Polish Rock masters RIVERSIDE are pleased to announce that their upcoming seventh studio album ‘Wasteland’ will be released via their longtime label partner InsideOutMusic on September 28th, 2018.
The album will once again feature artwork designed by longtime visual partner Travis Smith (Opeth, Devin Townsend, etc.) and the record’s main track-listing reads as follows:
RIVERSIDE – “Wasteland”:
1. The Day After
2. Acid Rain
3. Vale Of Tears
4. Guardian Angel
5. Lament
6. The Struggle For Survival
7. River Down Below
8. Wasteland
9. The Night Before
RIVERSIDE’s Mariusz Duda checked in with the following comment about the album’s overall concept: “I’d been thinking about exploring “post-apocalyptic” regions for a long time. I read books, watched films, played video games, all connected by stories about an attempt to survive in a world that had just ended. But writing such a story myself didn’t make much sense until now. RIVERSIDE are starting a new chapter and after our recent experiences, a story like that has gained more meaning. “Wasteland” is mostly about what’s happening in the world these days but it also makes a reference to the tragedy that befell the band in 2016. Musically, we’ve returned to darker sounds but we have also turned a new page and recorded the album in a different style. It’s still RIVERSIDE but expressed in a much deeper and more mature way. Most artists say the same thing while promoting their new releases: that they have just created their best work to date. I won’t say that because everything we have done so far has been consistently very good and unique. But I will say that we have never had such an incredible emotional load on any of our previous releases, and it’s not likely that we will ever make such a charged album again. “Wasteland” is an epic, multidimensional, poetic and very deep album. Perhaps of the once in a lifetime kind.”
RIVERSIDE’s “Wasteland” marks the first studio album effort with newly composed music after the tragic passing of founding member and guitarist Piotr Grudziński on February 21st, 2016.
Attention: More album details, its pre-order option as well as a first single will be launched on July 27th, so stay tuned for more news soon…
After having just performed on a string of European festivals including the prestigious Night Of The Prog festival at the historic Loreley Amphitheater in Germany last weekend, RIVERSIDE are next embarking on the “Wasteland 2018 Tour” throughout October/November to support the release of their upcoming album. See an overview of all confirmed upcoming dates below:
RIVERSIDE – “Wasteland 2018 Tour”:
12.10.2018 Gdansk (Poland) – B90
13.10.2018 Poznan (Poland) – Tama
14.10.2018 Wroclaw (Poland) – A2
16.10.2018 Katowice (Poland) – Miasto Ogrodów
17.10.2018 Lódz (Poland) – Magnetofon
18.10.2018 Torun (Poland) – Od Nowa
20.10.2018 Kraków (Poland) – Studio
21.10.2018 Warszawa (Poland) – Hala Kolo
30.10.2018 Berlin (Germany) – Kesselhaus
31.10.2018 Schorndorf (Germany) – Manufaktur
03.11.2018 Lisbon (Portugal) – LAV
04.11.2018 Madrid (Spain) – MON LIVE
05.11.2018 Barcelona (Spain) – Salamandra 1
06.11.2018 Lyon (France) – CCO
07.11.2018 Paris (France) – La Machine
09.11.2018 Manchester (UK) – Academy 2
10.11.2018 London (UK) – The Electric Ballroom
11.11.2018 Sint-Niklaas (Belgium) – Casino
12.11.2018 Utrecht (The Netherlands) – TivoliVredenburg
14.11.2018 Hamburg (Germany) – Markthalle
15.11.2018 Oberhausen (Germany) – Turbinenhalle 2
16.11.2018 Pratteln (Switzerland) – Z7
17.11.2018 Neunkirchen (Germany) – Gloomaar Festival
Tickets: https://riversideband.pl/en/gigs
RIVERSIDE – Festivals 2019:
04.-09.02.2019 Tampa to Key West & Cozumel – Cruise To The Edge
More dates to follow soon…
Look out for more news on RIVERSIDE in the coming weeks…
ifsounds and Melodic Revolution Records are proud to announce the upcoming release of the band’s 6th album “An Gorta Mór”.
According to ifsounds
“An Gorta Mór” is a concept album about the theme of runaway: the opening and the closing numbers build a bridge between the tragedy of the Irish Famine (An Gorta Mór in Gaelic) and the massive Irish exodus to America of the middle of the 19th Century with the current move of people from Africa to Europe through the Mediterranean way. The other songs are about runaway and desperation from another point of view, focusing on other social issues such as unemployment and domestic abuse.
Release Date: August 27th, 2018
Format:CD & Digital
Packaging: Jewel Case with 12-page color booklet
Songs Titles:
01. Mediterranean Floor (06:34)
02. Techno Guru (02:17)
03. Violet (04:07)
04. Reptilarium (04:51)
05. An Gorta Mór (22:00
I.Emerald Island
II.Phytophthora infestans
III. Bridget O’Donnell
IV The Great Famine
V. Doolough Lake
VI. The Docks of Limerick
VII. Regina Oceani
VIII. Long cónra
IX. Ghosts in America
Guests:
Lino Giugliano – Keyboards and synths on “Reptilarium”, “The Great Famine” and “Doolough Lake”.
Matteo Colombo – Violin on “Emerald Island” and “The Docks of Limerick”.
Vincenzo Cervelli – Lead Vocals on “The Docks of Limerick”, Backing Vocals on “Ghosts in America”.
Alessandra Santovito – Lead Vocals on “Regina Oceani”.
Francesco Forgione – Bhodrán on “The Docks of Limerick”.
Marco Grossi – Backing Vocals on “Ghosts in America”.
Arranged by ifsounds.
Album Notes
Lyrics and Music by Dario Lastella.
Produced by Dario Lastella. in Italy
Mastered by Steve Kitch in England
Sleeve design by Fabienne Di Girolamo: http://fabiennedigirolamo.com
“An Gorta Mór” was produced, recorded and mixed in Molise, Italy between October 2017 through May 2018.
Dear music lovers, followers, and random passers-by,
Summertime often comes along with gathering the thoughts and emotions, accumulating the energy – and this is what I’m up to now. 2018 was very productive when it comes both to side projects and contemplating the ways for Transport Aerian’s further actions, so I wanted to share with you both the retrospective of my other projects, in case you’d miss them and the perspective the way I see it now.
Transport Aerian is not (and has never been) the only project I’m involved in – musically and spiritually. Since the release of my second child’s Fabulae Dramatis second album, Solar Time’s Fables, I’ve been extensively gigging with them,, an effort to put their avant-garde tinted progressive metal onto the bigger scale of visibility. Our collective effort seems to have worked, as the band played in many great venues around the country.
The second project I’ve joined recently is the metal band Bicephalous, in which I let my inner beast out both vocally and choreographically, and happen to write a lion share of lyrics, bringing my own personality into otherwise already ready-to-go setting. They’re curious fellows, promising musically, so I quite enjoy putting some of their works to the highlight and bringing the elements of my own spirit to what they work on. What you might also find a curious bit of information, is that we are working to arrange several less complex, pre-Bleeding songs that I wrote and released by Transport Aerian in 2008-2009. These songs seem to do well in the context of Bicephalous metal insanity, as unexpected as it sounds. These ideas are yet to be tested on stage, but it already sounds rather promising on the rehearsals.
The downside of this upside was that I had few to no time to set up any live plans to support Therianthrope and I eventually called a day for such plans entirely, focusing on other ideas. Frankly, Transport Aerian, despite sporadic and sometimes reasonably noticeable shows, was designed mainly as a studio effort, and it often is impossible to bring it onto the stage due to logistic and technical limitations. However, busy times and hard times always create the ideas. A lot of local touring with other bands and in the other genre contexts have created connections to the people with similar – or at least – close musical minds.
There were a lot of lyrical concepts emerging during these months introspectively, but I have also met an incredible amount of talented and open-minded musicians, with some of whom I am currently discussing the plans of cooperation in terms of ideology, that is only known as of Transport Aerian’s. Hence, there is a big chance that the next album or even live incarnation of the band will have new faces and new names on it, hopefully, alongside with some of those who shared the studio space with me in past.
Never being a project to remain in the comfort zone of what has already been said, Transport Aerian is currently contemplating the ways of stepping into less explored (and maybe slightly heavier) musical territories, and that – as with any evolution process – takes time and energy, which I drip by drip let sink into the fruitful soil of darker thoughts on personal and global occurrences of today’s world. The working title and some lyrical ideas are already written down and burning in my mind, but I won’t be sharing it just yet, because I often tend to change many things a couple of times in the working process: it happened with every album I’ve made so far.
That said, there will still be a considerable waiting time before I can drag myself and the others into a recording studio to shape the new album, so I’m working around for some compensations for those who are waiting for new music to be born. While we’re getting ready to announce the work in progress and throw in first bits and pieces of information, I’m happy to inform you, that Transport Aerian’s section on Melodic Revolution Records store is now fully updated with all three recent studio albums’ physical copies, including the very last remaining handmade limited editions of Therianthrope in its special package, the few remaining copies of Bleeding with Tanja Bogocharova’s prints and some Darkblue.
Last but not least, We’re considering to make a sort of legacy set of shows and release all the previously unreleased material, including music and artworks, but related to the different era’s in one box set, although this idea still remains on the stage of planning and negotiation.
And so you will have more from us in the coming months, but now it’s summertime, so let’s enjoy the living’s easy.
HAKEN & LEPROUS, two of the most exciting bands in progressive rock today, are pleased to announce they will join forces for a North American co-headline tour in October / November 2018, with InsideOut label-mates BENT KNEE as special guests. These will be the first dates in support of Haken’s recently completed, forthcoming fifth studio album due out later this year.
HAKEN comment: “We’ve been talking about getting out on the road with our good mates Leprous again since our European jaunt with them back in 2014. Both our bands have gone from strength to strength in terms of our live shows since then, and we’re excited to see what they have planned, as well as playing brand new music from our forthcoming album. We’re also stoked to have Bent Knee along with us. It sure to be an epic night of music, don’t miss it!”
Einar Solberg from LEPROUS adds: “So it’s finally happening! I think the request we’ve gotten the most was “Please tour together with Haken!” Almost more often than “Come to Chile!” We actually did a tour together once in the UK back in 2014, and we have wanted to do a more comprehensive tour for a long time, but it just never worked out until now. We’ve been friends with Haken for quite a while, and to tour with them is long overdue. I think this is a great package for most prog fans, as it unites two pretty different approaches to the genre in one evening. And yet, despite our quite different approaches, I know for sure that we share a lot of fans and this package should make for fantastic shows for everyone!”
The full list of dates can be found below, tickets go on sale this Friday, July 13th.
Haken & Leprous with Bent Knee:
October 30th – The Crofoot Ballroom, Pontiac, MI
October 31st – Opera House, Toronto, ON
November 1st – Astral, Montreal, QC
November 2nd – Underground Arts, Philadelphia, PA
November 3rd – Highline Ballroom, New York, NY
November 4th – The Sinclair, Boston, MA
November 6th – Soundstage, Baltimore, MD
November 7th – Cat’s Cradle, Carrboro, NC
November 8th – The Orpheum, Tampa, FL
November 9th – Revolution, Fort Lauderdale, FL
November 10th – The Plaza Live, Orlando, FL
November 11th – Variety Playhouse, Atlanta, GA
November 13th – Gas Monkey, Dallas, TX
November 14th – Barracuda, Austin, TX
November 16th – Crescent Ballroom, Phoenix, AZ
November 17th – Glasshouse, Pomona, CA
November 18th – August Hall, San Francisco, CA
November 19th – Hawthorne Theatre, Portland, OR
November 20th – The Crocodile, Seattle, WA
November 21st – Rickshaw Theater, Vancouver, BC
November 23rd – Metro Music Hall, Salt Lake City, UT
November 24th – Bluebird Theater, Denver, CO
November 25th – Granada Theater, Lawrence, KS
November 26th – Delmar Hall, St Louis, MO
November 27th – Exit/In, Nashville, TN
November 29th – Rex Theater, Pittsburgh, PA
November 30th – Beachland Ballroom, Cleveland, OH
December 1st – Bottom Lounge, Chicago, IL
HAKEN are also pleased to reveal that they have completed recording of their fifth studio album, due out later this year: “That’s right! We can now also announce that our fifth album is now in the can! We always set out to do something a bit different with each album, but this one has surpassed what we had hoped to achieve. It’s been an absolute pleasure working with Adam ‘Nolly’ Getgood on the production and mix and we couldn’t be happier with the results. We can’t wait for everybody to hear it!”
The band recently released their first ever live album titled ‘L-1VE’.
Watch a clip of ‘The Endless Knot’ here:
LEPROUS recently released a brand new standalone single titled ‘Golden Prayers’, as well as announcing further European tour dates in support of latest album ‘Malina’, alongside Agent Fresco for later this year. Find the full list of European tour dates here: https://www.leprous.net/tourdates/
This North American tour will be their second of 2018, following a run earlier in the year supporting Between the Buried & Me and The Dear Hunter.
Listen to ‘Golden Prayers’ here:
BENT KNEE are currently finishing up their Paper Earth North American tour, following the release of last year’s critically acclaimed ‘Land Animal’ album. Watch a concert film of the band’s first full-scale contemporary-classical composition, also titled ‘Paper Earth’, here:
I haven’t considered myself religious for many years, but have no issue with those that do, and consequently am as happy to listen to religious albums as I do that portray cannibalism or Satanism. This means that I probably listen to more music with an open mind than many, as I guess that there are quite a few people who would balk at purchasing an album that is described as White Metal. But, Stryper is a band who I used to admire a great deal. I lost track of them over the years, but still, have their first two albums on vinyl (‘The Yellow and Black Attack’ and ‘Soldiers Under Command’), and their live video from Japan from the same period. My sister bought the album that probably broke them, ‘To Hell With The Devil’, but then the world changed in so many ways. The band eventually broke up in the early Nineties, before reforming in 2003, since which they have been consistently playing and releasing new music. Amazingly they still have the same singer/guitarist (Michael Sweet), lead guitarist (Oz Fox) and drummer (Robert Sweet) as they did when the band was originally formed as Roxx Regime some 35 years ago. Ex-Firehouse bassist Perry Richardson joined in 2017, is only the third incumbent, so they have been incredibly stable.
The opening track, “Take It To The Cross” features a guest appearance from Matt Bachand (Shadows Fall, Act Of Defiance) on death growls, which shows just how far they have come from the glam days when I used to follow them! What has always been the saving grace (sorry) of Stryper for me, is that at the heart of it they are all actually good musicians, who write catchy songs with hooks, and they have a singer with a really great voice. Whereas many other bands with a Christian message tend to stay within that scene, Stryper broke out into the mainstream and have sold more than ten million albums, most to non-Christians. All these years on and they are still as polished as ever, while they may not ever win marks for most original music, this is commercial hard rock that contains edge and melody and those all-important vocals. If, like me, you only remember Stryper from the early days then in many ways they are still the band they used to be, although they are definitely now more metallic than the hard rock pop of yore. A great addition to their canon, and well worth hearing.
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