it. I remember going with my parents to visit their friends. On the living room wall was a painting of a man standing holding a smoking gun and a woman lying on the floor (it appeared to be of western times from their clothing.) I have never forgotten that painting…

You describe Smoking Gun as a “western-fueled daydream.” Can you elaborate on the story or imagery that ties the songs together?

Saskia: As I mentioned before, I feel that painting stayed in my mind. My daydream brought the character Jesse into play. Jesse started practice shooting at 13.  At 18, he was the fastest and most accurate gun shooter. Word got out throughout the West of the fastest gunman around. Now at 18, gunmen want to challenge him. I had this dream while taking a train through the Southern States to end up in South Carolina, the birthplace of the Marshall Tucker band, and showing  Doug Gray our version of Take the Highway. 

Songs like Nowhere Junction” give the feeling of taking a train ride and paint a picture of love lost, while “Carolina On My Mind” references many Marshall Tucker Band lyrics and the fact that so many Southern Rock heroes left us too early. “Off The Beaten Path” explores the random nature of daydreams and how they often come with surreal imagery such as bears laughing, fish surfing and rabbits teaching us to walk that way. “Sweep Me Away,” “Here With You,” “Living For Today” and “November Came Early” mix elements of my own life with the character Jesse finding love.

How did covering The Marshall Tucker Band’s “Take the Highway” come about, and what does that song mean personally to Saskia?

Saskia- Great melodies stand the test of time!! The first time I heard that song, it had an impact on me. Doug Gray’s powerful voice singing about a broken relationship. Enter Jerry Eubanks’ killer flute solo pulling on the heart strings! Followed by the unstoppable guitar solo by Toy Caldwell. The song comes back to its beautiful melody. I told myself that ONE DAY I want to cover that song! How I ‘feel’ about a song is my takeaway.

Compared to The Reverie Suite, this new album has a more raw, improvisational energy. What led you in that direction creatively?

 Hoyt – Creatively, we have a goal to not repeat ourselves, so the initial thought was to rely much more heavily on the rhythm section this time around and have less orchestration, relying more on a singular performance to carry the weight. With Southern Rock being our inspiration, we wanted to take a stab at the improvisational approach that The Allman Brothers were so great at. Not planning everything out led to a noticeable energy throughout the record that brought us even closer to the 70s vibes we love.

What was it like working with Toss Panos and Jorgen Carlsson, and how did their contributions shape the album’s sound?

 Hoyt – I had worked with Toss in the past on my instrumental album, Prayrie Go Round, and I’m a huge fan of his style. His energy is infectious and inspires me. There’s a sense of never knowing what he’ll do next, and he can handle any progressive changes you throw at him. He recommended Jorgen, who he’s worked with before and who is the bassist for the great Southern Rock band, Gov’t Mule. Jorgen fit perfectly and added a ton to the overall feel. His playing and tone were right in the realm of 70s style players and gave me the feeling of listening to Cream or The Allman Brothers. He has a way of being very busy but never obtrusive and extremely tight.

Euphoria Station has always blended genres—progressive rock, Americana, even Southern Rock on this release. How do you approach crossing musical boundaries while maintaining a consistent identity?

Hoyt – Our signature sound.  We both have worked hard to create a sound that is unmistakably us and Saskia’s voice is instantly identifiable. No matter what she sings, you know who it is and that’s a trait we both value.  No matter what style we are exploring, I want people to know it’s me on guitar the second they hear it. Musicians like Eddie Van Halen, Freddie Mercury, Elton John and Brian Wilson have been role models to us, because they are immediately identifiable, even if you’ve never heard the song before.

There’s a deep reverence for Southern Rock heroes on this album. Were there specific artists or moments in that genre’s history that served as key inspirations?

 Saskia – I feel that down-to-earth kinship listening to Southern Rock music. After living on a ranch in South Dakota, even as a child, that open-air small-town feeling is always there. Listening to the bands of the day later was really for the rest of my life. I am thankful I can listen to those bands who chose to make a life out of music, because they loved it.

Can you talk about the songwriting process between the two of you—how do lyrics and instrumentation typically come together?

 Hoyt – it can vary quite a bit. Many times, it is an idea on guitar or piano with a melody that I’ll bring to Saskia and if she likes it, I know it’s a keeper. Other times, she’ll bring me lyrics that inspire me to write melodies and chords that fit. In other cases, Sakia will have a complete chorus with melody and lyrics as was the case for our title track, “Smoking Gun,” that I wrote additional music around.  Ultimately, we look for a melody that I feel is timeless and harmony that is unique. Saskia’s lyrics always fit these criteria, and she easily delivers the emotion, so I ‘m lucky to have her and she acts like an executive producer, having spent much of her life listening to great productions and knowing what she wants in an album. She helps me make the right decisions quickly when we work out the details of a given song.

Saskia, your voice carries so much emotional weight throughout the record. How do you prepare—mentally or technically—to deliver performances that intense and personal?

Saskia – To prepare, rehearse mentally and physically, I must get plenty of rest and when rehearsing the songs, I must feel and project the lyrics. I give each song all I must give. In other words, as if I had an audience. My goal would be for the audience to feel what I’m feeling. Every song is a musical story. It takes a lot of energy and breathing is very important. Recently a friend of mine told me that on “Smoking Gun” she could feel the emotion pouring out of me.  It felt visceral to her. I believe coming from the heart when I sing is the answer. I believe when I, or anyone else comes from the heart, life is more meaningful.

Hoyt, your guitar work balances technicality with feel. What were some of the tonal or stylistic choices you wanted to explore on Smoking Gun?

Hoyt – I’ve always wanted to do a Southern Rock album. I listened to a lot of Allman Brothers and Lynyrd Skynyrd in high school and I was a big fan of Zakk Wylde who put out a Southern Rock album called Pride & Glory. I wanted to do my own thing while being in that realm and stay true to our own signature sound. I took the same approach as on The Reverie Suite, always do what’s right for the song and never over-play. With this album, that meant. a lot of time on layering acoustics guitars and dobro to create a vibe and relying heavily on slide guitar. There are however a handful of songs that required long guitar solos and during those times, I let loose and over played, but it was the time to do so, to pay homage to songs such as “Free Bird” and “Jessica.”

How do returning collaborators like Ronald van Deurzen, Rebecca Kleinmann, and Tollak Ollestad influence the band’s evolving sound?

 Hoyt – There’s a reason we work with these musicians. They are so gifted, and they bring something special to the table, every time. My strategy is to always give each musician the freedom to do what they feel or hear. I believe records become much more interesting when each musician gives a bit of themselves.

Ronald is a virtuoso that knows how to rein it in and do what’s right for the song. His organ and piano parts tie in everything so beautifully and he’s great at bouncing ideas off because he has so much knowledge on tap. He is the glue that holds everything together on this album.

 Rebecca is an amazing musician. You can give her a song and she will play the parts of course, but she can improvise so well and more importantly, her emotion and energy come through the recordings. I’m convinced she’s incapable of giving a stale performance.

Tollak is the best harmonica player I can think of. He can literally do anything and again, he doesn’t need direction, he hears the song and knows the perfect way to add to it, every time. He is a person that exudes emotion in his playing and I’m happy we have him on our team. He played the theme song on the 90s tv show, Northern Exposure, which happens to be Saskia’s favorite show. It was a perfect match when we met him.

The phrase “Nowhere Junction” evokes a sort of mythical destination. Is that a metaphor for something deeper in the context of the album?

 Saskia – At one point in our lives, Hoyt and I lived in a small town.  We were in a transitional time.   I called it “Nowhere Junction.  It was a place to be for a while, but I knew I would never live there permanently.  It turned out to be the perfect title of that track : )

 What do you hope listeners take away from Smoking Gun, both musically and emotionally?

 Hoyt – We hope that each song will impart an emotion that stays with the listener long after listening. For us, music is that which transcends the everyday and takes us out of the mundane. The greatest music, whether it be J.S. Back or the Beach Boys does just that. It’s not about the technicality, it’s about the magical transport to “the other.”

Looking back at The Reverie Suite and now Smoking Gun, how do you feel Euphoria Station has grown artistically over the years?

 Hoyt – I think we have honed our production skills to reach a larger audience. We still have quite a few technical or progressive elements on this album, but big picture, we took cues from greats such as Yes and Genesis and have evolved to be deceptively simple. No matter where life takes us, we will be true to ourselves and always aim to carry our signature sound.

What’s next for Euphoria Station—any plans for touring, videos, or perhaps more new music already in the works?

Saskia – We will be having an album release party/ show on June 21st at the Canyon Club in Agoura Hills, CA and we’re looking forward to bringing these songs to a live audience

 We are about to begin on our second video which will be for the title track, “Smoking Gun.” It’s a big project with cowboys, guns and horses in the wild west and we can’t wait to share it as it should be epic.

Smoking Gun is out now and is available on Bandcamp. For more about Euphoria Station visit their website.

The post EUPHORIA STATION: Western-Fueled Daydream appeared first on Prog Sphere.

Your music blends advanced technique with deep emotion. How do you approach balancing technical proficiency and expressive storytelling in your compositions?

I conceive technique as a set of expressive tools — not as a goal in itself. My primary concern is to articulate a conceptual and emotional narrative, and any technical resource I employ must be at the service of that purpose. I work carefully on control of dynamics, articulation, and phrasing, ensuring that even complex rhythmic subdivisions or polyrhythms enhance, rather than obscure, the emotional content. Silence, space, and note placement are as essential to me as speed or virtuosity.

“Eón” feels like a very conceptual and immersive album. Can you tell us about the narrative or philosophical ideas that shaped it?

Eón is built upon the notion of cyclical time, the eternal recurrence, and the fractal nature of existence. Philosophically, it draws from Hermeticism, Neoplatonism, and Gnostic thought, integrating metaphors related to cosmic balance and the duality between material and spiritual planes. Each piece reflects an aspect of this narrative arc — from the individual’s internal struggle to moments of transcendence and dissolution of the self within the infinite.

Modal language plays a big role in your music. How did you develop your interest in modes, and how do you incorporate them into your songwriting?

My interest in modal systems emerged from the need to escape the constraints of conventional tonal harmony. Modes allow me to access emotional subtleties and sonic environments that diatonic major/minor structures cannot fully offer. I utilize modes not only as scalar resources but as frameworks for thematic development and modulation, frequently superimposing modal interchange, polymodality, and symmetrical scales like the diminished or whole-tone. Modes such as Dorian, Lydian augmented, and Phrygian dominant are central to my harmonic language, especially when interacting with chromatic voice leading and altered tensions.

Mysticism is a key element in your work. What particular sources of mysticism or philosophical traditions have influenced your music the most?

My approach to mysticism is syncretic. I draw from Hermeticism, particularly the Kybalion principles, and Gnostic cosmology, alongside elements from Eastern philosophies such as Taoism and Zen Buddhism. I am especially interested in the interplay between the visible and the invisible, the finite and the infinite — ideas that translate into musical polarities between consonance and dissonance, tension and release, density and silence. Symbolism, sacred geometry, and archetypes also influence my structural decisions and conceptual frameworks.

When you set out to compose “Eón,” did you have a clear concept in mind from the beginning, or did the story evolve as the music took shape?

The foundational concept — the exploration of time as a cyclic and multidimensional phenomenon — was present from the outset. However, the development of the narrative was dialectical: while certain compositional choices were consciously directed by the concept, others emerged intuitively through improvisation and later found their place within the overarching idea. This recursive interaction between concept and musical material is, for me, an essential part of the creative process.

As a Chilean artist, do elements of your cultural background find their way into your music, either consciously or subconsciously?

Consciously and unconsciously. The melancholic contour of Chilean folk melodies and certain rhythmic cadences characteristic of South American music appear subtly in my phrasing and harmonic choices, even when framed within progressive metal or fusion contexts. I perceive these cultural traces not as stylistic clichés, but as emotional gestures embedded in my musical DNA.

Progressive metal often pushes boundaries. In what ways do you feel “Eón” expands or challenges the conventions of the genre?

Eón seeks to expand the genre by integrating contrapuntal writing, modal counterpoint, and chamber music textures into the progressive metal framework. Rather than focusing on virtuosity as spectacle, I aim for structural depth and thematic development, where odd time signatures and polymetric layers are not mere technical displays but serve a dramaturgical function. The challenge lies in balancing density with clarity, creating tension not only through complexity but also through harmonic ambiguity and dynamic contrast.

You mentioned aiming to resonate with audiences through conceptual narratives. What emotional journey do you hope listeners experience when they hear “Eón“?

I hope listeners experience a transformative passage — from introspection and existential questioning toward transcendence and inner peace. The emotional arc I seek moves between conflict, catharsis, and contemplation. If the music awakens reflection or evokes a sense of connection with something larger than the self, then the piece has fulfilled its purpose.

Can you walk us through your creative process when writing a new piece — from the first idea to the final arrangement?

My process typically begins with a conceptual impulse or an emotional image, often materialized in a melodic cell or harmonic progression. From there, I employ improvisation as a tool for thematic exploration, which I later shape through counterpoint, harmonic layering, and rhythmic displacement. I frequently use sketching — both notational and recording drafts — allowing me to iterate ideas. The arrangement phase involves refining textures, orchestrating layers (whether digital or acoustic), and carefully sculpting dynamics and space, always searching for coherence between the initial concept and the final sound.

Who are some artists, inside or outside progressive metal, that have been particularly influential in your development as a guitarist and composer?

Within progressive metal, Dream Theater, Devin Townsend, and Cynic have been pivotal. However, my harmonic and structural sensibilities owe much to Claude Debussy, Erik Satie, and Arvo Pärt, particularly in their approach to space and resonance. Guitaristically, Allan Holdsworth and Scott Henderson have shaped my phrasing and modal approach, while composers like Steve Reich and György Ligeti have influenced my understanding of rhythmic layering and minimalist processes.

How do you see your music evolving in the future? Are there new concepts or styles you are eager to explore?

I envision a deeper integration between progressive metal, minimalism, and contemporary classical idioms. I am particularly interested in further exploring the intersection between electric guitar and chamber ensembles, as well as in blending electronic textures with acoustic instruments. Conceptually, I remain drawn to themes of mysticism, existential philosophy, and the metaphysics of time and memory — but I also aspire to experiment with interdisciplinary formats, such as audiovisual installations or site-specific performances.

Finally, what do you hope listeners take away from “Eón” once they’ve experienced it from start to finish?

I hope that Eón serves as an invitation for introspection — that it challenges listeners to contemplate questions rather than offering conclusions. If, after experiencing the album, the listener feels emotionally touched, intellectually stimulated, or spiritually moved, then the work has accomplished its mission.

Follow Manuel on Instagram here.

The post MANUEL SAAVEDRA D.: Emotional Narrative appeared first on Prog Sphere.

“It feels pretty good,” he says. “It’s been about a year, and finally getting this project out feels great to share with the people. I try to be a perfectionist, but it ends up not too great. Better to get the stuff out fresh!”

Frelek reunites with two formidable collaborators on Rewrite Tomorrow: drummer Marco Minnemann and bassist Mike Lepond, the same powerhouse trio behind Waken Eyes’ acclaimed Exodus. Their return wasn’t just a coincidence, but a deliberate rekindling of creative chemistry.

“I wanted to recapture that spark,” Frelek explains. “Marco is great to work with—quick and spontaneous—so it’s always a fun challenge to add to his parts after the demos are done. Mike is a pleasure to collaborate with too. Very talented, and he always helps move the songs forward. They’re both genuine, nice people.”

The trio’s process echoed their previous work together. Frelek laid down the initial demos—programmed drums, simple basslines, foundational guitars—before sending them off to his bandmates to build upon in their own studios. The back-and-forth continued until each song reached its final form.

“I would finalize everything and send it to the mixing engineer,” Frelek says, describing the decentralized but fluid recording workflow.

At its core, Rewrite Tomorrow is about expanding the narrative potential of instrumental guitar music. Rather than relying solely on technical prowess, Frelek aimed to evoke emotion and movement through melody and structure.

“When writing instrumental guitar-driven music, I like to focus on telling a story with the song,” he shares. “It’s great to do intricate guitar solos and shredding all over the place, but I enjoy giving the song a journey-like aspect. I like to think of it as a Guitar-Rock Score.”

The album consists of ten instrumental tracks and one vocal-led song—Bright Lights, a standout moment that gave Frelek the opportunity to step outside his comfort zone as both a vocalist and lyricist.

“That one took a while,” he admits with a laugh. “Lyrics take me quite a while to finish. I have to think deeply about what I’m saying, make sure it makes sense, and ensure it’s relatable.”

With guest vocalist Kat Lisowski lending her voice, Bright Lights explores the emotional toll of chasing dreams.

“The entire record can be heavy but also soft,” says Frelek. “It has a kind of somber vibe to it. This song needed vocals.”

Among the tracks, Ghosts of Lydia came together with surprising ease. Written from a trove of saved guitar riffs on Frelek’s phone, the song emerged organically and was later chosen as the lead single with an accompanying performance video.

“It just flowed naturally,” he says. “That one really stood out.”

Frelek’s sound is unmistakably shaped by guitar legends and prog metal royalty.

“Paul Gilbert, Joe Satriani, Dream Theater, and Opeth,” he says, listing his major influences. “From Gilbert, you get the shredding; from Satriani, the melody; Dream Theater gives you technicality; and Opeth brings both brutality and softness. It’s a nice potluck mix.”

That blend of aggression and elegance defines Frelek’s playing—always calculated, never gratuitous.

“I try to sing out the melody and recreate it on the guitar so it sings rather than just plays,” Tom explains. “I enjoy playing fast and doing intricate passages, but I try to do it at a time and place that fits the story. Sometimes I even rewrite an entire song if it’s unnecessarily complicated.”

Frelek’s journey began at age 11, self-taught and driven by an obsessive commitment to craft.

“I would be in my room practicing the same sweep arpeggio for eight hours straight,” he recalls. “Frustrated every single day. But those hours gave me the patience and discipline to really understand the instrument. I’m still growing as a guitarist and composer. It’s a never-ending journey.”

That journey is deeply tied to his dual heritage—Polish and Canadian—which occasionally finds its way into his music, whether through cultural nostalgia or cross-cultural influences.

“I play in a Polish cover band now and then, which brings me back to my roots,” he says. “And I listen to artists from all over—Sweden, Norway, Germany, the U.S., the UK.”

For Rewrite Tomorrow, Frelek used a diverse mix of gear: Ibanez and Jackson guitars for most leads, a Taylor for acoustic textures, and a Stratocaster for clean passages. His Fractal FM9 handled most of the amp modeling before the tracks were reamped by famed producer Fredrik Nordström using an Engl Fireball.

“Effect-wise, I didn’t use many—just standard overdrive, delay, compression,” he says. “On a few songs, I used a slow-time phaser on top of the lead, kind of like a Van Halen touch.”

To support the album, Frelek released three music videos: the cinematic Ghosts of Lydia and two home-recorded playthroughs for Spirit Bomb and Das Misio. Visually, the lead video plays with duality—light vs. dark—mirroring the album’s dynamic contrasts.

“We switched between two sets in the video,” he says. “It sparked the idea of dark versus light.”

With an ear for theatrical soundscapes, Frelek says composing for film is more than a possibility—it’s a passion.

“That’s actually my favorite type of music to listen to,” he says. “Some of my favorite composers are James Newton Howard, John Williams, Nobuo Uematsu. I believe I’ll always include this style in my own music. It really connects with me, even more than guitar-driven music.”

As for the meaning behind Rewrite Tomorrow, Frelek hopes it offers a sense of empowerment.

“Every day is a new day,” he reflects. “There’s always a chance to start over, to be a better person, to accomplish what you want. You always have a chance to rewrite your own story.”

Looking ahead, Frelek has local shows in the works, and a tour on the horizon. Beyond that, he’s already gearing up for the next Waken Eyes album.

“I have a lot of material written—it just needs to be polished,” Tom teases. “I’m looking forward to bringing back some members. Stay tuned!”

Despite the ever-changing landscape of digital content and viral trends, Frelek remains rooted in authenticity.

“All you can do is give your best to your music and your fans,” he says. “Always be true to your music. That way, you’ll get a genuine response.”

His advice to up-and-coming musicians in the prog and instrumental world?

“Adapt to technology. Use social media, YouTube, be a creator. Collaborate, play shows, engage with fans. It can be draining—but also really rewarding.”

With Rewrite Tomorrow, Tom Frelek doesn’t just showcase guitar mastery—he offers a vivid, emotional, and cinematic soundtrack to self-discovery, resilience, and reinvention.

Rewrite Tomorrow is out now and is available on Bandcamp. Follow Tom Frelek on Facebook and Instagram.

The post TOM FRELEK: Rooted in Authenticity appeared first on Prog Sphere.

If Flow was the experience of drifting through deep space as solar winds carved away at your being, Beyond Cosmic Infinity feels like the next step—a metaphysical migration into a realm untethered from reality. This isn’t just an album; it’s a transcendental departure from this dimension. The title itself hints at this—tracks like “The Great Beyond” and “The Cosmic Silence” are more than just songs; they’re chapters in an unspoken epic that reaches past stars and toward the infinite unknown.

From the opening pulse of “The Beginning” through to the final echoes of “The Great Beyond,” Flame Drop paints vast cosmic panoramas with meticulous care. This isn’t a collection of songs you casually drop into a playlist—Beyond Cosmic Infinity requires your full attention. The reward for that commitment is profound. The band blends classic progressive rock and fusion with modern production sensibilities, embedding layers of post-rock, psychedelia, and space rock into compositions that feel expansive without ever becoming aimless.

In mastering these interwoven styles, Flame Drop ensures that every minute feels earned. Whether cycling a mesmerizing motif until it embeds itself into your consciousness, or unleashing a fiery, slow-burning solo awash in kaleidoscopic textures, Roland and Felix never lose sight of the emotional core. There’s a rich attention to dynamics here—some passages are suffocating in their sonic density, others feel like weightless drift, anchored only by a sparse bassline, a ghostly synth shimmer, or a fragile piano phrase. In these quieter moments, their restraint is as captivating as their technical flourishes, giving each crescendo a deeper impact.

The duo’s intuitive, emotion-first approach to composition is part of what gives Beyond Cosmic Infinity its weight. While Felix has a foundation in music theory, both musicians rely on instinct, feeling their way through structureless terrain until a shape takes form. As Felix puts it, “I just write and decide whether I like it.” It’s a sentiment echoed by Roland, whose role as producer and visual architect ensures that every aspect of Flame Drop’s output—from the analog-digital sonic hybrid to the mesmerizing live visuals—is deeply considered.

Technically, Beyond Cosmic Infinity is a masterclass in hybrid production. Analog synths like the Moog Taurus and Minimoog blend with software-based textures, while guitar tones leap between classic tube amp warmth and cutting-edge digital precision. Mastering is equally detailed, combining analog heavyweights like Neve and Manley with modern plugins, all in service of creating a sonic canvas that feels boundless yet cohesive.

Among the album’s highlights, Astral Projection and The Great Beyond stand tall—not just for their length, but for their emotional and atmospheric depth. These tracks showcase Flame Drop’s greatest strength: their ability to evoke profound emotion without a single word. The solos burn with purpose, the rhythms pulse with life, and the textures drift like nebulas caught in slow motion.

What’s perhaps most impressive is how effortlessly the duo makes time disappear. Though the album stretches across nearly an hour, the experience flows with such grace and progression that it often feels like half that. That’s a testament to Flame Drop’s evolving artistry—there’s no filler here, only movement and metamorphosis.

While Switzerland may not be the first place that comes to mind when discussing progressive rock hotbeds, Flame Drop is proof that something remarkable is stirring in its underground. As they continue to evolve and experiment, Felix and Roland aren’t just building on the legacy of FORS—they’re forging an entirely new constellation in the prog universe. And from the sound of Beyond Cosmic Infinity, they’re only just beginning their journey.

Make sure to check out Beyond Cosmic Infinity on Bandcamp. Follow Flame Drop on Facebook.

The post Album Review: FLAME DROP – Beyond Cosmic Infinity appeared first on Prog Sphere.

On Sleep, the band fuse these contrasting elements with finesse, creating a sonically vast work that merges precisely layered cinematic atmospheres with intricate electronic flourishes. The emotional weight of this release is carried by sparse yet blossoming guitar lines, which in the opener “Lights Out” swell organically into a measured eruption of melodic refrains—delivering a profoundly cathartic resolution to the track.

Their technical prowess is evident across both compositions, particularly when the gritty, distorted synths introduce tension and edge, most notably in the title track. Here, the guitars are given space to breathe, contributing ambient and melodic textures that underscore the electronic backbone. Each track swells from exploratory electronic beginnings into a crescendo of percussion, guitars, and sonic chaos, ultimately unraveling into silence as the final burst of energy dissipates.

Ghosts of Tallahassee have crafted a dynamic and evocative preview that channels a wide spectrum of emotions—flickering between visceral intensity and refined sonic nuance with remarkable control. This is a bold, cohesive, and—while admittedly brief—highly impressive effort from the Florida outfit.

Check out Sleep on Bandcamp.

The post Single Review: GHOSTS OF TALLAHASSEE – Sleep appeared first on Prog Sphere.

How did Ocean Asylum evolve from a fun Dillinger Escape Plan cover band into a full-fledged progressive metal act with original material?

Rickey (vocals): I might have had an influence. Before I had my first audition, and they had sent me a few untitled songs that have become staples in Committed, and I realized I might be in over my head! My background is classic rock and reggae, I had never thought I would be shifting in the metal genre. I sure did let them know that I might not be the kind of vocalist they were after… but we found a groove for sure, and I have taken joy in challenging myself!

Wes (guitars): Rob (drums) and I were both writing original music well before we started doing covers together. We both had tons Guitar Pro files with various riffs and song ideas we had accumulated during, after, and through the pandemic. One day after practice, Rob showed me some of his original stuff and I was like, “Holy shit dude! This stuff is killer!” I showed him my original material and he really liked it. So, we both quickly arrived at the same conclusion: This is what our band should doing. The rest is history.

What was the turning point when you realized this project had the potential to be something more than just a cover band?

The moment Rickey joined was the turning point. We had several original pieces written and ready to go, I just had to add lyrics and vocals. It also helps that we genuinely enjoy each others’ company, it’s fun to hang out with your friends while also producing some tunes!

We knew we wanted to work on those ideas. But we weren’t sure if the other band members we had at the time would also want to go down that path. Once we had Austin (bass) in the band and he expressed interest in doing original music, that solidified things. That’s when we knew we had the core line-up on our respective instruments. We went through a few singers before we found our guy. The addition of Rickey elevated things and opened up way more possibilities for the vocals. 

How did adding Rickey as a vocalist change the band’s creative direction and overall sound?

For most part, the instrumental side of things remained consistent after Rickey joined. Overall, we still have the same creative vision as before. That being said, Rob did introduce some musical ideas that wouldn’t have worked prior to Rickey taking over vocal duties. Those ideas have since turned into full songs, like “Make Me Human”. We have another song titled “Acceptance” that’ll be on our second album which will be coming out within the next few months. I think people will be pleasantly surprised by that song. I think it really showcases our commitment to not being boxed in creatively. It shows our range and the diversity of our sound.

Your music blends progressive metal’s complexity with classic rock’s soaring vocals. Was that an intentional goal from the start, or did it develop naturally over time?

Oooh soaring vocals, how eloquent! (thanks!) I don’t think it was originally intentional, but it’s hard to move totally away from your backgrounds, so when we all put our heads together we find something that works for all of us. Natural music progression!

Committed was mastered by Jamie King, who’s worked with bands like Between the Buried and Me and The Contortionist. What was it like working with him, and how did his influence shape the final product?

We were lucky because Rob had worked with him for his previous band. He did an excellent job mixing the guitar tracks. I wrote up a pretty detailed explanation of the tone I wanted and I even provided reference songs. Rob passed that information on to Jamie who absolutely nailed it. I think we went through three or four iterations before we got to the final mix. But the guitars were perfect in the first iteration. I was very happy. I remember talking to Rob about it and he said Jamie really liked the sound of the raw guitar tracks. We used an Ibanez Tube Screamer in front of Mesa Dual Rectifier amp and Mesa 4×12 cab. I think there’s something special about the sound you get with that setup. And Jamie knew exactly what to do it! 

The song “Penance” features Adam Warren of Oceano. How did that collaboration come about, and what did he bring to the track?

Rob reached out to him and he really liked the song. I think Adam was excited to do some vocal stuff outside of what you might expected from him. I think he wanted to showcase his range and abilities beyond his amazing gutterals and screams. And I think he nailed it. He was a pleasure to work with. His passion for music and the creative process really showed, especially during that Twitch livestream.

We knew we needed something a little extra at the height of the song. He brought a dynamic that I (at the time) could not bring with the blending of his harsh fry vocals and lower growls. We watched him write, produce, and sing the song in real time on his Twitch stream, it was epic to watch the process unfold!

Committed has been described as rhythmically intense and precise. Can you break down the writing process behind one of the tracks and how you achieved that level of detail?

Rickey: We are intentionally precise in some ways, and perfectly messy in others. I wrote the lyrics to “Voluntary Excommunication” with a couple of famous evangelical pastors in mind, who take advantage of people that are vulnerable and seeking answers… And the perspective is getting cast out and set aside with a sly smile. This definitely comes across as anti-religion, but it’s far more “anti-megalomaniac-preacher” (false idols crave real attention). The mid portion of the track, we imagined a modern day Martin Luther with a megaphone trying to get a rise out of the masses that asks questions and is burned for it biblically. I definitely cannot take 100% of the credit for all the lyrics though! In certain sections you can hear us all…

Wes: “Voluntary Excommunication” started out as one of those Guitar Pro files Rob showed me before we switched from covers to originals. Rob sent me the Guitar Pro file and together, we worked on the structure and overall arrangement of the song. Rob plays drums, bass and guitar, so most of the parts were already written. I think I may have tweaked a riff or two. Just small changes. Rob intentionally left space in there for me and Austin to do our thing. The writing process for the other 3 tracks on Committed was pretty much the same. At least that’s how we handled the instrumental side. The process for vocals was different. Rickey would write lyrics and vocal melodies and everyone else would make suggestions to see if we could make the lyric or vocal melody better. Some suggestions stuck, others didn’t. It was a very democratic process. We trusted our ears and sometimes we’d weigh in the opinion of our engineer Chris from Whiskey Bear studios. We trust each other to come up with ideas that serve the song and in the end, I think everything came out great. 

Progressive metal is known for its technical complexity. As musicians, how do you balance technicality with emotional impact in your songwriting?

I think that balance just comes naturally to us. And everyone has different tastes and influences, so we all contribute different and unique ideas when we’re writing. Rob seems to like dissonance. So, if you hear a really dissonant part that makes you feel tense or anxious, it was most likely Rob who came up with that part. I enjoy melodic stuff and riffs that groove, so that tends to be what I contribute. Austin challenges me and Rob with his unorthodoxed style. And Rickey adds his own flavor on top to turn it into a song. We try not to step on each other and bring a sum is better than the whole aesthetic.

Bottom line for us, “Does it sound good to us? Yes? Then we like it. Fuck Theory. We love it!” It’s another way to keep ourselves from being boxed in. 

What has been the most rewarding moment for you as a band since the release of Committed?

Rickey: I love hearing professional quality streaming of my own voice. It’s a little weird for it to randomly play and I think “Oh, hey, that’s us!” As a band, it’s a leap of profound joy. We did this, we worked for it, and here is a little piece of our souls if you’ll only have a listen.

It’s so hard to keep a band together. We are brothers. We are “Committed” to this thing. To each other. This band can help the hard times for us and our families. Having the right guys has been the most rewarding. 

How has the live reception been for the songs from Committed? Have they evolved in any way through live performance?

Because of the nature of our genre, we end up playing alongside bands that, quite frankly, I can’t understand what are saying. The passion is there, and the musicianship is amazing, but it’s an odd feeling to go on stage after their performance and start with “Make Me Human”. The hilarious confused looks say “Uhh I think you guys are at the wrong show” followed with the heavy start of “Voluntary Excommunication”. Seeing that reaction as the frontman always gives me an internal giggle.

People are starting to come around to our sound.

You’ve mentioned that a second release is in the works. Can you give us any hints about what to expect in terms of sound and direction?

Ooooh, there’s some heavy stuff in there both musically and emotionally. There’s a story of grief and loss to suicide, a story of emotional malice and abuse… A ballad of acceptance. I experiment a lot more in my newfound abilities with fry vocals followed by rock and punk notes. It’s a roller coaster and it has me pumped.

The second album is a natural evolution for us. The songs are even more collaborative than those from the first album. You’re gonna hear each band members’ personality and individual style come through a bit more. Everyone put their unique fingerprint on every song. And that made the songs better in my opinion.

Looking at the current progressive metal landscape, where do you see Ocean Asylum fitting in, and what do you hope to bring to the genre?

In the world of labels and ideas, I think we stand out by challenging the perception of what progression can be. Our sounds can be clean, complicated, and alluring alongside a thrash and heavier vibe. Sometimes simultaneously! I want to be able to bring that spark of joy to get people into the genre like I was.

In a way, I hope we don’t fit it. I hope we stand out. I don’t want to sound like another homogenized band. Eventually they all start to sound the same, even if they’re labeled as “progressive”. Is it progressive if you don’t progress? If you don’t evolve into something different and unique? One way to sound different and unique is the sound of the band. By that, I mean the original tones of the instruments and the mix. 

Interesting riffs and rhythms, great melodies, cool chord progressions that subvert expectations while remaining cohesive to song as a whole, using interesting song structures. We want to employ all of that. We refuse to be boxed in and forced to do things the way a specific metal genre (or subgenre) dictates you should do.  Music is art, man.

What’s next for the band in 2025? Any upcoming tours, collaborations, or surprises fans should be excited for?

The plan is to (hopefully) release our second album with a cool video before our June 26th show at Peabody’s in Virginia Beach. We’re playing that venue for the first time ever. It’s us and Por Vida, another amazing band from Virginia Beach. It’s a summer show at the oceanfront, so there’s the potential for a large crowd turnout. It should be fun! Tickets are on sale. Go to our Facebook page for more info. We hope to see you there.

And many shows to support it, maybe a small tour. 

Committed is available on Bandcamp.

The post OCEAN ASYLUM: Natural Balance appeared first on Prog Sphere.

From the outset, Redemption reveals itself as an album steeped in reinvention. Gone is the youthful indecision and sonic hedging of their early catalog. In its place is a band that knows exactly who it is—and more importantly, who it isn’t. Fusing elements of progressive rock with ambient textures, metallic riffs, electronic atmospheres, and alt-rock grit, the album transcends genre without ever feeling directionless. It’s progressive in the truest sense: not confined by the tropes of “prog,” but guided by curiosity, experimentation, and emotion.

The album’s standout track, “Chaos”—featured on Progotronics 51—is a fitting representation of this new era. It’s raw and cinematic, layering glitchy electronics and haunting melodies with an aggressive drive that speaks to the band’s sharpened edge. The production is muscular, dynamic, and precise—reflecting the DIY ethos that permeates the album. Self-produced by the trio with help from producer Brett Kull, Redemption is a masterclass in how to leverage modern technology in service of heartfelt music.

But Redemption is more than just clever arrangements and pristine production. It’s an emotional record born from the band members’ shared experiences of adulthood—loss, growth, frustration, and ultimately, reconnection. The first three tracks delve into these themes with unflinching honesty, with lyrics that speak to pain and perseverance. Yet, despite the darkness, there’s a vein of optimism running through the album. There’s a palpable sense that Cheat the Prophet is not just processing their past but actively shaping their future.

One of the most striking aspects of Redemption is its restraint. With only six songs making the final cut, the band’s commitment to quality over quantity is evident. These are not filler tracks or half-baked ideas. Each song feels essential, a piece of a larger puzzle that reveals itself with each listen. The band initially workshopped nearly double the material, but anything less than unanimous enthusiasm was left behind. What remains is distilled and deliberate, capturing a rare sense of artistic clarity.

Musically, the album feels very expansive and intimate. The instrumentation is diverse, ranging from shimmering ambient passages to sludgy guitar-driven moments. Mizenko’s bass work remains foundational, but the lines between roles are beautifully blurred. Whether it’s a B3 organ solo from Todd Mizenko or a guitar motif suggested by Matt, there’s a fluidity to the process that mirrors the album’s overarching theme of liberation. Long gone are the days of rigid territory. Here, creativity takes precedence over ego.

The spirit of collaboration doesn’t end with the core trio either. Though the band chose to keep the process tight, when additional musicians were brought in, they were trusted allies—seasoned players like Dan Vitco who knew the mission and elevated the material without diluting it. This approach yields moments of true magic, such as the lush layering of guitar and keys on the album’s midsection, or the subtle textural details that breathe life into the ambient interludes.

While the band draws influence from a wide palette—citing everything from Frost* to Anathema to more modern acts like Spiritbox and Sleep Token—the sound of Redemption is truly owned by the band. It’s not just a return to form; it’s a redefinition of it. Tracks like “Marvelous World (Losing Season)” and “Whisper” balance emotional heft with technical precision, revealing a band that has matured not only in craft but in confidence.

There’s also something undeniably poignant about the band’s return after so many years apart. In a way, Redemption feels like the album that should have followed their earlier work—perhaps even what Ars Nova might have evolved into had history played out differently. In reclaiming their past and embracing the present, Cheat the Prophet has created something timeless. As Matt puts it, this album is the result of “giving 100% and leaving it all out on the pitch”—and it shows.

Redemption is not just the sound of a band reborn; it’s the sound of a band finally becoming what it was always meant to be.

Redemption is available on Bandcamp. Follow Cheat the Prophet on Instagram.

The post Album Review: CHEAT THE PROPHET – Redemption appeared first on Prog Sphere.