JONAS LINDBERG & THE OTHER SIDE

Jonas Lindberg & The Other Side are a Swedish progressive rock band, and Miles From Nowhere is their 2nd full-length album. I first heard them only recently when a couple of pre-album singles were released promoting the band and new album, and they sounded really good, which was then amplified when I heard the full album. They have a delightful mix of catchy pop melodies and vocal harmonies interspersed with extended progressive passages and intriguing instrumental sections. Jonas plays many of the instruments himself, from bass, guitar, keyboards, and vocals, but with able assistance from the rest of the band, especially the impeccable lead and backing vocals shared by Jonas Sundqvist and Jenny Storm. The expansive album provides over 75 minutes of music, with several extended length tracks, capped off with the epic multi-part album-closing title track (over 25 min. long). Upon repeated listenings of the album, I loved it more and more, and upgraded my ranking from very good to great! The band's influences are clear and present throughout, emulating the style and structure of music provided by Neal Morse and his various bands (Spock's Beard, Transatlantic, Neal Morse Band) and The Flower Kings, among others, and the only criticism I might have is that it may stay a bit too close to those influences, but with music this good it's hard to complain, and it is done with such great style, finesse, and originality that the music itself it transcends those comparisons (Neal himself would be proud to have created such a great album). So, if you are at all a fan of the kind of music played by Neal Morse and his various projects, or just strong melodic progressive rock, you should really like this album. And this is certainly an up and coming band to keep an eye out for what they do next. Best Tracks: 'Miles From Nowhere', 'Summer Queen', 'Astral Journey', 'Why I'm Here'. Weak tracks: None. Rating: 4.0

JONAS LINDBERG & THE OTHER SIDE, Swedes who release a musical slap in the line of a SPOCK'S BEARD and a boosted FLOWER KINGS.

'Secret Motive Man' melodic progressive rock with a Celtic touch, with a guitar solo that tickles the mind. 'Little Man' with acoustic guitar and mandolin, boosted by a heavy solo which takes up the 70's title. 'Summer Queen' long spatial intro, folk-country tune with vocals from Jenny; halfway through it drifts heavy prog with Jonas's voice, it evolves and it rises with various arpeggios, in short superb. 'Oceans of Time' for one of the classic prog, vocals, breaks of musicians with Hammond, it's fresh, varied, bucolic; the instrumental goes on many classic paths, great art. 'Astral Journey' plays on the bucolic and pastoral side again, folk limit in which the instruments have a field day 'Why I'm Here' the shortest, most impactful and consensual title. 'Miles from Nowhere' for the slap of the album, 5 drawers with symphonic and theatrical opening, organ in front; acoustic at the start before the melodic flight, the titles are not chained enough and precisely lack progression. The finale is more symphonic and tortured, more attractive, twirling, in short, beautiful music without concession.

Very good album which changes a little the common chords with excellence of the melodies, an instrumental virtuoso side, great flights; it's beautiful from the start but quite repetitive, well in the retro prog sector in my opinion.

An artist and band from Sweden that I'd not heard of before this album, I am very happy to have been given this opportunity. Quite the collection of diverse and polished songs.

1. "Secret Motive Man" (7:26) simple, straightforward prog rock with STYX-like vocal harmonies and occasional switch between classic rock 70s melody lines and those of Celtic traditions. The lead vocalist is laid back and confident, delivering a smooth if slightly lackluster PETER CETERA-like performance. Nice rock guitar solo in the final minute but, otherwise, no real surprises or deviations from the drive to the horizon--despite the admirably tight, polished performances. Sounds just a bit too "classic rock" for my interests. (13/15)

2. "Little Man" (5:49) acoustic guitars and 1970s sound with different vocalist giving this a bit of a STEPHEN STILLS/Southern Rock (early EAGLES or early DOOBIE BROTHERS) feel. Very catchy melodic earworms and soothing background vocals in the chorus. The hard-rockin' electric guitar solo feels a little out of place or excessive, otherwise, this is a nice, laid back, and utterly beautiful song. I especially love the prominence of the mandolin. A top three song for me. (9.25/10)

3. "Summer Queen" (15:52) a long (2:15), spacey electronic intro precedes a folky start to the main body with female vocalist in the lead (Jenny Storm). Rhythm tracks give this again a more country acoustic rock feel over which Ms. Storm's excellent voice flits and flies with avian ease. In the sixth minutes guitar power chords and more concise riffs announce a harder, proggier passage--which is soon confirmed with the arrival of more aggressive male vocalist. Ms. Storm rejoins for the choruses of this section--as does searing guitar solo in the eighth minute. Something quite 1980s about this section (Wall-era Pink Floyd). The ninth minute sees a TFK-like power coda bring this section to a close, to be replaced by tuned percussion arpeggi, fretless bass, and soloing acoustic guitar for a bit before all congeals to return us to the third section of driving country-rock over which multiple guitars take turns soloing with great flair and efficiency. At 11:35 we find ourselves back in the second section with the crystalline voice of Ms. Storm again regaling our ears. At the thirteen-minute mark we transition back into the more-TFK-like prog palette in which an awesome synth-and-guitar duet pair up to deliver the final melody line in a slowed down passage ending with some solo piano arpeggio play. Awesome finish to a great song. A top three song. (28/30)

4. "Oceans of Time" (11:37) opens with a solo keyboard phrasing the foundational folk melody over which the rest of the band takes its turns announcing their presence and styles. When things settle down into a sparsely decorated standard swing beat a male singer with an AMBROSIA/PETER CETERA-like voice joins in to get things moving. Pleasant 1970s-sounding classic rock follows with the folk-lines reappearing every once in a while just to remind us of the underlying ocean theme. In the fifth minute, everybody steps back, clears the floor, settling into support roles so that various instruments can show off. Hammond organ, synth, pitch-bending lead guitar, it's so TFK/YES like! So well executed! Female vocalist takes us out of the section despite the continued bombast of the guitars' power chords, she singing with a force, and then the band surprises with a transition into a BANCO-like theme over which multiple auto-tuned male vocals alternate with Ms. Storm in developing this more-folk oriented section. Sounds a lot like GLASS HAMMER. Very well-developed composition with some great melodic and instrumental hooks. (18/20)

5. "Astral Journey" (5:50) acoustic guitars picking and strumming for the first 45 seconds while other instruments introduce their sound and stylistic choices. Again, there is a very pleasant pastoral folk feel to much of this--though with a Scandinavian bent (percussion). At the end of the second minute the full rock palette is presented followed by a twangy lead guitar taking the fore, driving the melody along in kind of ATLANTA RHYTHM SECTION way. Nice instrumental. (8.75/10)

6. "Why I'm Here" (4:26) even more Southern Rock oriented than any of the previous themes! With definite pop sensibilities in the vocal delivery (reminding me of both FREDDEGREDDE, OWLS, and AMBROSIA). Pleasant, memorable, but perhaps a little more simplistic and poppy than I was expecting. Very cool percussive passage in the middle of the third and fourth minutes (especially the organ) as vocal samples are played within the weave. (8.5/10)

7. "Miles from Nowhere" (25:33) (44/50): - i. Overture (6:54) - theatric opening allowing for slow, isolated presentation of several themes--from organ, synth, and twinned guitars. Develops as if taking us on a road trip through the country. Very symphonic and proggy throughout though, surprisingly, all instrumental. Very complete and sophisticated. (13/15) - ii. Don't Walk Away (4:17) - fully vocal-centric, built over strumming acoustic guitars and standard piano-rock structure. Pleasant but nothing exceptional; melodies and instrumental performances are all pretty standard 1970s rock. (8.25/10) - iii. I Don't Know Where You Are (4:39) - jumping off from the previous section into a full-speed Southern Rock jam before Oceans of Time male vocal surprises us. Nice full chorus of vocalists in support role for the chorus. Dynamic synth and guitar soli in the third minute. Definitely engaging and impressive. Nice drumming. (8.75/10) - iv. Memories (3:00) - acoustic guitar supporting the poppier OWLS-like male voice with appearances of synth- flutes for embellishment. Nice vocal ramp up for the chorus at 1:30--where the fretless bass and delicate b vox of Jenny Storm are most noticeable/effective. (4.5/5) - v. Miles from Nowhere (6:42) - a masterful conclusion/wrap up of a symphonic piece of music, incorporating and augmenting all of the many main themes with powerful chord progressions and the strongest male vocal performance of the album. Quite JOURNEY-like in its power and directness. My final top three "song." (9.5/10)

Total Time 76:33

I have to admit to my surprise at two particular elements of this band's music: 1) the compositional maturity herein, and 2) the frequent underlying predominance of what we in America call a country or Southern Rock sound. Also, the competency of not one, not two, but three lead vocalists is quite impressive. Jonas has certainly mastered the ROINE STOLT/The Flower Kings School of Symphonic Prog Rock.

A-/4.5 stars; rated up for sonic clarity, compositional mastery, and consistently high performance standards. My guts tell me that this may very well deserve "masterpiece" status, but repeated listens have failed to elevated it to that place in my heart. There are many prog lovers, however, who I believe, justifiably so, will consider this as a masterpiece. More power to you!

In this new project, Jonas Lindgren has taken more responsibility for the vocal duties and played more instruments because of the pandemic. The album opens with a catchy rock song with lush keyboard lines. We can enjoy the vocal lines. "Little Men" starts with a short folk intro and again shows some good work from the three vocalists. "Summer Queen" is an epic song with a long keyboard intro based on the 4 seasons. The acoustic guitar takes over with a female vocalist keeping the song at a slow pace before the intensity improves with some male vocals. There are some crunchy guitar riffs bringing another change with a cool break and some impressive keyboard lines that put this song to another level. The delicate female vocal in the Renaissance style brings back the calm in the song that will end in a Spock's Beard style. "Oceans of Time" is a cross between rock, and symphonic with some jazz parts. The music is accessible with some strong vocals melodies lines and another cool break in the middle. The next 2 songs are more made to calm things down and give us a little breather before the big 20 minutes epic of "Miles from Nowhere". In this song divided into 5 parts, you can hear again the Spock's Beard influence with some breathtaking guitar playing and majestic instrumental parts. The Roine Stolt guitar solo in the final part will give you gooses bump and is the perfect ending to this great album.

Just discovered Jonas' solo work a week ago and took the time to listen today (12/18/21). How anyone could rate this as poor is beyond me!! I love progressive rock music, listen to it most all day, every day, and this is very melodic, great production values, the singing is strong and in tune, and the instrumentation is varied, interesting, and upon a first listen I think is excellent. Not sure what some people are looking for?!

I am not sure what the lyrics are about yet, and I will be listening more intently in the weeks to come - I would wholeheartedly recommend you give this a listen and support the artist.

Bless!

JONAS LINDBERG & THE OTHER SIDE exhibit a new CD titled 'Pathfinder'. It would be fair to say, the band's performance is excellent throughout. As the driving force (bass, mellotron, Moog, additional keys, acoustic and electric guitar, mandolin, vox), Jonas Lindberg decorates the full sound rather than trying to show his cocksureness. Jonas Sundqvist and Jenny Sandgren are floating around for the impeccable vocal dueling. Michael Ottosson can be heard on Hammond, Rhodes and piano, while Calle Stålenbring provides the guitar work. Maria Olsson with Jonathan Lundberg append their percussion and drums, respectively. Last but not least, Nicklas Thelin who takes over the additional guitar for a couple of tracks (6, 8). Compared with two previous EP's, the full-length 'Pathfinder' is a big step forward. It contains plenty of scope to verify a mixture of adult pop, symphonic prog with AOR traces and jazzy components. Sure, this album sounds both really familiar and fresh. The familiarity comes from a set of represented influences. The freshness arises because of well crafted stylistic changes, amazing twists and turns, melodic splendor and colorful arrangements. The music often travels in a sublime way, yet finds substantial ground. The eight compositions together form a cohesive whole. So you can play this CD without a skip button. Now a track-by-track. Setting the scene for the album, 'Square One' commences with a mellotron flute, until the voice of Jonas Sandqvist comes in. From the musical standpoint, there's apparent debt of gratitude to Sting here, although Karmakanic should help to describe the quirky route. Next up, 'Lost', which really confirms the influence from Sting but heck, there's a bit of Seal in a few spots. This track slinks along on the verses-choruses structure, gradually moving to fine interlude tinged with some lush keyboards, a dose of guitar solo and gentle chants (male / female). After a while, the initial formula gets back, bringing a good completion for the song. 'Peace Of Mind' appears third. Packing a lot of invention into 9:25 min. it sounds like combination of references to Moon Safari, The Flower Kings and Kaipa. The longest chapter on the album includes handling of two lead vocalists and multiple harmonies, topped with awesome guitar courtesy and towering keyboards. There're extensive synths intertwined with fragile piano, the guitar outbursts coupled with the meandering bass lines and precise drums. For me, it's the absolute pinnacle which holds very impressive instrumentation, switching perspectives and intriguing sequence. A title track 'Pathfinder' keeps the orchestral introduction, before revealing a nod towards the '80's era Yes. The album continues by 'Leaving The World Behind' that starts off with frivolous guitar like a truistic country-rock song. But then transforms to a sort of cross between Kaipa and Introitus, with an emphasis on vocals to underscore the similarity. The bombastic swell of content ensures dynamic contrast to the softer moments. All accents are superbly executed, thus giving every part its own identity, catchiness and sensitivity. These proceedings eventually end with the grace bass loops a'la Jonas Reingold (TFK fame). Creating a magical effect, calm and atmospheric, 'On The Horizon' is a kind of glance into the Saga's balladry oeuvre. The hypnotic singing by Jonas Lindberg takes a role of center on this beautiful song. The instrumental piece 'Zenith' embodies a weird hybrid of jazz and heavy guitar riffs. Largely original listening experience - different from what we have heard before. And lastly, tuneful 'Closer To The Sun' that rounds off the album in a fine style. Once again, the musical phrases and themes are developed and renewed. The catchy lead vocals and nice harmonies work in conjunction with the vintage keyboards and sweeping guitars amidst the deep bass lines and strong percussions, allowing each partner to display their dexterity and skill. To get you accustomed to the fact that wonderful journey is almost over, the concluding section resorts to a mild pattern embellished by fragile piano playing. What a finale!.. OK, you have read my statement. The next thing you need to do is visit the group's website. And why are you still here? GO!

The idea of forming a proper band of his own was in the mind of this young musician from Stockholm already from 2008.At the time Lindberg recorded four tracks for some sort of a music exam at the School of Music in Pitea.He had a solid line-up of four musicians on vocals, guitars and drums and a handful of guest musicians in each of the four tracks, while he was the composer, keyboardist and bass player.Four years later he decided to offer these recordings under the title ''In secret pace'' via bandcamp.

The opening ''Time is wasted for no reason'' is very much alike HASSE FROBERG'S MUSICAL COMPANION.A mix of angular Hard Rock with flashy keyboard parts, deep melodies and dynamic vocals, featuring a rich style full of breaks and led by the edgy guitar moves and solos and the power of synthesizers.The biggest suprise comes from the self-titled track, which is reminiscent of FINISTERRE and HOSTSONATEN minus the Italian vocals.Elegant flute lines combine with acoustic textures, atmospheric keyboards and crystalline vocals by Jonas Sundqvist with a great jazzy middle-part, a trully beautiful piece of art.''What a view'' is totally instrumental, however this is the closest track to Neo Prog with a few ambiental lines on the way.Impressive synth flights, dynamic grooves and melodic guitars offer imaginery soundscapes full of finesse and positive atmosphere.The closing ''Overflown vision'' is the only track to feature female lead vocals by Emelie Irewald.This comes quite close to the style of MOSTLY AUTUMN and IONA with plenty of room for Irewald's angelic voice, supported by melancholic piano themes, and a strong MIKE OLDFIELD/PINK FLOYD-ian atmosphere following the intro with Ethnic-styled flutes, scratching electric guitars and angular synthesizers.

This album has a lot to admire it for: Folky overtones, modern Prog aesthectics, sporadic vintage echoes and plenty of passion.Great first step for Lindberg, warmly recommended.

Jonas Lindberg is a solo project that ended up becoming a full band, especially for this new EP called The Other Side (2013).

Created in Stockholm, Sweden, the band is formed by Jonas Lindberg (bass, keyboards, electric & acoustic guitars, mandolin, programming, compositions and vocals), Jonas Sundqvist (vocals), Michael Ottosson (keyboards), Calle Stalenbring (guitars) and Jonathan Lundberg (drums). But as the name indicates, the band is really a solo effort of Jonas. He recorded pretty much all the backing tracks, wrote the material, produced and also did the artwork. And let's not forget that The Other Side (2013) was also released by his own label called ModeMusic.

The Other Side (2013) has a strong influence of AOR (like Toto) and bands like The Flower Kings and Spock's Beard. Right on the first track of the EP 'Lies' we can see that influence. And what an amazing song! It has all the great hooks that a band needs and yet many details for you to get lost in. Great early 80's mood too. On the second track 'The Other Side' we have some great riffs that really reminded me of Spock's Beard music, but at the same time the multiple vocals and keyboards 'scream' of The Flower Kings! Amazing work!

Third track brings Toto to the picture with 'Where To Begin'. For me, the weakest track on the EP. Curiously if you look to the time of the three first tracks they have 5'27, 5'26 and 5'28 respectively. This shows a way of writing that really fits AOR. The following song on The Other Side (2013) is 'Little Girl'. Here the acoustic side of Jonas comes forth in a very melancholic song. I just think that it misses something here, maybe some kind of 'explosion'. The track pretty much follows the same pace through the whole 4'38.

'Line No18' is the last song on the EP and also the longest. And I will dare to say that it's the most Prog of them all too, besides the big amount of AOR in it. I have to mention the good job that Jonas Sundqvist did with the vocals, always pushing some really nice vocal melodies all along the album. After the middle part we have some really great guitar solo, some very good keyboards and an excellent 'kitchen' with bass and drums. Brilliant!

The Other Side (2013) is a really great effort by the Swedish Jonas Lindberg. Amazingly well produced and written and also with superb musicianship. Another thing to notice is the strong AOR sound he brought back to the Prog scene. Another case of a Swedish band bringing back different sounds (the other one being Dynamo Bliss).

A great EP to check out, and now!

(Originally posted on progshine.net)

Emerging out of the new wave of Swedish progressive music, JONAS LINDBERG & THE OTHER SIDE present their EP 'The Other Side'. Due to the craftsmanship of the musicians, the refinement in songwriting and production, this is a stunning release. All performances are expressed with emotion and conviction to blend in a high-quality symphonic prog brew, travelling along the borders of AOR-style. Being a multi-instrumentalist, Jonas Lindberg shows his skills on bass, acoustic and electric guitars, keys, mandolin, back vocals and programming. The lead singer Jonas Sundqvist is reminiscent of Mark Truesak, albeit there're occasions where I think of Colin Blunstone too. Drums are played by Jonathan Lundberg, guitars by Calle Stalenbring, keyboards by Michael Ottosson. The whole offer has five songs, approx 30 minutes in duration: from subtle inflections to fast-paced pieces. 'Lies' is a great opener, immediately affirming the patent sound with floating melody lines backed by tantalizing keyboards and vibrant bass. Aussie band Unitopia is a good point of reference. Alan Parsons Project is another comparison. The sparkling title track easy could have been on any Moon Safari CD. Elements of Yes and Genesis prevail in 'Where to Begin'. It reminds about 'Owner Of A Lonely Heart' but the whiffs of Tony Banks permeate the second half of composition. It's followed by 'Little Girl', a sensitive ballad which makes the content go out like a night candle. And to spice up the recipe, 'Line No. 18' is the longest song (8:23) fusing elements of Yes, Toto, Kansas and TFK. Here, the vocals aren't a million mile away from Chris Squire himself. I'd say that this is a fine conclusion to the consistent release... These talented guys are pros in every sense of the word, delivering far more than one would expect from a melodic progressive outfit. My hope now is that Jonas Lindberg and his crew will find some inspiration to give us a full-length album without waiting too long.