Is my favourite new dreamy indie rock band coming from Sweden? Very possible. Kallsup made my list of favourite things already with their debut album last year, but they didn't want us to wait long for another treat and went ahead and released the sophomore Alldeles för nära already 1.5 year later. And the moody hits they create certainly deliver.
The slightly hidden and dispersed vocals with the dense guitar music (there are 6 people in the band and you can hear it) hit you like a tank. The band creates music that is both loud and extremely melodic, the way they write hit songs like Kino or Undantagshelgen tells you something about how talented they are. But the thing is that the album does not only contain the melodic bangers, but also some tracks the purpose of which is to create the oneiric and slightly melancholic atmosphere with psychedelic compositions like, especially, the one in Min största vän.
I could point to several songs worth checking out (Imma, Fritt fall, but I'm gonna be a banger sucker this time and tell you to go and listen to the radio hit and a single track Kino (... and it's so interesting that this is the second Swedish band with a song called Kino after Star of Heaven who started as a Kino (pop-rock band from the east) cover band as it was revealed in my interview with the Swedes).
Archie Ingram makes his music as Stone Anthem and he certainly knows how to blend genres together to achieve a melancholic and beautiful mix. The ambient and slowcore and dream pop and singer/songwriter, everything has its place on the 9th (already!) album by the Coventry-based artist.
"My work kind of lives somewhere between a glitch and memory fragments of detuned voices field recordings processed until they feel fictional rhythms that almost repeat but never quite land the same way twice..." the artist describes his music before adding something that really got to me: "Imagine music that feels like it’s remembering itself incorrectly." Yes, that's it: not only does the sentence encapsulate the dreamy atmosphere of the ambient pop on the album, but also how it was created with the repetetitions and loops. The intimate, lo-fi atmosphere adds to this unreal, oneiric vibe.
By the way, while describing the artist, the label states that Ingram started the project in 2019 when he was... 12 years old. That can't be right, right? RIGHT?!
Project that creates "post-industrial, ambient, noise" music that goes so far that it basically becomes post-rock played in weird way. But it sounds SO GOOD! The French duo looks like experimental electronic musicians on the stage but they sound like dunk!festival regulars and they just released their debut album with some interestingly psychedelic cover.
Those psychedelic and space-focused themes seem to be the main drive of the two artists known as Astrocyte Jfi and Sid negativv. The motives here are interestingly described as the love of "antiquity-retrofuturism, space-time labyrinths". The sci-fi cinematic works (most notable Dune) that marry the future with the concept of the evolution of civilization(s) seem to prevail, but the sound of music is not entirely what I'd describe as the space post-rock (like the one from Beyond the Event Horizon). The psychedelic guitar post-rock is what I'd describe them, although... I don't think they even use guitars. Instead, the drums are accompanied by "Korg MS 2O instrumentation, the Osmose next-generation instrument" which I have to quote from their biography as I have no idea about any technicalities regarding synthesizers. But I guess it's important.
What is important to me, though, is the ease with which the duo creates the soundscapes that feel both cinematically vast and brutally powerful without compromising the melodic side of their compositions. It's the kind of music that isn't million miles away either from sci-fi soundtracks (I'm thinking The Invincible video game for example) or psychedelic, desert-like heavy instrumental music. Really, the best of two worlds (or planets if you will).
My blog became the official media partner of the 5NDREAS Festival and my task is to fill in the remaining 4 weeks of wait with something interesting. And what could be more interesting than reading about the bands that are about to play on the stage at Feierwerk Kranhalle in Munich? Yeah? It's time for the 3rd one today.
It's not enough to say that they mix post-rock with (neo)classical music, they literally make the former as if it was the latter. Star of Heaven finally released their third album this year and Kyrie is more than inspired by Mozart's works. Not only that, their compositions are so beautiful, so striking, that they should be played in concert halls. It's our luck that we'll hear them on a post-rock festival.
I talked with Anna, Tove and Rasmus, 3/5 of the lineup. And although some of the Scandinavian reserved nature was clearly noticeable, we had a great conversation in the end. Thank you, guys!
ŁŚ: When I listen to your sound, I feel like it comes from two different worlds, from the world of neoclassical music and from the world of post-rock music. Do you think that there is a connection between those two?
Anna Löfstrand: There is a connection. When I was young, I listened to classical music a lot. Then I started to listen to post-rock and after a while, I was like, “Oh! It's not such a big difference!”. They're similarly atmospheric and dynamic. I really like to listen for the post-rock elements in classical music, if you know what I mean.
Rasmus Grip: I totally agree and I wish that we could learn more from classical music as one of the things I find boring with most music is that it repeats itself all the time. And the classical one doesn't really do that in the same way. From what I understand of its principles, it's mostly about variations of the same theme, playing it in a different way, sometimes stronger, sometimes faster, changing the tonality and so on. It’s also repetitions, but slightly different.
Tove Rhodiner: Both give more freedom as well. You can make a song go for 20 minutes or 3 minutes as well, while regular pop music is always around 4 minutes. We also do that thing that you said, Rasmus, that we have a theme, but we kind of reuse it in various places and with various approaches. That makes it more interesting because every time time you hear it, you think of it in a new way.
ŁŚ: Would you say that you are more like neoclassical post-rock or more like post-rock neoclassical? What's the more dominant world of music in your work?
AL: For me, it's post-rock. And this classical part is something that comes to us on its own, we didn't choose it to be our thing, we just started to make post-rock and it came to us.
RG: On the topic of classical music, perhaps we can add that our last release is very much inspired by this genre. What we did was we took the Great Mass, a mass written by Mozart, and chose one composition from it, called Kyrie. We slowed it down like maybe four times and then we tried to copy the dynamics of the result of the whole process. So let's say that the song is five minutes long. Then we slowed it down so it's 70 minutes long instead. And then we tried to follow the dynamics of the song. So when it's loud, we would be loud. And if it's bass and, let's say piccolo flute, then we tried to play bass and something that reminded us of a piccolo flute. So in that sense it's very, very much inspired by classical music.
Some of us like Arvo Pärt (Estonian composer - author’s note) as well, so we try to understand a bit how he does what he does.
ŁŚ: I wanted to ask you about those inspirations. Who inspires you the most? Except for Mozart, but we'll come back to Kyrie in a second.
RG: That's the funny thing about this band, everyone has different inspirations. Really, the favorite band of one of us may be a band someone else hates. And so on. So we have really opposing views, but me and Linus (Hjerpe, guitarist in Star of Heaven - author’s note), we listened mostly to metal music in our younger years. When I was growing up, Scandinavian black metal was a very big thing here in Sweden.
ŁŚ: And you, Anna, you said you listen to classical music. I don't think you could have two more distant things, right? Black metal and classical music.
AL: I like so many different kinds of music. I like melodic music the most, but it could be any genre.
ŁŚ: Like Abba?
AL: Yeah, for example! But I also like black metal. And when music gives me these dark melodic vibes, I'm immediately sold. It's also very much about the chord progression and things like that.
TR: I, for example, don't really listen to post-rock at all. And it means that I don't really know what I'm aiming for when playing music. And I think maybe that's partially why our band sounds like it does. Like something different. Perhaps we're aiming for post-rock because that's the closest thing to what we imagine, but then it ends up being something different.
AL: I often want to create a darker song, but it just becomes what it becomes. It feels like we can’t really control that.
RG: And you don't really want to either. For instance, I like Sigur Rós very much, but I don't want to try to make Sigur Rós music because that would feel like a pale copy. You want to try to find your own little niche, something you've never heard before.
ŁŚ: From my experience, the best post-rock comes from people who are not necessarily interested in creating post-rock. They want to make something unique and then they somehow end up creating some kind of post-rock.
TR: I think that if we weren’t labeled post-rock, some of our songs wouldn’t be considered as part of this genre.
RG: Since we use a lot of crescendos and stuff like that, we’re automatically thrown into that genre. That’s my take at least.
ŁŚ: What is the characteristic of post-rock music that you value the most? I could see that in some descriptions you mentioned the cinematic feeling of your music as one of those, but also the emotional component.
RG: I want to make music that is worthy, if you understand what I mean. Something you don't have to be ashamed of when it comes to the emotional moments. So it never sounds like clown music. Not that there’s anything wrong with clown music, but you wouldn't play it at the funeral, or perhaps you would, but that would be a very different type of funeral.
Music that is worthy, well suited for the dark or but also for the happy moments.
ŁŚ: So we’re talking about emotions then. Is it easy for you to transform emotions you want to express into your music?
AL: Yeah, sometimes. I often feel like I want to express even more than we end up doing. I also easily become very happy when the music we make becomes something beautiful. I'm the one who is the most in love with our music. I'm our biggest fan (laughs).
Sometimes it's frustrating because you're looking for something that you can't really find. But at other times it's such a beautiful feeling just to sit there and play. And I think that's what I aim for, to just be in the middle of the emotions. Even if it sounds maybe a little bit cheesy.
TR: Coming back to your original question. I think describing our music as cinematic and emotional is more like an afterthought. It's not like we're always aiming for certain emotions, it just turns out this way in the end. And then I start thinking about our compositions with pictures. This one talks about this sort of scene. For example, we have a song that in my head feels like the last day of school. It’s not titled like that, there is no clue that this piece is about this theme. It just feels like it.
ŁŚ: Now I have to ask which one it is!
RG: It’s called number IV but it’s the third one on Kyrie. We have a song called III, but we haven’t added it to the album. It’s complicated.
ŁŚ: How long have you been playing together?
RG: 15 years?
AL: 12 maybe?
RG: This may interest you. When we started playing together, we wanted to make Swedish cover songs of Kino, the old Russian pop band. But it quickly spiraled out of control and became what you know now.
AL: Yeah, my father was from Russia. So when I was a teenager I felt connected to Russia and Russian culture. So I was working in Moscow for a few weeks and listened to Kino. And then I started to translate the lyrics and that’s how the whole idea of the cover band came about. Even now we have a track called Kino. I'm not ashamed of it, but last years changed a lot. I'm not so proud of my Russian side anymore. It's a little bit strange because, say, 20 years ago, it was something that made me unique in a cool way. So that's why maybe I feel uneasy about it now. And you are from Poland…
ŁŚ: No, don’t worry! I understand that there's politics and there are human beings.
RG: Swedes also conquered Poland, I believe. The good times. (laughs)
ŁŚ: Give us back those treasures you stole! (laughs)
RG: We've lost them. Sorry.
Swedish guests in Poland (1655)
ŁŚ: There is one more connection to Poland in your works. You released a single track about Marie Curie-Skłodowska who was famously Polish. Why did you choose to honor this person in particular?
TR: It was a part of an art project where they had made graphics and texts based on famous people and then asked us if we wanted to make a song about someone. We chose her because I guess we all felt like she was the most interesting person.
ŁŚ: Her name Curie and your new album Kyrie sound so similar that it's almost impossible that it's just coincidence.
RG: It's unfortunate for us as well, because we have to really specify which song we mean.
AL: We are so confused every time we have to rehearse now.
TR: And the first album is also just a bunch of numbers. It's incredibly confusing, so we don't know which song we're thinking about.
RG: Yeah, we have nicknames for the songs so we are not lost all the time.
ŁŚ: Like The End of School Day song, right? Is there a reason why you don’t choose titles for your compositions? Or is it just something that you don't like doing?
TR: Maybe because you don't want to influence someone's experience of listening to our tracks with a lame title.
AL: What I like about instrumental music is that there are no words that tell you what to think or what to feel about a song. It's all in the listener's head.
ŁŚ: So, let's come to your new album, Kyrie. The first thing you published was actually the live album from a concert that you held in a church, and three years later, which is right now, you released the studio album. Was it planned or maybe it was a coincidence?
AL: It just happened. We had almost everything ready but some of us are really fixed on details. Perfectionists. And since we all have full-time jobs, it took time. At our concerts, we like playing songs before they are released and since we are not so famous no one gets angry because something's not available yet. We can do whatever we want.
So then our friend recorded this gig for us and it was a good recording. We wanted to release it also to say that we're still alive.
ŁŚ: I hope it doesn’t mean that we will have to wait another six years for the next album?
AL: No. Rasmus has a really good idea.
RG: So we have a new idea about how to record fast. Our major problem is that much of our time goes into relearning what we came up with before. Record fast instead of waiting one and a half years and then trying to rediscover how we did things.
TR: It's not only the production. When you're trying to recreate the feeling that you had when you played 3 years before, you have some sort of emotional picture of what you're trying to play again, but the feeling just isn't the same.
RG: I've heard this being called “the demo disease”. When you work too much on the demo, so then when you're supposed to record it for real, you are just constantly dissatisfied because it doesn't sound like the first version you did.
ŁŚ: With the new album finally released, you are coming to the 5NDREAS Festival in November. So can you tell us what we can expect from your performance at the festival?
AL: We’ve never played outside of Sweden. It will be fun!
RG: We're going to play our songs and try not to, you know, screw them up. We're not going to play Kyrie in its entirety or we're not going to play only old songs or whatever. It’s gonna be a mix. But we look forward to seeing the other bands play too.
AL: And we really hope that people will enjoy our concert and that they can feel all the feelings, so it's a special moment for them. That would be nice. 🦢
The piano-driven post-rock from Australia is not a strange concept to me as Tangled Thoughts of Leaving's No Tether is an album I consider one of the best within the entire genre. What Most You Fear explore similar destination but the jazzy influences traded for the atmospheric and I can't stress enough how good this trade was as the debut album of the Geelong-based band is stunning.
If you think that a combination of piano keys and violin sounds automatically means a brooding and melancholic post-rock soundscape, I have to warn you: although What Most You Fear retain this artful approach to music, the post-rock they create can really bite. Yes, the compositions start as delicate gems with the artsy mood but they soon become energetic, guitar-fueled beasts with interestingly written structures, but also totally untamed character. I just love this combination. A perfect musical rendition of the beauty and the beast concept, making me think of Her Name Is Calla in their most post-rocky times or Hope of the States and their use of piano and violins in otherwise indie rock-paced songs.
Proposal is the band's debut EP/short album and it's really just too short. I feel like the tracks would only gain by adding some additional minutes, but maybe it's just that I like longer pieces. On the other hand, maybe the band really wanted to preserve the energetic vibes the shorter compositions give away. Because when you listen to The sea was rising and we tried to stay or Morning (still burning), you can't NOT feel the thrill of excitement crawling through your back.
Taking the best features from two music genres I'm fond of and creating something new out of them, this is the way the project of Dean Garcia and Jarek Leśkiewicz operates. And they've been doing that for 14 years now, in every few year bringing us a noteworthy album from the depths of Bandcamp.
As a great underground music project would do, the British-Polish duo don't feature their music on the commercial streaming platforms which, for me as well, makes them more difficult to follow these days. But luckily Unrest broke the bubble and came to my music-sphere with all of its trip-hop-influenced noise rock beauty. Both gentlemen are, of course, very well-known from trip-hop-only SPC ECO (and yes, Rose Berlin naturally features on Unrest as well) and the link between the two is clearly noticeable. Generally, I feel like it is a trip-hop band that invited other sounds for a joint party and acted as a perfect host.
It's the shoegazey guitars, it's the prog-rock feel (Flashbangs) and the garage-like, honest message to the audience. The mix is staggering, as always, but also feels like one coherent thing, as if trip-gaze was an already established genre, not a Bandcamp curiosity. And perhaps it should be, especially when combined with the duo's anti-establishment views reflected in both their music and how they manage it.
My blog became the official media partner of the 5NDREAS Festival and my task is to fill in the remaining 5 weeks of wait with something interesting. And what could be more interesting than reading about the bands that are about to play on the stage at Feierwerk Kranhalle in Munich? Yeah? Let's have another one today.
The most mysterious act of the whole festival as One Last Moment hasn't releases anything yet! But it's not like they are debutants. Maxime Picquart and Laurent Boile met when Goodbye Meteor needed a drummer and now they've survived the meteor saying goodbye and are ready to show the world their new music. Or almost ready. Why Goodbye Meteor had to break up? How is being in a band like being in relationship? And why is French linguistic law bad for post-rock artists?
The French duo said that the post-rock society is the kindest in the music world and it certainly was true about them as well. I had real nice talk with the two. Let's go!
ŁŚ: You’ve been invited to the 5NDREAS festival. I’m not surprised, Andreas always says he loves Goodbye Meteor’s music.
Laurent Boile: In fact, he asked us if Goodbye Meteor could play. Like one last gig. I told him that unfortunately it was impossible, we were definitely over. But also that Maxime and I had new music.
Maxime Picquart: It was a year ago and it was the real beginning for our new project.
LB: We had to find a name, we had to make pictures, set up social networks. We’d started some things before that, but it was just music. At first, we said to ourselves: “We have time, maybe we’ll release something in five years or so”. But because of him, we had to take everything more seriously.
MP: It will be our first ever concert as One Last Moment. Exclusively at Andreas’ festival.
ŁŚ: And now you are the most mysterious artist on the lineup. Nobody knows what to expect! Are you still working on the material?
MP: We have around one hour of music already written and at the moment, we are arranging all the instruments.
LB: It’s quite different right now. In Goodbye Meteor, we made the songs all together, four people in a rehearsal room. Me and Maxime, we think that it’s now easier to control the project, to write the songs, and to have other guys on stage to make music with us eventually. So now we make music together, we record, we arrange, we mix, we produce, and when the final product is quite finished, we will invite other people to play with us.
ŁŚ: Are you planning to expand the band after you have the material?
LB: No, just for the shows. We have them chosen already, but we haven't practiced together yet. In a few weeks, we are going to have a rehearsal session for five days.
MP: In the future, we may consider expanding the band, but for now, it will be only the two of us. Like Oh Hiroshima, there are just two of them in the band [Jakob Hemström and Oskar Nilsson - author’s note], but it’s four or five people on stage playing live.
LB: Yeah, and we work more efficiently in this way too.
Oh Hiroshima, indeed only two people
ŁŚ: I've never been in a band and I've never created any music really. So it is always interesting to me, how the mechanisms between people in a band work while creating music. When there were four of you, it had to be more complicated, right? But also, a lot of ideas can evolve into more interesting results. How is it with you?
MP: Making music as One Last Moment was not easy at first, because I was not used to being the only melodic instrument in a band. I had always played in bands with at least one other guitarist and a bassist. So it took me a few weeks to understand how to build and structure a track without them.
LB: I think it's still fairly easy for us, since we have known each other for seven years now. I think we have a connection. It often works in the same way: Maxime starts with a guitar riff and I immediately know what he wants. To be honest, we need only a meeting or two to create the structure of a song. We’ve rehearsed less than ten times and we’ve already got a full hour’s worth of music, because afterwards we work on the arrangements on our own.
MP: We have a real connection. We talk to each other and we know that we can say everything we want and that we will be treated in a respectful way. Laurent is a really understanding person and it's really easy to work with him.
LB: And I have a chance to play with the best guitarist in the world. For me, Maxime is the best.
ŁŚ: Maxime, is Laurent the best drummer in the world?
(both laugh)
LB: Of course, he's not the best guitarist in the world. I'm not the best drummer in the world, but for us, it really feels that way. It’s like when you are in a relationship, maybe the other person is not the most beautiful person in the world, objectively speaking, but for you, they're the best one.
ŁŚ: So you are saying that being in a band is like being in a relationship.
MP: Yeah, definitely. And I think that it's why Goodbye Meteor came to an end. We weren't made for each other. When we eventually split, we were quite sad about that.
LB: And it took some time for us to get back on our feet and start something new. But we play music that we love to play. It's the music we love to listen to. It’s the music we feel most comfortable when it comes to writing.
MP: That is our kind of music. We have both been musicians for many years and have played in various bands, making various styles of music. But post-rock is the genre that feels like we were made for. All the feelings, all the emotions. And it is the kind of music I listen to at home now. I discovered post-rock when we started Goodbye Meteor, only then. Before that, I had only seen God Is an Astronaut and Sigur Rós live, but it was ages ago, and I did not listen to this kind of music back then. But now, it is definitely the music I need to listen to and to make.
Sigur Rós playing in Lyon in 2013, perhaps Maxime was somewhere there in the audience?
ŁŚ: So you came from outside of this post-rock world and now you consider it yours?
MP: That's it. Sometimes, and it’s not only about music, it’s also true in different contexts, sometimes you need some time to get to know yourself and understand who you really are as a person. It's what happened to me with post-rock. It was like a discovery. A revelation.
LB: I discovered post-rock without knowing it was post-rock. Sigur Rós, I Like Trains, bands like those. But I didn’t know there was a post-rock scene, that there were post-rock festivals. I just loved to listen to that kind of music. And when Maxim called, I didn't know him at all at that point, and said they needed a drummer for Goodbye Meteor, I said I didn’t have time. I had a lot of work back then. But still, I asked what kind of band they were starting. Was it a funk band? Was it a metal band? Reggae? If it was anything like that, I would say no. But it was post-rock, it sounded like I Like Trains. Amazing.
ŁŚ: Laurent, in Goodbye Meteor, you played only drums, right? But it will change now…?
LB: You will see at the festival! In fact, we are working now on some arrangements. It's not just one guitar, one drum set anymore. There are keyboards, there are other things. I will have an electronic pad to launch some sounds.
ŁŚ: For people who know and love Goodbye Meteor, is One Last Moment's music going to be very different, or is it going to be more like a continuation of this sound?
LB: No, it's a continuation. With some things new, like the keyboard, for example, but the guitar sound will be the same because you can’t change your sound. I think people who love Goodbye Meteor will love the new band as well.
ŁŚ: And when can we have a taste of your music? So far, there is only a short teaser video online. Nothing else. Do you have a timeline for the project?
LB: When we started, there was no deadline. We wanted to take all the time we needed. And now there's Andreas. And Andreas changes things because we know we have to be ready to exist in November. We will try to release a single in the next few weeks.
MP: Just before the festival.
LB. We will TRY.
ŁŚ: So for now, 5NDREAS is the only chance to see you and to listen to One Last Moment?
LB: Exactly.
ŁŚ: You described Goodbye Meteor as “green post-rock”, music about the connection between human and nature, the balance between those. Do you have any kind of theme for One Last Moment as well already?
LB: It's red post-rock now (laughs).
MP: With One Last Moment, it is not exactly the same, but it is connected to nature as well. We will be talking about natural disasters on our first album.
ŁŚ: So now I have to ask if “one last moment” is a commentary on the situation humankind is facing right now?
MP: It can be taken in multiple ways. And that's why we have chosen this name.
LB: Yes, it should feel nostalgic. It's the last moment before something, perhaps before starting something new?
MP: And the thing is that when we were trying to find the perfect name, we were thinking about it separately. And somehow we still found the same two words we wanted to use. “Last” and “moment”. Only when we met again we added the third missing word. “One”.
ŁŚ: That’s amazing!
LB: Yeah, and it also can be taken as an abbreviation of sorts. The L in Last is like the L in Laurent, the M in Moment is like the M in Maxime.
ŁŚ: So now you need someone with a name starting with an O!
MP: An Oscar! (laughs)
One Oscar I can think of (photo by Syberia)
ŁŚ: At 5NDREAS, you will already play as a four-piece band, right?
MP: Four, yeah, four. Today we booked the two other musicians. One bassist and one guitarist. We would love to go on a tour after we release our debut. Hopefully with all the connections we made as Goodbye Meteor, it won’t be that difficult.
ŁŚ: I think that when you get into the post-rock world, you find that it's not that big. So you actually know everyone after a second. A very close community of people.
LB: And very, very nice people too. I went to dunk!festival four or five times, but I have never seen a moment of tension. It's not that mentality. I went to Pelagic Fest two years ago and it was the same thing. And that’s also why we prefer to play in Belgium and Germany. In France it’s more difficult, because in France people don’t really listen to post-rock. Of course, there are bands, and there are people who listen to it, but when it’s instrumental, it can sometimes be a bit of a struggle… For example, I saw Explosions in the Sky in Belgium two years ago and I saw them in Paris as well a few days later. In Belgium, they played two gigs a few days apart on a big stage, and in Paris… I’m not sure it was a full house.
In France, it can be complicated if there are no lyrics in music. Lyrics are very important. Because in France in radio stations, there are quotas for Chanson Francaise. I don’t know the precise number [it's a minimum of 40% of songs with lyrics in French for a standard radio station - author’s note]. And when I contacted some small radio stations in France, showing them Goodbye Meteor’s music, they said: “Oh, good, but it's too long. Can you make a radio edit?”. Well, of course it’s long. For a radio, over 3 minutes is very long. But in post-rock 3 minutes is just the intro. In other countries, like the US, Australia or China, there are some radio stations that broadcast us. They never say it's too long. In France, it's quite difficult.
MP: Yeah, that’s why sometimes we think we need to find the right place to meet our audience
LB: Another example: we played at a festival close to where we live once. And it's a festival I have known for years. I’d played there with other bands playing reggae and pop, because I know the guy who organizes it. When it was the start of Goodbye Meteor, I told him: “I have a new band. It's a very good project. I'm sure it will be very good for this festival.” He agreed, but when he finally listened to our music, just before the event, he sent me a message: “There are no lyrics, there is no singer, it's instrumental! I'm not sure the people will understand.” And on stage, before we started the gig, this guy came on the stage, took the microphone and said, “I present to you Goodbye Meteor. It's a really nice band. There are no lyrics, but it's still a nice band”.
ŁŚ: I’m pretty sure Andreas won’t say anything like that in November!🦢
