𝗦𝘂𝗯𝘂𝗿𝗯𝗮𝗻 𝗦𝗮𝘃𝗮𝗴𝗲𝘀 𝗽𝗿𝗲𝘀𝗲𝗻𝘁𝘀 𝘁𝗵𝗲 𝘀𝗼𝗻𝗴𝘀 𝗳𝗿𝗼𝗺 “𝗗𝗲𝗺𝗮𝗴𝗼𝗴𝘂𝗲 𝗗𝗮𝘆𝘀», 𝗽𝗮𝗿𝘁 𝟯: 𝗗𝗲𝗺𝗮𝗴𝗼𝗴𝘂𝗲 𝗗𝗮𝘆𝘀

Have you ever wondered what went on in the minds of Trond, Thomas, Mari, and Anders when they wrote and recorded Demagogue Days? How were the tracks conceived, and how did they end up in the form they have on the record? Wonder no longer! In the next couple of weeks, we will present the main ideas and thoughts that lie behind each song from Demagogue Days.


In a world of progressive rock where gloominess and melancholy is everywhere, a lot of reviewers have commented on “Kore Wa!” unique blend of humor and positive emotions. We wanted to keep that elemen on this album as well.

A lot of fans and reviewers describe the music as cheerful, happy, and uplifting,.Trond elaborates: “I think that we should treat humor as any other feeling. To me humor is just as serious as melancholy, sadness and depression and an essential part of being human. I’m a positive person that likes to get people to smile, and I want my music to reflect that. I’ve always liked the sound of Frank Zappa, Etron Fou Leloublan. Lars Hollmer, Samla Mammas Manna, Brian Eno, and Albert Marceour because they manage to put humor inside prog, a genre that all too often is way too serious and bombastic. I love seriousness and the bombastic – but not all the time!”

Demagogue Days is one of the few songs where the working title was kept, and to make sure the title stayed, Thomas quickly came up with the chorus part. Despite its pretty dark lyrics, it still manages to sound like a happy and poppy tune.The lyrics also ended up setting up the vibe and theme for the rest of the songs.

Even though Demagogue Days is not a concept album, a common thread in the lyrics of many songs on the album is communication.A concept vaguely and losely revolving around how difficult and easy communication has become at the same time: how people increasingly end up seeking refuge and comfort in a stupid little device with a screen to cope with the complexities and problems of the world, First hand experience of how people prioritize filming and snapping from accidents and incidents instead of being decent and giving a helping hand. How media personalities’ opinions increasingly are held in higher esteem than someone with knowledge. This might not sound very cheerful, but we try to deliver our message without avoiding being too preachy. Misanthropy served with a smile.
The song Demagogue Days follows the concept of the album and in many ways this song is about communication (technology) can mess everything up. By the use of certain words that trigger a certain response, you can get people to do really crazy and scary stuff. Just look at what happened in the US when Trump supporters stormed the congress after a fiery speech that pushed all the right – or wrong- buttons.

Although Trond allegedly wanted to create a simple song with a main theme with a 7/4 time signature, it ended up with an instrumental middle part that changes time signatures all the time. The middle section might sound deceptively simple to play for the casual listener, but when we were rehearsing it prior to recording, (and later for our perpetually delayed release party) everyone (except Mari) kept struggling with one little sneaky time signature change, even Trond that wrote the section had problems.

Mari: “The short fanfare at the end of the song has been an important part of the song since the very beginning (don’t ask why). Occasionally when we are rehearsing, I forget to play it. If this happens (God forbid!) Thomas, Trond and Anders will keep staring at me in silence with eyes full of anticipation and frustration. “Forgot something?” Anders eventually says, and I shamefully play the five short notes, the fanfare outro, the horrifying theme of the jack in the box.”

Youtube: https://youtu.be/cDOcccB7DY4

Spotify: https://open.spotify.com/track/4YwI8F7anwDKWxJhhgifMa?si=b604bf24f3604eda

Tidal: https://tidal.com/browse/track/168569640

𝗦𝘂𝗯𝘂𝗿𝗯𝗮𝗻 𝗦𝗮𝘃𝗮𝗴𝗲𝘀 𝗽𝗿𝗲𝘀𝗲𝗻𝘁𝘀 𝘁𝗵𝗲 𝘀𝗼𝗻𝗴𝘀 𝗳𝗿𝗼𝗺 “𝗗𝗲𝗺𝗮𝗴𝗼𝗴𝘂𝗲 𝗗𝗮𝘆𝘀”, 𝗽𝗮𝗿𝘁 𝟮: 𝗧𝗮𝗰𝗶𝘁𝘂𝗿𝗻𝗶𝘁𝘆

Have you ever wondered what went on in the minds of Trond, Thomas, Mari, and Anders when they wrote and recorded Demagogue Days? How were the tracks conceived, and how did they end up in the form they have on the record? Wonder no longer! In the next couple of weeks, we will present the main ideas and thoughts that lie behind each song from Demagogue Days. ##################################################

Sometimes it takes just a few attempts and versions before a song is finally finished, while in other cases it can take years: This idea has been with us for a while, and we’ve played around with it since 2008.

Trond wanted to create a song with multiple parts that are derived from the original melody in 5/4: a simple, almost childish melody, then a tango-like part, and then a symphonic part with a larger-than-life guitar solo. Thomas: “I’m not that into playing guitar solos, (or listening to 99% of them, to be honest), so as a trick to get comfortable when recording, I tried approaching every guitar solo on the album by pretending to be a specific guitar player. Can you guess who I’m pretending to be on this tune?”

The lyrics sound pretty silly, dealing with how to make lyrics to a song, but at the same time they are dead serious: Making lyrics is really difficult, so the draft was kept with some modifications.

The drums start with a beat that is a homage to the drumming of Charles Hayward. Trond: “He is a bit overlooked by the so-called progressive community, but his playing in This Heat and Camberwell Now is of extremely high class. I like his way of supporting the melody and using the drums as an instrument, not only as a rhythm box. He is also thinking of texture and sound and not only playing a million notes per minute.”

The opening is based around “hocketing”, where two or more instruments split up a single melodic theme between them. (https://en.m.wikipedia.org/wiki/Hocket).

The middle part is inspired by the Canterbury prog bands like National Health, Hatfield and The North, and Egg, with a simple, whimsical melody which is played over a lot of time signature changes. Mari: “The middle part of this song is one of my favourite snippets from the album. It’s challenging to play it, as both hands play their individual melodies with rapid and unusual chord changes.The weird and surprising chord changes are satisfying to listen to and make me want to play it over and over again. To me, this part reminds me of the summer when I was 21, interrailing through Britain, with Hatfield and the North, and National Health on my iPod Nano, savouring every bit of the English meadows and acres landscape from the train window view. “

The Theremin is one of the many aural spices used on the album. Thomas: It’s always nice to get an excuse to pull out the theremin and wave away.”

Youtube: https://youtu.be/LxRmcfHm3Vo

Spotify: https://open.spotify.com/track/3deB4AAmKbvfDrLBttOd2b?si=83020b3e1d78430b

Tidal: https://tidal.com/browse/track/168569639

𝗦𝘂𝗯𝘂𝗿𝗯𝗮𝗻 𝗦𝗮𝘃𝗮𝗴𝗲𝘀 𝗽𝗿𝗲𝘀𝗲𝗻𝘁𝘀 𝘁𝗵𝗲 𝘀𝗼𝗻𝗴𝘀 𝗳𝗿𝗼𝗺 “𝗗𝗲𝗺𝗮𝗴𝗼𝗴𝘂𝗲 𝗗𝗮𝘆𝘀”, 𝗽𝗮𝗿𝘁 𝟭: 𝗔𝗿𝗼𝘂𝘀𝗲𝗱 𝗮𝗻𝗱 𝗖𝗼𝗻𝗳𝘂𝘀𝗲𝗱

Have you ever wondered what went on in the minds of Trond, Thomas, Mari, and Anders when they wrote and recorded Demagogue Days? How were the tracks conceived, and how did they end up in the form they have on the record? Wonder no longer! In the next couple of weeks, we will present the main ideas and thoughts that lie behind each song from Demagogue Days. Today you’ll learn everything about the opening track “Aroused And Confused.


All of the songs on the album started as Trond’s ideas, and he began writing most of them around 2015/2016. Trond liked the songs on “Kore Wa!”, with its “punk meet prog meet kraut meet zeuhl”-sound, but he also wanted to make songs that were more melodic, with more complex and involved structures and arrangements. Trond: “For me personally, after playing and listening to progressive rock in one way or the other for the last 30 odd years, I have grown a bit tired of the genre. I still listen to all the classic bands I grew up with, like Yes (my all-time favourite band), Gentle Giant, Genesis, and Magma, but these days I find more satisfaction in listening to more electronic music, both old heroes as Tangerine Dream, Kraftwerk, and Devo, but also new stuff, like Jon Hopkins, Anna Meredith, and Perturbator.“

Early in 2017, Trond sent Thomas a folder of more than twenty demos with potential candidates for the follow-up to “Kore Wa!”. They ended up choosing 8-9 songs they wanted to develop before presenting them to the rest of the band, and they made some pre-prod recordings during the summer of 2017. “Aroused and Confused” quickly showed promise and became a favourite.

While the song still stays true to the core of its original demo, it’s one of the songs that really started to grow and shine as we worked on it together as a band. Thomas was instrumental in arranging the vocals and re-writing the track, Mari had some excellent ideas for chord structures and lead lines, and Anders had ideas about the structure and arrangement.

Thomas: “Mari had already impressed us with how flawlessly and quickly she had learned the songs from Kore Wa!, so we already had a hunch, but as we started rehearsing, writing and arranging songs for the new album, she really showed us how lucky we’d been when she joined the band.”

The tape loop intro is a homage and reference to british post-punk/prog band This Heat. Belgian RIO band Aksak Maboul was also an inspiration for our approach to “Aroused and confused”. The song in many ways set the tone for the album, and was always considered as the opening track, and the obvious choice for the first single.

Thomas: “I have always had a soft spot for Steve Howes playing, but it’s a bit above my skill level, but I hope the use of the Danelectro electric sitar in this song, at the very least hints to his sound on the Close To The Edge album. I also snuck in a short Allan Holdsworth for dummies homage moment with the guitar synth part.”

This is the main road trip song from this album. Which is weird, as none of the members in the band own a car, and most of us don’t even have a driver’s licence. Mari: “In the future, if I ever get a driver’s licence and get to drive a car, I will listen to this song. In the meantime, I will insist on putting on this song every time I am a passenger in anyone else’s car”.


Youtube: https://youtu.be/6UZfXZ5us5Y

Spotify: https://open.spotify.com/track/1ljrSyBmBUxJE9QsGhR10Z?si=ca38f651c56a4931

Tidal: https://tidal.com/browse/track/168569638

Mythopoeic Mind: Pre-order for 2nd album «Hatchling» available on Bandcamp now!

Mythopoeic Mind’s second album, Hatchling, which is due for release on Apollon Records Prog on August 20th. Today we are happy to present to you a trinity of good news relating to the upcoming album:

(1) A teaser video which serves as a preview of the album is premiered.

(2) Bandcamp pre-order is launched today. In addition to being able to order the new album separately on physical and digital formats, you can also order both our albums on CD or LP at once at a 20% discount and with no extra shipping cost compared to ordering only the latest album. Check it out at https://mythopoeicmind.bandcamp.com/album/hatchling

(3) As a Bandcamp exclusive, we present a digital bonus track entitled Supreme Vision. This is an instrumental variation on the album track Fog Vision which features Steinar brand new alto saxophone, the Selmer Supreme. While Fog Vision will only become available upon full album release, the bonus track is streamable as of today and you can download it, together with the single Fear Fiesta released in June, after placing your pre-order. For a listen:

A special thanks to Jacob Holm-Lupo for a wonderful mix.
All the best from the Mythopoets,
Veronika Hørven Jensen, Trond Gjellum, Pål Selsjord Bjørseth, Ola Mile Bruland, Anders Kristian Krabberød, and Steinar Børve

𝗦𝘂𝗯𝘂𝗿𝗯𝗮𝗻 𝗦𝗮𝘃𝗮𝗴𝗲𝘀 𝗽𝗿𝗲𝘀𝗲𝗻𝘁𝘀 “𝗗𝗲𝗺𝗮𝗴𝗼𝗴𝘂𝗲 𝗗𝗮𝘆𝘀”.



“Demagogue Days” is the third album by the Norwegian prog band Suburban Savages, which music has been described as a sort of mishmash between Brian Eno’s experimental pop music, Gentle Giant’s counterpoint exercises, Happy the Man and Kit Watkins’ joyful progressive rock, Lars Hollmer’s sentimental melodies, Steve Reich’s minimalism and post rock with a twist.

“Demagogue Days” consist of eight songs, ranging from barely 90 seconds to eight minutes in length, and while the lyrics at times deal with rather serious and pressing issues, the band still try to keep their quirky sense of humour, creative whims and playful cheerfulness.

This is an album that embraces Suburban Savages albums of the past, but with vocals taking a more dominant role, more elaborate arrangements and variety in styles. While the music is complex and at times experimental, they also dare to keep things simple and direct when needed.

Artwork by Thomas Kaldhol

Mastering by Kjetil Bergseth/Baetis Studio

A big thanks to the nice folks at Apollon Records Prog for believing in us and releasing the album.