Johan Steensland Music

Original link: https://musikpulsen.se/johan-steensland-duality/

Rating: 8 out of 10 at musikpulsen.se

Singer, musician and composer Johan Steensland, who hails from Uppsala, has created his second progressive rock opera “Duality”, which will be released on September 23rd.

Uppsala seems to be a good breeding ground for progressive rock with bands like Kaipa, The Flower Kings, HFMC and others. There are also some common denominators here with today’s Kaipa. Singer Aleena Gibson who sings on Kaipa’s later albums also sings here together with Johan. Per Nilsson who also plays with Kaipa plays guitar on four of the album’s 12 tracks.

Other musicians who participate are Ingemar Brandt who plays piano on “Only Good Men”, Owe Eriksson plays fretless bass on “Black Sea” and Ture Trygger contributes flute on a couple of tracks. Otherwise, Johan Steensland plays all the instruments and sings. And boy, how he sings! So he is not only a very talented songwriter and multi-instrumentalist but also a really good singer. There are times when I think of David Bowie when I hear Johan sing, and that is a very good mark. The music is magnificent with many beautiful tempo changes.

The songs are based on a “story” by Johan Steensland, which can be read in full on his website johansteenslandmusic.com. It is largely about Eddie, a writer who takes refuge in a lonely cabin where he finds inspiration to write a crime novel about psychopaths and murderers. When he is going to visit a publisher who is interested in his manuscript, he is suddenly hit by a car. Five days later, Eddie wakes up in a hospital, but he has lost his memory. He no longer knows who he is and what is hidden in his past. A relationship gradually develops with the nurse Lydia who takes care of him in the hospital.

For me, who was not previously familiar with Johan Steensland and his music, this is a very positive introduction. It is composition, music and production of a very high class. I am truly impressed!

Original link: https://progetplus.over-blog.com/2025/08/johan-steensland-duality.html

For those who don’t know him yet, Johan Steensland is a multi-instrumentalist from Uppsala, the Swedish city that has seen the emergence of iconic bands like Flower Kings, Kaipa, and HFMC. In the early 1980s, he established himself as one of the pioneers of the local progressive scene with his band Sheik Ahmeed, inspired by influences from King Crimson, Rush, and Genesis.

In 1985, he began composing Crossfade , an ambitious prog-rock opera. The project remained unfinished when he moved to the United States, but it finally saw the light of day nearly forty years later, in September 2024. The reception was immediate and enthusiastic: the specialist press praised the album, and Prog Magazine even made it one of its favorites.

Today, Johan Steensland returns with Duality , his second prog-rock opera, which appears to be both the continuation and the deepening of his abundant musical and narrative universe.

The story follows the journey of Eddie, a writer whose novels explore the world of killers and psychopaths, on the verge of finally finding success, and Lydia, a nurse with a troubled past. From the creative effervescence of his Upper Kemp cabin to the danger of being blinded by the thirst for recognition and money, Eddie finds himself thrown from one world to another following a banal road accident. Lydia, now head nurse in an Ionian amnesia ward, is confronted with a sudden and unwanted tragedy. Who is this man? Will he wake up? What does his mystery hide? Even unconscious, Eddie seems to radiate a powerful and enigmatic aura.

Each track thus becomes a chapter in this musical novel, with its own sonic universe. Influences intersect, from prog pioneers to more modern approaches, to shape a rich, varied, yet highly coherent ensemble, which perfectly serves the narrative of the two protagonists.

The titles navigate between symphonic and progressive registers, but also venture into other horizons: jazz-rock, very present in An ordinary man or The Dr Dorian Dance , mixes with Floydian atmospheres ( They believe that I’m kind ), with colors close to Peter Gabriel ( Walking in a straight line ) or HFMC ( What would you give? ) and even with melodic bursts à la Queensrÿche ( The Shredded Suit ).

Johan Steensland is not only a virtuoso musician and a refined composer: he is also a storyteller and an excellent singer with an expressive voice, which, coupled with that of Aleena Gibson  who plays Lydia, provides true moments of pure beauty.

Johan’s strength is that he never limits himself to piling up melodies or sophisticated arrangements; he constructs a narrative where each note, each silence, each instrumental motif translates an emotion, a doubt, a burst of light. His music does not seek to impress, but to upset. It is this ability to combine musical richness and dramatic intensity that gives Duality  an identity as singular as it is captivating.

With Duality , Johan Steensland has produced an ambitious work that stands out as a major step in his artistic journey and certainly his best album to date.

An artist and an album to absolutely discover.

Original in Swedish, in Sweden Rock Magazine nr 8, 2025 (https://swedenrockmagazine.com/)

Rating: 8 (out of 10)

“This is something completely different from the last album Crossfade. I wrote that one several decades ago, while this one is completely new.”, wrote the composer in an email to me. Still, the Johan Steensland identity hovers heavily over the material and makes Duality resemble its predecessor. This means virtuosically played and deeply emotional prog rock in an intermediate position between minor and major, in some places in roughly the same school as The Flower Kings, but at the same time unique in its kind. Deceptively easy to listen to, because there are layers upon layers of detail that makes you want to re-listen both one and a hundred times.

My thoughts wander here and there between Rush, Saga and The Police. Steensland mostly handles the singing himself, although sparred by the beautifully singing Aleena Gibson (Kaipa) where the illustrative concept so requires. Among the other guests, Per Nilsson (Kaipa, Scar Symmetry) stands out in a number of sparkling guitar solos. Due to both drama and groove, Duality hereby enters the fight for this year’s prog rock gold.

Original: Steensland, Johan – Duality – MLWZ.pl

Review by Artur Chachlowski for Maly Leksykon Wielkich Zespolow
Johan Steensland is an almost cult figure on the Swedish progressive rock scene. In the
early 80s, he was one of the first to enter the scene with a pompous progression inspired by
bands such as King Crimson, Rush and Genesis. His band, Sheik Ahmeed, once gained
mythical status thanks to their legendary progressive concerts. In addition to working as a
sound engineer at the local Studio Pärla, Johan Steensland built his first own (8-channel)
studio and began composing a rock opera called “Crossfade”. It took him more than three
years to complete this work, but the publication of the CD “Crossfade” had to wait until
September last year, when it was finally professionally re-recorded and finally released on
CD on September 9, 2024.

After completing work on “Crossfade” in 1988, Johan decided to reach a wider audience and
formed the progressive pop band Position Melker, drawing inspiration from artists such as
Sting, Toto and Peter Gabriel. The band performed in their native Uppsala at the end of the
80s, but did not achieve the expected commercial success.

As such, Steensland decided to put his musical ambitions on hold and moved with his family
to California in 2003 to pursue a career in science. By 2008, the Steensland family was back
in Sweden, and as the children grew up, Johan began to pursue music again. He set himself
the goal of musical development and devoted the following years to improving his vocal
technique. He also improved his guitar, bass and drums technique. When he felt that the
right moment had come, he began working on a rock opera, which was released a few
weeks ago on CD (Cemafor Records) under the title “Duality”.

“Duality” is a classic two-act, emotional story lasting just over an hour about the aftermath of
a couple’s breakup. The protagonists Eddie Areola and Lydia Gilbert meet in unusual
circumstances. He, a young author, is working on a new novel and is studying the
psychology of psychopaths and killers while collecting materials. On his way to a meeting
with the publisher, he loses control of the steering wheel, his car loses grip on a slippery
surface and… after a few days, he wakes up from a coma at the Locrian Memorial Hospita.
He doesn’t remember anything, not even his name. The only thing that still lingers in his head
are the experiences of psychopaths and murderers. The nurse at Locrian Memorial Hospital
is Lydia, a thirty-three-year-old girl. During the night shift, a young man after a car accident
arrives at her ward. After a few days, he wakes up from a coma. He doesn’t remember
anything. Even his name and surname… This is the starting point for this extraordinary love
story.

The role of Eddie is played by the author himself, Johan Steensland, and the parts of Lydia
are sung by Aleena Gibons, whom fans of progressive rock associate with the group Kaipa.
Steensland is responsible for almost the entire instrumental part, he plays all instruments
except for the solo guitar parts, for which Per Nilsson is responsible (we also remember him
from Kaipa, as well as from the Scar Symmetry formation) and we also have the occasional
participation of flutist Ture Trygger, pianist Ingemar Brandt and Owe Eriksson playing fretless
bass on “Duality”.

In short, on “Duality” we hear crystal clear progressive, melodic music, with tempo changes,
with repetitive motifs in various forms and many other classic elements typical of the prog-
rock genre. There are a lot of atmospheres known from Kaipa’s albums, and while listening
to it, I often thought of similarities with the solo album of Mostly Autumn pianist Iain
Jennings, “The House” (does anyone still remember this wonderful album released in 2027?

– I refer you to our Malolexicon review – here), and even, keeping the right proportions, to
the album “A Curious Feeling” by Tony Banks.

It is ambitious, and let’s add: Steensland’s successful musical work is a collection of musical
themes endowed with strong melodies, maintained in a pensive atmosphere. It is a very
good-sounding album, pleasant to listen to, the duets of Steensland and Gibons are
impressive, and the economy of means of artistic expression (the instrumentation is
dominated by piano, delicate guitar parts and noble bass parts) is a great advantage of this
release.

Melancholic mood, reverie, nostalgia and a feeling of sadness lurking everywhere – these
are the most important features of this album. Add to that nice and accessible melodies,
interesting vocal parts and unexpectedly we find out that we got the perfect album just right
for this time of year. To the autumn cold, to the increasingly rapid darkness, to delve into a
climate full of mystery, understatement and ambiguity… And at the same time, it provides
authentic joy when listening.

A very nice album. Recommend.

Original (in French)l: https://progcritique.com/johan-steensland-duality/?fbclid=IwY2xjawNr-
lZleHRuA2FlbQIxMQABHmgys3OHO5vOx4Q47IrtXTvPo-6z5YhfZbo-
ag0d1puunIqCAmES5M_zNZDo_aem_Yt4IDd3mtAnGg2Xytbyf1Q

Rating: 4.2 stars out of 5.

Here is an album that highlights the narrative side of a conceptual musical work. ‘ Duality ‘ is
indeed a record that can be classified in the categories of concept album, rock opera, or
even musical comedy. Its author, Johan Steensland , is a Swedish multi-instrumentalist
musician who began his musical career in the 80s practicing Progressive Rock in a region
that saw the emergence of renowned groups like Kaipa , HFMC or The Flower Kings. His
atypical career led him to settle in California to pursue a career in science and research
before returning to Sweden in 2008 and resuming his musical activity by developing his
vocal, instrumental and production talents. ‘ Duality ‘ is his second Rock opera, after
‘ Crossfade ‘ which was composed in the late 80s but re-recorded and released in 2024.
Musically, the style is focused on a very melodic and symphonic Progressive Rock inspired
by Genesis on one side, Neo Prog groups like Marillion or IQ on the other, with some
Swedish touches from compatriot groups mentioned above.

The plot tells the story of Eddie, a writer who falls into a coma after an accident. He wakes up
in a hospital with no clear memory of who he is. Lydia, the head nurse, helps him piece
together his past, but as his memories return, he discovers a darker side of himself. The title
“duality” refers to this struggle between man and writer, between truth and fiction, between
guilt and redemption.

Divided into two acts (‘ Confusion ‘ and ‘ Attraction ‘), the album follows the evolution of the
relationship between the two protagonists. The main vocal roles are played by Johan
Steensland himself as Eddie and Aleena Gibons ( Kaipa ), who plays Lydia. Vocally, Johan
Steensland evokes Peter Gabriel , Neil Hannon ( The Divine Comedy ), or even David
Bowie , while Aleena Gibons ‘ voice plays on the registers of purity and power, both varying
expressions in abundance to serve the narrative. Although rich in lyrics, ‘ Duality ‘ is not
lacking in high-flying instrumental passages, since in addition to Johan Steensland on the
majority of the instruments, we find Per Nilsson ( Scar Symmetry , Kaipa ) who comes to lay
down some guitar solos with metallic inspirations, Owe Eriksson with a Jazz Fusion groove
with his fretless bass, or Ture Trygger who brings the Jethro Tull touch with his flute.

As the formalism of a concept album / Rock opera requires, the disc begins with an
instrumental introduction that sets the scene and gives some key melodies that will be found
later, and ends with an epic closing of more than 10 minutes. In between, very worked
pieces, finely chiseled and perfectly interpreted which offer the choice of several levels of
reading: from the simple collection of progressive songs, to the complete exploration of the
story and its interpretation (we even find in the booklet the description of the context telling
the past of the characters not revealed in the story). Fans of melodic Progressive Rock,
immediately accessible, with narrative development, somewhere between Neal Morse , the
Who of ‘ Tommy ‘ or ‘ Quadrophenia ‘, and ‘ Starmania ‘, I invite you to listen to ‘ Duality ‘
from start to finish for a complete experience.

Original: https://scottssongbysongandspotlights.blogspot.com/2025/11/scotts-song-by-song-
53-johan-steensland.html
Scott’s Song-by-Song and Spotlight Site

Johan Steensland is no stranger to the Swedish prog-rock scene in the city of Uppsala. 
Uppsala has given us, among others, Kaipa and The Flower Kings. A multi-instrumentalist
and vocalist,   Steensland was a major part of that scene in the 1980s, first with the
band Sheik Ahmeed, then the band Position Melker. Along the way he worked as a recording
engineer at a studio called Studio Pärla, before building his own 8-track studio.  In 1988, he
even completed a prog rock opera called “Crossfade” that he had worked on for several
years.  However, in 1990, Johan chose to pursue studies in scientific computing, eventually
earning his PhD in 2002. Between 2003 and 2008, he moved his family to California to
pursue a career in the field.  After returning to Sweden, he returned to music, gradually.  He
studied vocal techniques (listing over 5,000 hours of lessons), and honed his instrumental
skills. By 2021 he had re-recorded the music of his late 80s band, Position Melker, and
released it as an album.  In 2024, he finally recorded and released “Crossfade” which
brought him new found recognition in the prog community.  That takes us to the album at
hand today. 

His second proper solo album, “Duality” has been out since September of this year (2025). It
is also a rock opera based on  a writer who suffers from amnesia after a car crash, and the
relationship he develops with the hospital nurse who is looking after him. While Steensland
plays all of the main instrumental parts himself, along with the male lead vocals, he has a few
guests along the way:

Johan Steensland / All instruments and Vocals except as noted below
Portrays the character of “Eddie”.
– Aleena Gibson / vocals 
(From Kaipa)
Portrays the character of “Lydia”.

• Per Nilsson / guitar (4-6,10) 
  (From Kaipa, Scar Symmetry, along with representing the Strandberg guitar company.)
• Ingemar Brandt / piano (3)
• Owe Eriksson / fretless bass (9), vocals (2)
  (From Slowman, Tomas Bodin)
  Portrays the character of “The Fridge”
• Ture Trygger / flute (3,12)

Disclaimer:  This album review was requested by Anne-Claire of Bad Dog Promotions.  I
receive no compensation outside of the music files she sends me.  I am always free to “call it
like I hear it”.

As usual, this is a cold listen, outside of the brief teaser video on YouTube.

Without any further ado, let’s take a deep dive into “Duality”.

Track 1 – Fragments (Instrumental) (2:06)

It begins with a gentle melody line with a mixture of guitar and synth. The rhythm section
joins in and gives us a grand prelude to what is to come. The music quiets back down before
it ends. A wonderful opening!

Track 2 – They Believe that I am Kind (5:21)

Owe Eriksson is a guest vocalist as “The Fridge”. A soft melody with a blend of keyboards
and guitar start us off here.  Ominous harmonized vocals singing a refrain of “wake up” starts
us off and lead vocals sing lines between. I believe it is “The Fridge” saying the lines “Take
your pills,” etc.  Steensland’s beautiful tenor vocals come next.  All those hours of vocal
practice paid off!   At around 1:50 the “band” kicks in strongly with a powerful 6-8 groove. 
After a guitar solo, the next verse changes the harmony vocals to “welcome”. The “Fridge”
once again admonishes “Eddie” to take his pills, etc.  Steensland takes back over following
that.  Steensland is a fine guitarist as well.  I believe these are actual drums (also

Steensland), and not a machine.  The vocals at 4:45 are insanely good in the high range!  A
quiet piano part links us to the next track.  An incredibly dynamic track!

Track 3 – Only Good Men (4:50)

The piano plays beautiful arpeggios as Ingemar Brandt is the guest pianist.  Ture Trygger
also joins in on the flute.   Clean guitar arpeggios accompany Steensland’s vocals, with piano
joining on the next verse.  Synth choir vocals do some backing as well.  Aleena Gibson joins
in with some harmonies, before her charming voice takes over the lead. This one falls into
the category of hauntingly beautiful.  Once again, the dynamics of the music are very
expressive.  Steensland has written some beautiful melodies. Wonderful song!

Track 4 – The Shredded Suit (5:05)

Per Nilsson guests on this and the following two tracks on guitar.  A synth chord fades in
before the full ensemble kicks in with Nilsson’s great guitar work on display.  This is a
moderately slow song, with a descending chord progression backing the vocals.  Steensland
and Gibson share vocals again. After a quick transitional bit, the music goes into an odd
meter for the next vocal segment; in 7-8 I believe. There is a nice vocal effect as we return to
4-4.  Nilsson plays guitar fills between lines on the next verse, then the 7-8 returns.  This is
the most overtly “prog” track, thus far.  Nilson takes a stunningly good, if brief, guitar solo
next.  The next section builds in intensity.  The intro melody returns to close the song.  I
would say this is my favorite track, thus far.

Track 5 – A Perfect Lie (4:00)

Steensland’s vocals and piano arpeggios start this one. As Gibson takes over the vocals, the
eerie chord progression begins to remind me a bit of Queensryche’s “Anybody Listening?” on
the “Empire” album. I believe it is an electric 12-string guitar playing here.  The “band” joins in
at around the one-minute mark.  Nilsson plays another fantastic guitar solo on this one. 
 Another terrific track!

Track 6 – An Ordinary Man (4:53)

A capella vocals commence the festivities here, singing “I don’t…remember anything” in a
syncopated manner.  The bass & drums lay down a funky groove, with some subtle synth
backing as the first verse sung by Steensland progresses.  At 50 seconds there is a huge set
of accented chords, then it settles back into the groove.  A funky guitar riff joins in as well,
with some lead fills. The big chords lead to the chorus, this time.  This is a truly interesting
song, structurally.  Nilsson delivers yet another amazing guitar solo.  The final verse brings
the song to a close.  Awesome track.  

Track 7 – Let Me In! (6:53)

A combination of clean guitar, keys and flutes starts us off here.  Steensland sings a verse,
and there is a brief interlude between verses.   Gibson returns on vocals at around 1:30.  The
chorus is like a power-ballad duet. In the next verse, the tone becomes more ominous.  A
nice warm organ joins into the soundscape on the next chorus. The drum part is well-
executed.  Gibson holds a long note in grand style just before the 5 minute mark. Nice drum
fill at 5:50.  Gibson has some nice ad-lib vocals as the song begins to come to a conclusion
as does Seensland.  I love the arrangement in this song.  Wow! Great track!  

Track 8 – Walking in a Straight Line (4:47)

This one has a big accented intro, with electric piano prominent in the mix.  The first verse
has a variation of the funky groove from before.  The chorus emerges dramatically.  Lots of
contrast between quieter verses and more powerful choruses.    Nice guitar solo at around
3:45.  Yet another cool track.

Track 9 – Black Sea (3:57)

Piano and Gibson’s lovely soprano starts this one off.  Owe Ericsson’s fretless bass lines are
a nice touch here.  Steensland’s vocals join in next.  As with much of the album, the two
singers alternate lines.  This is essentially a ballad duet between the two.  The two singers

are so fantastic that they really carry the song, with the instruments in a supporting role,
albeit nicely done.  Dynamics, once again, are the key here.  Beautiful song.

Track 10 – The Dr. Dorian Dance (6:09)

The title of this one is certainly intriguing.  Per Nilsson returns on guitar for the last time. 
Melancholy guitar lines, backed with a synth wash start us off here.  A syncopated, fusion
groove accompanies the vocal entrance by Steensland. The lead guitar interlude transitions
to the next verse, sung by Gibson.  At around 2 minutes, an ascending chord progression
takes over as the vocalists alternate.  The guitar-led transitional parts seem to be in 7-4, as
does the chorus.  Nilsson once again impresses with his guitar skills.   The guitar run at 5
minutes is amazing.  Another very unique track; well done!

Track 11 – What Would You Give? (5:02)

Dissonant piano chords lead-in Gibson’s voice.  Steensland is back on lead guitar here, and
does a nice job.  There are some interesting shimmering sounds in the mix as he takes over
the vocals.  Another verse from Gibson and verse from Steensland follows.   On occasion,
when Steensland is in his higher register, he reminds me of Hasse Fröberg.  Good track.

Track 12:  Here and Now (10:02)

The closing epic has an ominous beginning, and the flute returns.  Steensland soon joins in
on vocals.  Gibson comes in at just after 1:30. The melodies are wonderful.  The “band” kicks
in at around 2:30, but the music comes back down soon after. At 3 minutes there is a guitar
solo that reminds me of Steve Lukather in Toto’s “I Can’t Hold You Back Now”.  As has been
the case, the two singers alternate in beautiful style.  This is something of a grand finale to
the story, of course.   Lead guitar plays along with the vocals starting around 7:40.  The song
begins a slow fade in the final minute with dynamic vocals and shredding guitar over the slow
beat.  Beautiful.

OVERALL IMPRESSIONS:

Steensland shows many strengths here as a vocalist and multi-instrumentalist. But his
biggest strength is in his compositional and arrangement skills! The melodies are engaging,
and the use of dynamics is masterful.  Both Steensland and Gibson are absolutely inspired
vocalists.  Per Nilsdon’s appearances are jaw-dropping. Fans of melodic rock operas with
wonderful performances will surely love this.  4.5 out of 5 stars.

Original (in Hungarian): https://dionysosrising.blog.hu/2025/09/23/johan_steensland_duality

Dionysos Rising, by Dionysos, sept 2025.
I’m sure this name won’t mean anything to the average reader, music fan, or even black belt
proggers. But that’s not their fault. The Swedish sound engineer, music teacher, songwriter
and multi-instrumentalist (guitar, bass, keyboards, drums) from Uppsala, Johan Steensland,
gave up on “public” music making for many years because the music industry didn’t care
about his fundamentally progressive music, and he was left indifferent by the music industry’s
expectations. Instead, he educated himself, studied further, earned a doctorate, started a
family, etc.

Then it so happened that after nearly four decades of “hibernation” he started itching – as
only true musicians can itch from the desire to create. The first stage of this was that he
slightly revised and re-recorded the rock opera he wrote back in the ’80s. The album
“Crossfade” was released last year on his own label. “Duality” is a sequel to this, although
the story is completely different, this time the main character is a novelist named Eddie, who
suffers from memory loss, while the other protagonist is Lydia, the hospital nurse who is
struggling with her.

As for the music and style, you couldn’t imagine a more typical Scandinavian prog-rock. On
the one hand, Steensland is from Uppsala, and – as we know (or not) – Kapia, The Flower
Kings and HFMC are also from here. On the other hand, the author grew up under the spell
of such early prog legends as Genesis, King Krimson, ELO, Ruch, UK, etc.
The role of Eddie is sung by Steensland himself, and his voice bears a surprising
resemblance to that of another Swedish prog titan, Jonas Lindberge. I should mention here
that Lindberg’s new album “Time Frames” will be released on November 7th (oh my!). The
role of Lydia was taken on by Aleena Gibson, also known from Kaipa, while the guitar solos
(and maybe some people will be happy about this) were played by Per Nilsson, guitarist of
Scar Symmetry (and Kaipa), also from Uppsala – as only he knows. I could have endured
much more from him.

“Duality” won’t be my favorite Scandinavian prog-rock album, because it’s a bit slow and
meditative for me. It should have had more rock and less jazz, and even less pop, but I’m not
dissatisfied. This is a completely acceptable product in its style, and anyone who lives and
dies for the genre will definitely find something to their taste.

Original: https://newwaveofbritishheavymetal.com/

Here’s another one which AC at Bad Dog Promotions arranged to reach me via the artist.
It is by multi-instrumentalist Johan Steensland and titled Duality which was released a month
ago (September 2025).

The bio sheet with Johan included with the CD says that Johan hails from Sweden and has
been around on the scene for years with his main influences being the likes of King Crimson,
Rush and Genesis.

Duality is his second prog rock opera with it described in the bio sheet as being richer in
melody and harmony. The lyrics deeper and more poetic…..it still rocks out without
compromise.

The concept is an interesting one as it plays out over the course of the album with the
emerging relationship unfolding between Eddie, who finds himself in hospital after a car
accident and has lost his memory, and Lydia, the nurse who looks after him.

Johan takes are of pretty much everything and is the Eddie character. The part of Lydia sung
by Aleena Gibson. Guitarist Per Nilson pops up here and there.
Now, I’ve spent some time to give Duality a fair crack of the whip. Whilst I don’t dislike it, it
doesn’t quite float my boat.

Yes – it is very well written and performed, however in general it’s a bit too tame for my
tastes.

I’d summarise it mostly as quite gentle melodic prog with some symphonic and atmospheric
passages with some jazzy parts and funky parts so plenty of variety.
It does have its more up tempo rockier moments along the way which when they happen are
welcome as I prefer my prog with more edge and bite.

Perhaps this is summarised in They Believe I Am Kind which whilst being sort of pastoral
does nudge up the tempo nicely mid-section. Have a listen:
Whilst Duality is not quite my bag, if you like say early Genesis then it might be to your liking.

Original: https://www.profilprog.com/profil-reviews-2025/johan-steensland/duality
Review by Alain Massard at ProFil
Rating: 8,0 (out of 10)

TRANSLATED REVIEW (GOOGLE TRANSLATE)!

Johan STEENSLAND is this multi-instrumentalist, singer who introduced progressive rock
with his band SHEIK AHMEED in his hometown during the 80s. After the split of the group,
he worked on composing a rock opera for 3 years, playing on the side in the pop group
POSITION MELKER with hints of TOTO and STING. 1990 and a change as he worked in IT
before returning as a sound engineer to finally release his opera. This 2nd opus is on the
same plot, a progressive rock with the fiction writer suffering from amnesia and Lydia the
nurse who follows him. A more melodic album, dancing soul harmonies and other invasive
spleens. Let’s note Aleena from KAIPA and Per from SCAR SYMMETRY and KAIPA as
guests.

“Fragments (Instrumental)” opens with a solemn and warm start at the same time with the
invasive, soft and expressive keyboard, a tad Genesis. “They Believe that I Am Kind” in
crossover rock, indecipherable. A sustained rock with the captivating voice on the Olympian
tune; Nice work around the two-tone vocal. “Only Good Men” with Ingemar’s crystalline,
incisive piano intro. A flute, her sad voice and a choir with the keyboard, a zest of the second
era of GENESIS before Aleena bewitched the space. A spleen, dark, contemplative piece.
“The Shredded Suit” more cheerful with the warm guitar and keyboard association; The
martial drums guide the track, the catchy vocal duo switching to jazzy-rock rhythm. A
beautiful grandiloquent rise of progressive pop rock. “A Perfect Lie” for the melodic
atmosphere and the vocal duo continuing to do their job. The bucolic piece between
keyboard and high voice sends shivers down the spine; The plus this guitar solo once again
fluid. “An Ordinary Man” changes tone, bass is strong, syncopated vocals and a military pad
with the nervous snare drum. The jazzy keyboard on TOTO’s work and the chorus amplifying
the fruity soul pop tune. “Let Me In!” and its introductory flute bringing the voice on the piano
smelling of BANKS, the Charisma era buzzing in mind. The vocal duo flirts with pop,
commercial prog to listen to as many people as possible. Aleena puts herself forward, letting
her familiar voice flow.

“Walking in a Straight Line” to the tune reminiscent of Peter Gabriel’s, the jerky, rhythmic
voice, the explosive and tribal pads. The songs follow one another, similar but with that little
something progressive giving emphasis and now on the edge of their seats. “Black Sea” in
nursery rhyme with Aleena accompanying the crystalline piano; a jazzy base with Owe’s
intrusive fretless bass. “The Dr. Dorian Dance” continues, introductory aria on SERRA; a
clean break on the pop prog tune, the style of his previous band, on TOTO. A nice
crescendic rise, a melting solo from Per and the atmosphere starts to become more
demonstrative like this 80’s keyboard phase. “What Would you Give?” in mainstream pop
variety mode, a mix of sounds navigating on an explosive slow marshmallow where the
voices of the two heroes confront each other. The piano in the background has provided the
rhythmic basis from the beginning; long melt like those of the BARCLAY JAMES HARVEST
of the 80s. “Here and Now” closes this album with this long track, a true cornerstone of this
tragédi-comic opera where the themes of Love, loss and introspection are addressed. The

track that doesn’t come back waves stumbles against the main air with well-calibrated guitar
flights; along fade breaks the atmosphere for a long minute.
Johan STEENSLAND releases a melodic album with an expressive scent on GENESIS; The
country flute, the crystalline piano and the sad vocals bring soulful, jazzy, funky, intimate,
melancholic tunes on a neo-classical basis. An intimate opus, easy to listen to, eyeing the
work of GENESIS with a very present piano serving as a musical thread by laying down a
thoughtful, coded, conventional sound. Melodic progressive rock well done that doesn’t take
off enough over the often repetitive tracks. Musically it’s very good, it’s at the creative level
that it’s missing that little extra.

Original:
https://www.facebook.com/photo/?fbid=1451575733634903&set=a.523305923128560

Mini-review by Progressor.net
Swedish artist Johan Steensland is out with the album “Duality”, and progressive rock is the
style explored on this production. In many ways this is a rather polished and accessible take
on this tradition, blending a more dominant and melodic variety of the form with a liberal
amount of pop music sensibilities with a more supportive undercurrent of quirkier and more
expressive details and arrangements. We get passages and occasional songs wandering
along with vocals, elegant piano movements and careful keyboards the leading roles,
exploring gentle, melancholic landscapes, with occasional shifts into the kind of dreamladen
landscapes bands like Camel and Marillion are exponents of. We do get surges into more
majestic and richly layered landscapes too, and here the expression is a bit more similar to
the likes of Genesis, and the generally melancholic to mournful mood and atmosphere that is
recurring on this production comes with a similar association. And as a bit more of an
irregular feature we get the occasional song and passage that appear to have taken a cue or
two from early 80s King Crimson in terms of expanding the canvas with a little bit of a quirky
presence too. Everything is polished and elegant in approach and execution though, with the
melodic sensibilities always given the highest priority. If a melancholic variety of accessible
and atmospheric laden melodic progressive rock with dreamladen properties, a little bit of a
symphonic progressive rock inclusion and occasional slight flirts with quirkier Crimsonian
tendencies sounds like your kind of music, chances are good that you’ll find this album to be
quite the rewarding experience.

Original:
https://www.facebook.com/photo?fbid=812084934978674&set=a.107767852077056
Rating: 4 contrasts
Johan Steensland is a Swedish composer, teacher, multi-instrumentalist and vocalist, who
has expanded his craft to include progressive pop and soul-fusion, though here he proposes
an outright progressive 63-minute rock- opera. This will be my first dive into his musical
world, so I enter without any preconceived notions or historical background, a challenge I
happen to enjoy a great deal. Duality is about a fiction writer (Eddie) who suffers from
amnesia, and Lydia, the head nurse at the hospital where Eddie wakes up, as expertly
depicted on the album cover. Let the curtain be raised and enjoy the show. He is helped
along by some known guests namely vocalist Aleena Gibson as well as guitarist Per Nilsson
both well-known for their work with Kaipa.

“Fragments” is a classic overture, getting the juices flowing with an appropriate amount of
melodic impression, a gentle serenade that picks up steam as the rhythm section, guitars
and assorted keyboards launch into a temporary storm of bombast and pomp, before quickly
recoiling into calmer realms. Like all worthy classical operas, it behooves the audience to
invest time, money and effort in getting the libretto to fully delve into the subject matter,
hence the physical album may be of great help. Perhaps influenced by Pink Floyd’s “the
Great Gig in the Sky” about all the various stages of impending death, including
circumstances and consequences, the storyline evokes all the psychological urgency of
amnesia, pain, delirium, fear and anger. Steensland can croon with the best of them, yet also
capable of belting out whirlwind pleas seemingly at will; he is truly a very gifted singer. I
should also be pointed out that there is a theatrical Marillion/Genesis sense to the both the
voices and the instrumental backdrop, with a clever dosage of orchestrations to boot, blurring
that line between neo and symphonic prog . Aleena sings the role of Lydia with a nurse like
confidence and empathy, hitting the high notes with impunity while Johan handles the Eddie
part, a scrambled mind and tortured soul searching for any straw to clutch (Hello Fish!). Per
Nilsson delivers much-needed metallic electricity with surgically placed axe (scalpel?)
interventions that only add depth to the instrumental palette, particularly on the hyper “The
Shredded Suit”.

There are enough well positioned roller coasters moments to eliminate any hint of overplay
or boredom, maintaining the attention at all times. But all operas are much better in a live
setting anyway, with real characters expressing themselves for all to see, admire and
applaud. Concentrating on the flow with earphones will also work, eyes closed so that each
listener can create their own images, but casual background music cannot deliver the goods.
On the exalted “An Ordinary Man”, the jazzy drum shuffle is utterly surprising, the cabaret
like singing supremely valiant, and the arrangement almost old school as if listening to a film-
noir arrangement. Nilsson peels off another wild vortex on his frazzled six strings, insistent,
voracious and extra-ordinary, perfectly encompassing the confusion of a troubled mind.

Judiciously variable while inserting piano, flute and Lydia’s pleading advice, Eddie opens the
door to “Let Me In! “, as if some escape hatch would beckon on the horizon, real or imagined,
one can never know for sure. A terrific duet, as the two protagonists whip up quite the storm
of emotions, both singers hitting their respective high notes with incredible technique.
Teetering on the brink is the theme on “Walking in a Straight Line “, a piece suitably
disheveling and rhythmically jagged, laden with gigantic dynamics, as if some internal battle
requires constant pause to save energy for the next hill to climb. The second half has some

severe schizoid moments, buoyed by hushed refrains, corkscrew guitar injections, and
palpable anxiety. A serpentine fretless bass (Owe Eriksson) swerves on the liquid “Black
Sea”, Aleena alone in the spotlight, piano in tow, as John responds to her questions, with
crushing anguish. An excellent trio of songs that really hit the spot.
Oblique pulses illuminate “The Dr. Dorian Dance”, an underlying choir mellotron providing the
opera-ting table for some clinical discourse, surrounded by clanging guitars, dripping
anesthetics, overtly bright luminosity hiding behind the doctored white cloak, and a Nilsson
drill guitar solo that spares no oxygen. Recovery time will be necessary, and that is what one
gets to hear on “What Would You Give?”, a more straightforward tempo, and Aleena verging
on torch singing , with Johan responding with begging desperation, the instrumental medical
staff keeping things hygienically sterile while the mercurial guitar spirals onwards.

The 10 minute and 8 second “Here and Now” is the appropriate grand finale, a finely
sculpted epilogue by a fairy- tale flute (Ture Trygger is the pied-piper), as well as highly
theatrical setting, the stunning vocal duo combine to meander into each and every sonic
crevice that teems with life, constantly pushing the envelopes of yesterday and tomorrow, as
the present is relative. The piano plays the role of rudder, steering firmly into the final
outcome, rekindling impressions of cinematic musical dramas that have flourished since the
dawn of movies. An exemplary climax brings the velvet curtain down on a thoroughly
entertaining opus, that I enjoyed way more than expected. Thanks again to Anne-Claire of
Bad Dog Promotions for introducing this impressive artist.

Original (in Italian): https://vianocturna2000.blogspot.com/2025/12/review-duality-johan-
steensland.html
English (Google) translation:
Duality, new record of the Swedish multi-instrumentalist Johan Steensland, asserts himself
as an exercise honest and emotionally intelligent within modern prog/rock opera. Johan
Steensland builds dense atmospheres, characters and a permanent dialogue between light
and shadow. The decision of structuring the album in two acts, Confusion and Attraction,
accentuates this aspect of theatricality and musicality, reinforced by the vocal duets and by
the way the melodies are chained. As soon as you open it, you feel a brand Very own
aesthetics that will accompany the whole story: calm, tranquility and the enormous musicality
where vocal and instrumental serenity establish the emotional tone of the album. One of the
strongest moments arrives with An Ordinary Man, who stands out for his very developed
arrangements, one of the examples of Steensland’s compositional maturity. The second half,
the Attraction act, maintains the same conceptual ambience, but gains different
nuances: The Dr. Dorian Dance stands on a jazzy structure and a brutal evolution,
reminiscent of Steve Hackett, while Here And Now closes the album with a flute with a
troubadour flavor that gives it a character elevating the ending to something truly epic. The
Swedish creative demonstrates mastery in building environments, vocal dialogues and
progressions melodic, but he could have risked a little outside his comfort zone; or Disco is
impeccable in form, but rarely surprising in content. Still, even playing it safe, Duality is an
engaging, elegant and coherent work. Right a revolution, but it is certainly an album that will
remain, above all, for its sensitivity and for its theatrical sense. [88%]
 
Highlights
Here And Now, They Believe That I Am Kind, The Shredded Suite, A Perfect Lie, An
Ordinary Man, Let Me In!, The Dr. Dorian Dance

Original: https://www.progressivevoyages.co.uk/reviews/johan-steensland-duality-
progressive-voyages-review-pv092
Johan Steensland – Duality –  Progressive  Voyages Review PV092

Where would Progressive be without concept albums?

That is a good question, I personally feel that “concepts and concept albums are an
important part of what makes Progressive Rock Music so very endearing and special to us
 Afficionado’s.  I like an album that hangs it’s thoughts on a concept. No matter how strange
or outlandish.  I like that its proponents have diligently thought through their chosen concept
and have applied their learning into fashioning the music of the album in such  a way that
takes the listener somewhere they might otherwise never venture to, consider or visit or
explore for themselves.  A Progressive Voyages of sorts even!

This album from Swede Johan Steensland is his second upon returning to music after a
career in science in America.  Johan Steensland hails from Uppsala Sweden.   An area well
known in Progressive music circles as home to  The Flower King’s, HFMC  and Kaipa.
Duality is Johan’s second solo release after the release of Crossfade in.  That album was 
originally recorded in 1988 but revisited and re-recorded in 2024, Duality ( this new album
recorded in 2025) Explores the subject of a writer (Eddie) who has done research on
psychopath’s and written a book about that subject, their crimes and  who  has interviewed
psychopaths to see what makes them the way they are as part of his research before writing
his book.  On his way to his publisher he (Eddie) is involved in a vehicle crash and ends up in
hospital with Amnesia.  The tale is about the evolving relationship with his nurse (Lydia)  and
Eddie’s self realisation that he is not a good man at all.  The album explores this concept
more fully through its 2 parts, Confusion (7 tracks) and Attraction (5  tracks) the key roles are
played by Johan as Eddie and Aleena Gibson as Lydia.  There are also musical appearances
from Per Nilsson e (Kaipa) guitar on tracks 4, 5,6& 10. Ingemar Brandt Piano – Track 3 and
Ove Eriksson Fretless Bass- Track 9 and also from Ture Trygger Flute on Tracks 3 and 12,
everything else is performed by Johan himself.

The album commences with a short instrumental Fragments  which works as a lead into
proceedings with a fluid guitar lines piano motif and synths.

They Believe That I Am Kind follows with the refrain Wake Up, here Johan sounds very
Gabrielesesque in his vocal tones, the track sounds very much like something that could
have been on Peter Gabriel albums 1 (car) 2 (scratch)  or 3 (Melt). This is followed by Only
Good Men, this song is about Eddie hating the thought of being bad and about how Lydia
seeks to reassure him and that what he fears is as a result of a world that has disappointed
him.

The Shredded Suit is next and this has a sprightly opening guitar line that grabs the
attention.  The song is about how a Shredded suit represents a past he is afraid to
remember, this song really takes you into the heart of the story as it reveals the fears Eddie
is apprehensive about tackling head on.
A Perfect Lie is next and this involves Eddie using a spotting scope to look around.  As he
does, he sees nothing  that reassures him and Lydia sees his frustration in this.
This frustrates her as she can see much of value in him.  An Ordinary Man follows in this
song we can sense that Eddie has recovered to the point of being ready to leave and return

to normal life, He tells Lydia that he is immune and ready to return. Although he feels he will
never be an ordinary man.

Let Me In follows and concludes the Confusion element of the story.  This is the stage at
which we see Eddie and Lydia want more from their interactions and possibly a life together.
 Eddie saying he can offer nothing and Lydia responds in saying we forget and have secrets,
all of us and the both agree the world is so much larger than the two of us.
Walking In A Straight Line opens up the second part of our story: Attraction  this commences
with synths and a strong upfront  fretless bass line.  In this song Eddie is preparing to return
to a life he had left behind although he feels Lydia is everything and everyone to him now
and is eager to see where these feelings may lead him.
The Dr Dorian Dance is next, this is an up-tempo and somewhat funky song designed to
replicate a dance between Eddie and Lydia.  This song has a good guitar break in the middle
section that snakes around the melody, it is very effective indeed.
I do like the dynamics of this song.

What Would You Give is about Eddie and Lydia wanting to be together and to face Eddie’s
darkness as he wants to be an ordinary man once more.
The album concludes with Here and Now, this is an interesting conclusion to our story, as
they both realise that here and now might not be the right time for their dreams. There will be
a time at some point but is it here and now.  The album concludes with Eddie and Lydia
realising that the here and now they are seeking is literally here and now.
I found this album musically strong and satisfying but the storyline to be a little unclear and
abstract, when at its simplest form it is a love story.

It is possibly a little too theatrical for many although it is clear that this an accomplished
release that has an interesting back story to it.

Why not have a listen and make your own decision.
Info here: www.johansteensland.bandcamp.com

Original: https://www.dprp.net/reviews/2025/059#steensland

About a year after his solo debut  Crossfade , Johan Steensland from Uppsala already
released his second solo offering, Duality. Everything you hear speaks experience.
While the origins of Crossfade stem from the mid 1980s and were left for a few
decades, Duality is all new.

And what we have here is another prog opera, following suit from the Crossfade. No epic
rock opera a la Ayreon but more storytelling and lighter prog work in the vein of Clive
Nolan’s musicals. The story is important and told well. There is enough room for some
musical soundscaping, especially in the last, and longest track.

Divided into chapters, the music follows the theme and atmosphere of the music pretty well. I
wonder whether the music was fitted to the lyrics or the other way around. When listening I
focus on the musical experience, sometimes shuffling the songs around.

While mostly in the symphonic style, the album veers into progressive and jazz-rock
territories as well. Two examples of the latter are An Ordinary Man and the closing track,
where the jazzy touch mixed with modern prog reminded me of  Philmore . Steensland is
mastering them all with relative ease.

Several of the songs have a stronger pop sense, giving a Peter Gabriel feel in the musical
sense. The Shredded Suit has a fierce, almost agressive shredding on the guitar (see what
he did there?). The Perfect Lie is the most neo-prog styled, but also includes some more
impressive guitar shredding. And in They Believe That I Am Kind I hear a Floyd-ian
attraction and a lean towards a Gilmour sound on the guitar.

Steensland has a unique and warm, emotional voice. The female parts in the story are sung
by Aleena Gibson, and they both match and contrast very well.

With my taste preferring things a bit heavier, I would love to hear Steensland, for example, go
wild on an album of instrumental prog. But I am a listener and not in a position to make
requests, and I am a reviewer and I am here to tell you that if you like modern and highly
melodic prog in a number of sub-styles, with excellent mix and production, then you should
take a listen to Duality. Nothing too groundbreaking, perhaps because of the sticking to the
storyline, but with a few unexpected outbreaks, the variation and no repetitions, a very good
listen.

Original (in French):
https://www.facebook.com/progcensor/posts/pfbid02E27FHdGyJo46ih9JCtD7M8CLPHJ9ifU
o3R9jwhhhWLrzE6wyMdMUFF1BUe5JdQmnl
Rating: 4 stars out of 5
English translation:
At the age of fifteen, Johan Steensland left the school circuit to devote himself entirely to
music, after hearing “Second Out” and then all of Genesis and Yes, King Crimson, Rush, UK
and Gong. At twenty-three, he realized that he was poor, uneducated, single, and only
worked in “shitty” (sic) jobs. The commercial market is not interested in his music. And he’s
not interested in the commercial music market. He dissolved his group Sheik Ahmeed. In the
following decades, he resumed his studies, obtained a doctorate (mathematics) and started a
family. Travel, children, money, sports, happiness!
At the age of fifty, he gradually plunged back into music and released in 2024, nearly forty
years after writing it, a first album, “Crossfade”. The enthusiastic reception, his passion for
the score and now having the time, he wrote a new album in one year.
The music is beautiful with lots of beautiful tempo changes.
The twelve tracks navigate between symphonic and progressive registers, but also venture
into other horizons such as jazz-rock, (“An ordinary Man”, “The Dr. Dorian dance”), mingle
with Floydian atmospheres (“They believe that I am kind”), with colors close to Peter Gabriel
(“Walking in a straight line”) or HFMC (“What would you give?”) and even with melodic bursts
à la Queensrÿche (“The shredded suit”).
Johan Steensland (“Eddie” in the album) is not only a virtuoso musician and a refined
composer, he is also a storyteller and an excellent singer with an expressive voice, which,
coupled with that of Aleena Gibson who plays Lydia, provides real moments of pure beauty.
Among the other four guests (piano, fretless bass, flute), Per Nilsson (Kaipa) stands out in a
number of scintillating guitar solos.
Publius Gallia

Original (in dutch) in iO pages 203 (Dec 2025)

English translation:
With singer Aleena Gibson and guitarist Per Nilsson as guests, the comparison with the
formation Kaipa is obvious. Multi-instrumentalist Johan Steensland comes from Uppsala, the
Swedish city where Roine Stolt is his neighbor, so to speak. A place where the proggy
culture is buzzing, which resulted in Sheik Ahmeed, the band with which Steensland was
successful in the early eighties (and of which his brother Simon was also a member for a
while). You can hear that experience and quality on Crossfade, a real rock opera from 2024
(about a relationship crash). A year later, his eighth solo album Duality is already on the
table. The compositions are pleasant, accessible and harmonious, with music that is slightly
reminiscent of our patriarchs of prog (Genesis in the lead), but slightly less opulent in terms
of arrangements. In that sense, comparisons with compatriots such as Jonas Lindberg,
Kaipa and ACT are more appropriate, and taric also suddenly frags with the soft side of The
Tubes (ballad They Believe That I Am Kind). Johan is a very creditable guitarist, bassist and
drummer, while he also likes to sing, in addition to the beautiful parts of Aleena. His voice
often has a melancholic character, but that doesn’t sound unpleasant. The plucked plucks on
the guitars evoke the time-honored classics of Genesis, such as in the very pleasant A
Perfect Lie and Let Me In. And how tasteful Nilsson’s solos are – but we already knew that –
even in the proggy bustle of An Ordinary Man and Walking In A Straight Line. Duality ends
nicely with the light-hearted swinging The Dr. Dorian Dance and two stately ballads.

Original (in dutch):

https://www.progwereld.org/recensie/johan-steensland-duality/

Johan Steensland is not yet very well known within Progwereld. In the early 1980s, this Swede already stepped onto the stage in an environment that also produced Kaipa and The Flower Kings. He counted King Crimson, Rush, and Genesis among his influences. In the 1980s he wrote a rock opera, Crossfade, which was re-recorded and released in 2024. After founding the progressive pop band Position Melker and pursuing a career in the United States, he began making music again once back in Sweden. He focused on singing and, by his own account, spent more than 5,000 hours improving his vocal technique.

His second progressive rock opera is titled Duality, which consists of two parts. The story, very briefly, is about Eddie, a fiction writer suffering from memory loss, and Lydia, the head nurse at the hospital where he is staying. It is not as intense a work as rock operas—such as those by Ayreon—can be. We should look for it more in the softer corner. You can hear that Steensland has worked meticulously on composing the twelve pieces. The whole thing is well put together, and he also handles playing all the instruments well.

When he starts singing after a fine instrumental opening, his good vocal control immediately stands out. As befits a good rock opera, there is a great deal of text to get through. Fortunately, the subtle musical undercurrent is also joined by some spicier guitar work. I am not immediately charmed by his voice, and after a number of tracks and a lot of lyrics it starts to grate on me slightly, especially when he goes into the higher register. Thankfully, Aleena Gibson (Kaipa) performs the female role in the piece, and I very much enjoy hearing her sing.

The contributions of Ingemar Brandt on piano and Ture Trygger on flute on Only Good Men are beautiful. With Gibson’s involvement, we can note a successful ballad. Then Per Nilsson appears on guitar for the first time, so we can indeed speak of Kaipa influences. His style is very recognizable and truly adds something to the sound. The Shredder Suit is one of those typical, slightly angular rock opera tracks with sung dialogues. You have to like that sort of thing…

There are fine pieces of progressive music here, especially when guitar and keyboards seek each other out. In the quieter passages, pastoral Genesis can be heard in the distance. Over time, however, you feel like you’ve heard it all a bit, and the tracks begin to seem interchangeable. There simply isn’t quite enough happening to keep it exciting for a full hour, and boredom starts to creep in, unfortunately. Nilsson’s solos do keep us going, though—especially the one on A Perfect Lie, which is a real treat. An Ordinary Man has some jazzy touches, but just as much a poppy character. In this way, various musical styles can be recognized. Throughout, the piano work, layered keyboards, and light orchestration are all perfectly in order, but something is missing from the overall experience. This is exemplified by the long closing track Here and Now, which contains many beautiful elements (emotion in the vocals, fine flute, guitar, and keyboard work), but also drags on somewhat laboriously.

In that sense, the title Duality is well chosen: beautiful and a little boring.

Original: https://www.unitedrocknations.com/chronique-duality-4976

Rating: 5 (out of 5) stars

English translation:
When you first listen to “Duality”, you feel like you’re opening an old book with invisible but
deeply grave bindings — a work that is not just to be heard, but to be lived. On this album
released on September 23, 2025, Johan Steensland signs an ambitious rock-opera, a
musical story divided into acts, where human fable and existential introspection intersect,
carried by a rich and varied sound palette.
Steensland, a talented Swedish multi-instrumentalist, orchestrates here practically
everything: guitars, keyboards, bass, drums and vocals. He is never just a composer or
performer — he is an author, a narrator, and sometimes even a psychologist of his own
characters.

“Duality” is an introspective rock opera that explores themes of identity, memory, lies and
personal reconstruction. The album tells the story of a man confronted with his own inner
fragmentation, in a story where psychology takes precedence over action. The central
character, Eddie, is a writer who suffers an accident that leaves him partially amnesiac. From
there, the record does not seek to tell what happened in a factual way, but what this accident
causes inside him. Eddie tries to pick up the pieces of his life, to understand who he really is
— and especially who he was. As the songs progress, Eddie realizes that memory is
unreliable, that some truths have been embellished, others voluntarily erased. The story then
moves towards a form of painful lucidity: accepting that one can be both “an ordinary man”
and profoundly imperfect. That goodness is never pure, and that identity is made up of
successive layers, sometimes contradictory.

From the first minutes, one thing is obvious: “Duality” is part of this great tradition of narrative
progressive rock, the one that tells before demonstrating, that suggests before impressing.
It’s impossible not to think of Genesis at the time when Peter Gabriel transformed each
album into sound theatre. As on “The Lamb Lies Down on Broadway”, Steensland constructs
here a fragmented, introspective, almost literary narrative, where the music becomes the
direct extension of the main character’s psyche.

The instrumental overture acts like a curtain that rises slowly. The keyboards, sometimes
atmospheric, sometimes expressive, evoke this very “seventies” way of setting a mental
scene before the action. The narration then progresses in successive scenes, exactly as
Genesis did: alternating intimate, almost whispered moments and more dramatic passages
where the musical tension marries the inner conflict.

But “Duality” doesn’t only live in the shadow of Genesis. On several occasions, the album
summons the spirit of Yes — not in the technical demonstration, but in this quest for
elevation, this way of opening up harmonic structures towards something more luminous,
almost spiritual. The vocal arrangements, the chord progressions, and certain instrumental
rises give the impression of a wider breath, as if the music were trying to go beyond the
simple framework of the story to touch on the universal.

Then comes ‘They Believe That I Am Kind’, a track that strikes by its very duality — melodic
sweetness and progressive flights. This is the common thread of the record: a quest for

identity, a questioning that is never satisfied with simple answers. We then enter the dramatic
heart with ‘Only Good Men’, where intimate piano and expressive narration weave the
personality of the protagonist, Eddie — a writer immersed in his own shadows. He is this
complex and fragile character, artist and human, in search of meaning after an accident that
leaves him with amnesia. This track is sung as a duet with Aleena Gibson (as well as on
other tracks on the album), known in particular for her work with the band Kaipa in the
Swedish progressive rock scene. She plays the character of Lydia in the rock opera Duality,
and her vocal parts enrich the dramatic dialogue between the two protagonists of the story.
The track ‘The Shredded Suit’ then cuts through like a burst of frustration: vigorous riffs,
nervous tempo and a sense of urgency that seems to reflect Eddie’s internal anxieties. It’s
one of the most electric sides of the album, the one that reminds us that duality can never be
resolved smoothly. With ‘A Perfect Lie’, Steensland plunges the listener into this game of
mirrors between truth and fiction: intimate questions, broken promises, lost illusions. This
track, which has become one of the most talked-about singles, acts as a musical confession
— elegant, fragile, ruthless (in duet with Aleena).

But it’s not just a parade of rock structures. ‘An Ordinary Man’ introduces subtle swing and
jazz-rock nuances, like an unexpected breath that softens the dramatic contours.
Throughout “Duality”, the influences intersect: sometimes we hear the symphonic purity of
Genesis, sometimes the airy and introspective spirit of modern prog, up to touches that
evoke the expressive energy of Peter Gabriel.

Each text, each silence has its place. The listener is not content to listen: he lets himself be
guided through the twists and turns of a profoundly human story, made of shadows and light,
of doubts and redemption.

”Duality” is a work that can be listened to with patience, but which is read with emotion. It is
an inner journey as much as a musical exploration. At a time when many progressive rock
albums are lost in technical ostentation, Steensland opposes here a music that touches, that
tells, and, above all, remains faithful to the essence of its narrative.

Score: 90/100
Original: http://www.heavymetalmaniac.it/2026/01/johan-steensland-duality-recensione.html

English translation:
With “Duality”, Johan Steensland offers a work that is not simply a collection of songs, but a
real musical story built like a modern rock-opera: twelve chapters in which narration, inner
contrasts, emotional tensions and nuanced soundscapes are intertwined. The album is born
from a strong conceptual story — that of a storyteller in search of identity, suspended
between memory and oblivion — and Steensland translates it into music with great care,
alternating more contemplative moments with others of pure energy. The result is a path that
is lived from beginning to end as a continuous narrative, made up of progressions, thematic
returns and great emotional moments.

The introduction entrusted to “Fragments” is a short but pregnant introduction: two minutes
that plant the emotional seed of the work, anticipating the thematic motifs and creating a
sense of expectation that will be satisfied by the following songs. “They Believe That I Am
Kind” opens the curtain with an immediate impact: wide melodies, a solid rhythmic structure
and a balance between progressive thrust and melodic openness that remains one of the
main characteristics of the whole album. The structure of the piece creates an atmosphere of
introspection accompanied by a positive tension, as if the protagonist were trying to
understand a world perceived as foreign and at the same time inviting.

“Only Good Men” and “The Shredded Suit” explore more narrative facets: the first does so
with a crystalline piano introduction that then leads to an interweaving of guitars and
keyboards, creating a dialogue between delicacy and strength; the second plays with more
decisive rhythms and an interplay between instruments that suggests movement, as if to
symbolize choices and consequences. “A Perfect Lie” is a more melodic moment, in which
the voice and harmonies take on an almost solo role, defining a contrast between
appearance and essence — a recurring theme throughout the album.

“An Ordinary Man” stands out for a more reflective construction, where each note seems
calculated to create a sense of suspension; the central part, pressed by a more marked
rhythm, introduces tension before opening up again to the melody. With “Let Me In!” the
album regains vigor: it is one of the longest and most articulated tracks, characterized by a
dynamic progression that alternates more intimate parts with explosions of intensity, as if the
internal narrative reached a turning point. “Walking in a Straight Line” moves naturally
between more pop tones and progressive cues, building an ideal bridge between the more
experimental and the more accessible sections of the album. Here the sense of walking, of
the search for stability, is expressed with a phrasing that conveys movement without losing
depth. “Black Sea” instead brings a more rarefied atmosphere: wide melodies, delicate
sound strings and a section that seems to look to the future with contemplation.

The Dr. Dorian Dance introduces almost jazzy textures and unusual timbres, accentuating
the idea that “Duality” is a work that does not allow itself to be confined to a single style. The

track lives on contrasts and shifts of tension, as if to evoke the inner dances of the
protagonist of the story. “What Would You Give?” is more direct but no less profound: the
piece inserts engaging melodic lines and a rhythm that invites active listening, challenging
the listener to question himself together with the narrator. The conclusion entrusted to “Here
and Now” is worthy of such a structured work: ten minutes of emotional and sound
exploration that collect the elements scattered in the previous songs and reconnect them in a
finale that tastes of closure and opening at the same time. The use of recurring themes,
harmonies already heard and narrative tension gives this track a sense of completeness,
almost as if the listener had gone through an evolutionary arc together with the protagonist.

Overall, “Duality” is an album that stands out for its internal cohesion, variety of sonic colors,
and ability to tell a story while remaining deeply musical. Johan Steensland confirms a
remarkable compositional mastery, managing to create a bridge between classic progressive
forms and contemporary approaches, always with an eye to emotional storytelling. An
ambitious and well-calibrated work, which offers both melodic immediacy and conceptual
depth. “Duality” is a sonic journey that deserves to be listened to from beginning to end, not
only for the individual moments of virtuosity, but for the way it organizes those moments into
a coherent and engaging story.

Review by Simone Lazzarino
Score: 90/100

Original:
https://www.facebook.com/story.php?story_fbid=1471145481677978&id=100063476195140
&mibextid=wwXIfr&rdid=bOLBEACD9y8qXYKW#

English translation:
Here is a conceptual album as I like them: intelligent, human, profound, full of meaning,
sometimes close to hermeneutics, open to various interpretations and from a musical point of
view – this is not the least of its merits – harmonious, melodic, expressive, exciting.
The man behind this work has, like everyone else, a story. I summarize it for you before
continuing because it is enlightening.

John STEENSLAND, at the age when his comrades were interested in the Pop-Rock, Metal
and Punk movements, founded, in Uppsala, Sweden, his first Progressive Rock band: SHEIK
AHMEED which worked in the years 1982 to 1985. Already a sound engineer at Studio
Pärla, he built his first studio (8 channels) in 1985 and began composing a Prog Rock opera
entitled “Crossfade”: 3 years of work. Finally re-recorded, professionally, in 2024 (release
September 9), it is a great success, detailed, which totals 54′ of a worked, creative, already
mature Progressive Rock.

He obtained a PhD in scientific computing from Uppsala University in 2002 and left with his
family in 2003 for a career in science and research.
Back in his country in 2008, music came back into his life. Johan has put in 5,000 hours of
work to perfect his vocal technique. He also masters various instruments: guitars, bass,
drums and has done more to record and mix.

“Duality” is based on a very written story (the translation includes 4,000 words) and the lyrics,
chiseled, lyrical, refer directly to it while “opening” some of the most exciting perspectives.
Eddie is a writer who, in order to document himself for a second book, meets psychopaths,
murderers, in prison. Already possessing the themes, symbols, rhythm, settings, characters,
this was the last step.

His first draft was accepted as such by his publisher who provoked a meeting in a restaurant
in town. The writer buys himself, on a whim, a new suit (let’s make a good impression),
throws the old one in a trash can with, alas, his wallet. All about his business, his mind in
turmoil, he is hit by a car.

Her awakening takes place at Locrian Memorial Hospital, a clinic with limited financial
means. Eddie has amnesia. An infirmary with an impressive physique nicknamed “The
Fridge”, Dr. Dorian and a nurse (chief); Lydia, are the only people he will meet during his
stay. In his mental peregrinations, the writer sees himself as a bad person. A probable
reminiscence of his recent research. Lydia, on the other hand, has a past as a woman who
was abused, beaten, a victim of malice and violence.

The objects that appear in the main illustration (torn suit, ball, telescope) have a role to play,
a meaning.

The complex relationship between the patient and the caregiver develops, each carrying his
or her own burden. Each one – especially through introspection – moving towards a form of
catharsis, healing…
The pieces are grouped into two chapters: “Confusion” and “Attraction”.

With these elements, it will be easy for you to understand the lyrics of the 11 songs – the first
track being an instrumental opening – all interconnected. Music is, of course, at the service of
the narrative without being its slave. The operatic construction has its demands, but – and
this is where Johan demonstrates the extent of his talent – nothing seems fixed or forced.
Each track receives – following the ebb and flow – its carpet of fresh, renewed, changing,
moiré, diapered notes, forming a fine carpet with always different patterns. By avoiding the
mechanics of themes that are too often reused, our composer demonstrates the
understanding of his talent. The melodies and texts merge by offering a limpidity, a
readability that makes the story fascinating. The carefully chosen instrumentation adds a lot
of expression in its diversity and is magnified thanks to superbly set arrangements that
generate a real emotional depth, a dramatic tension, in every note, every silence. It is with
great attention and pleasure that we listen to “Duality”. The album, as a whole, captivates as
much by its philosophical, metaphysical, almost thaumaturgical content as by its musicality
so seductive that it is irresistible.

“Duality” is a real tour de force and a brilliant success.

For Johan Steensland, “Duality” represents a true musical tale, constructed like a modern rock opera: twelve chapters interweaving narrative, internal conflicts, emotional tensions, and nuanced soundscapes. The album’s lyrics speak of a narrator searching for his own identity, suspended between memory and oblivion. The album follows this emotional journey and, musically, alternates moments of contemplation with moments of pure energy.

This album is not easy to digest. The constant chiaroscuro and technical prowess displayed by these musicians are remarkable. This is particularly evident in twisting episodes like “The Dr. Dorian Dance,” while more melodic solutions are employed in tracks like “They Believe That I Am Kind,” “Only Good Men,” “The Shredded Suit,” and “A Perfect Lie.” Throughout these episodes, however, it is remarkable that the fundamental concept of pure progressive rock is never abandoned.

The frequent use of male and female vocal duets is also noteworthy, as evidenced by the aforementioned “A Perfect Lie,” which we consider one of the most moving tracks of the bunch, consistently tense and engaging. The forays into jazz-fusion territory are also excellent, as exemplified by a track like “An Ordinary Man,” which employs a more reflective construction and heightens the suspense. The middle section, driven by a more pronounced rhythm, builds tension before opening up to the melody again.

The album’s surprises don’t end there; there are other superb moments of pure prog rock that will excite fans of the genre and instill a healthy sense of curiosity in those unfamiliar with progressive rock. We emphasize our appreciation not only for an album featuring exceptional musicians, but also for the courageous and consistent choice to make a pure progressive rock album. Congratulations to Johan Steensland!

Tracklist:
1. Fragments
2. They Believe That I Am Kind
3. Only Good Men
4. The Shredded Suit
5. A Perfect Lie
6. An Ordinary Man
7. Let Me In!
8. Walking In a Straight Line
9. Black Sea
10. The Dr. Dorian Dance
11. What Would You Give?
12. Here And Now

Line-up:
All instrsuments played by Johan Steensland except:
Per Nilsson – Lead guitar (4,5,6,10)
Ingemar Brandt – Piano (3)
Owe Eriksson – Fretless bass (9)
Ture Trygger – Flute (3,10)

Vocals:
Eddie – Johan Steensland
Lydia – Aleena Gibons
The Fridge – Owe Eriksson (2)

Original: https://crepesonore.blogspot.com/2026/02/johan-steensland-duality-recensione.html?fbclid=IwY2xjawP7uPtleHRuA2FlbQIxMQBzcnRjBmFwcF9pZBAyMjIwMzkxNzg4MjAwODkyAAEedIIs91ZIPbXs3vsNWjNltgrhY4kFTULWDJt_KSSHjY05V3HlwOjvv1SOXR8_aem_wUH9Ov5CTxb4xLf2Dyv0Rg

With “Duality,” Swedish artist Johan Steensland offers an ambitious and meticulously crafted progressive rock album that goes far beyond a simple collection of songs. Conceived almost like a modern rock opera, the twelve tracks tell the story of a narrator searching for his own identity, suspended between memory and oblivion. This conceptual thread gives the music a strong sense of continuity, with recurring themes and emotional progressions that guide the listener from start to finish.

Musically, “Duality” offers a refined and accessible approach to progressive rock. Steensland blends melodic richness with subtle pop sensibilities, while also incorporating expressive and occasionally eccentric details. Many passages are guided by elegant piano lines, evocative vocals, and finely textured keyboards, exploring gentle and melancholic soundscapes. At times, the atmosphere recalls the dreamlike qualities of bands like Camel and Marillion, while the more majestic and symphonic sections recall the grandeur of Genesis.

There are also moments where the arrangements take on a slightly more irregular or unusual character, recalling King Crimson’s early ’80s experimentation. These touches add depth and variety without compromising the album’s overall cohesion. Despite the stylistic nuances, the melodic dimension remains central, ensuring that even the most complex passages retain clarity and emotional immediacy.

The album flows seamlessly between introspective and contemplative sections and more powerful and layered crescendos, always maintaining a strong narrative arc. The final moments return to familiar motifs, offering a sense of closure while leaving room for reflection.

In short, “Duality” stands out as a refined and emotionally engaging work: melancholic yet accessible, progressive yet melodic. It’s an album that rewards attentive listening, particularly for those who appreciate atmospheric, dreamlike progressive rock, with symphonic undertones and occasional bolder deviations.

By Editorial Staff

Rating: 4,5 (out of 5) stars

English translation (from French):
Johan STEENSLAND is a Swedish composer, educator, singer and guitarist best known for his contributions to the progressive rock scene. The album DUALITY, released in October 2025, is a rock opera in progressive musical mode conceived in two acts (Confusion & Attraction) whose subject evokes the encounter between a fiction writer who suffers from amnesia (Eddie) and Lydia, the head nurse of the hospital where Eddie wakes up. This album is an introspective analysis of the complexities of the human soul that explores
themes of love, loss, and personal transformation. After his previous opera, CROSSFADE, released in 2024, DUALITY represents a significant evolution in Johan STEENSLAND’s musical career, as a composer and lyricist.

The album features a series of interconnected tracks, each contributing to a larger story. Johan STEENSLAND’s compositions are distinguished by their emotional depth and dramatic intensity, with every note and silence conveying deep emotion and deep introspection.

Collaborations with artists such as Aleena GIBSON (Kaipa), who interprets Lydia, and guitarist Per NILSSON (Strandberg Guitars, Kaipa, Scar Symmetry) enrich the narrative and reinforce the expressive power of the album.

All the instruments are played by Johan STEENSLAND except the lead guitar on The Shreded Suit, A Perfect Lie, An Ordinary Man, The Dr Dorian Dance by Per NILSSON, the piano on Only Good Men by Ingemar BRANDT, the fretless bass on Black Sea by Owe ERIKSSON and the flute on Only Good Men, The Dr Dorian Dance by Ture TRYGGER. Johan STEENSLAND soon relayed by the suave voice of Aleena GIBSON. A beautiful, languorous and dreamy ballad whose beauty makes you shudder. Concerning the singing parts: Johan STEENSLAND plays the role of Eddie), Aleena GIBSON plays the role of Lydia, Owe ERIKSSON plays the role of The Fridge, in They Believe That I Am KInd.

The album starts with Fragments, the first episode of CONFUSION, the first part of the opera. A poignant mental instrumental piece played on the solo electric guitar, nice introduction, really.

We continue with They Believe That I Am KInd, introduced on the piano and then sung in a voice of character, the vocal melody being supported by insistent Welcomes. The solo electric guitar shines once again through thrilling labyrinthine solos, the exalted vocals raise the tension a notch…

Only Good Men begins in a pianistic environment supported by vaporous keyboards, the flute making a beautiful and fleeting appearance. The melancholic vocals are back, beautiful keyboards rise, illuminating the scenery, while the beautiful caressing voice of Aleena GIBSON appears echoing that of Johan STEENSLAND, the duo each offering in turn a beautiful lyrical performance.

The Shredded Suit, begins with a splendid burst of solo guitar, most lyrical, before the rhythm section breathes a medium tempo, followed by clear guitar chords, the tension rises imperceptibly, the organ pulsates, the vocal duo works through a cleverly studied dialogue game, the piano infusing some beautiful classical touches, the solo guitar as lush as ever.

A Perfect Lie, begins with a beautiful vocal melody sung by Johan STEENSLAND
accompanied by the piano, before the crystalline voice intervenes, in the high notes of Aleena GIBSON, the two taking turns giving each other the answer, when they are not singing together accompanied by electric arpeggios. Johan STEENSLAND’s guitar returns to the forefront for a succession of languorous choruses to give you the chills…

An Ordinary Man, introduced a cappella by Johan STEENSLAND, before the rhythm section interferes with a medium tempo, a piece that pulsates thanks to successive rhythmic jerks and guitar riffs cleverly intertwined with furtive guitar choruses. A real progressive piece with frequent changes of rhythmic signature.

Let Me In! Guitar and flute arpeggios establish a pure GENESIS atmosphere in the Supper’s Ready style, where lyricism and lightness, bucolic sounds are the key words, while the voice of

Walking In A Straight Line excels, introduces ATTRACTION, the second part of this opera. Introduced by rhythmic jerks, the rhythmic vocals emerge, enhanced by layers of cinematic keyboards, the voice hardens, electric chiseling is alternated with pulsating keyboards. The solo electric guitar appears, providing bright sounds.

Black Sea, is gently sung by the beautiful voice of Aleena GIBSON, supported by piano arpeggios and a beautiful fretless bass line with a very melodic essence. Pure reverie, before the arrival of Johan STEENSLAND’s equally captivating voice. Return of the fretless bass which then interferes in the vocal duo of a beautiful delicacy.

The Dr Dorian Dance starts on beautiful notes of solo electric guitar, launching the vocal melody of Johan STEENSLAND who takes up the same theme, before a most enjoyable solo guitar part is heard, heavenly would be the word. Aleena GIBSON’s voice is heard intermittently, perfectly responding to Johan STEENSLAND’s equally suave. The instrumentation, always subtle, highlights guitar, piano and rhythmic jolts, but without excess. The magnificent solo guitar choruses reign (almost) unchallenged.

What Would You Give begins with sensitivity on the voice of Aleena GIBSON accompanied by the piano, before the rhythmic establishes a medium tempo. The solo guitar takes us by surprise before the exposition of Johan STEENSLAND’s vocals to which Aleena GIBSON responds with great lyricism.

Here And Now, intoxicating guitar arpeggios in the introduction, accompanied by flute and piano to accompany the imploring voice of Johan STEENSLAND in a pastoral setting. The conclusion is close, Aleena GIBSON’s voice appears, immaculate in a halo of cinematic synthesizers, then alternating her interventions with those of Johan STEENSLAND in a most melancholic register. A heartbreaking guitar solo popping up sweeps you away. A final piece,
the longest of the disc with many and rich vocal and instrumental twists to bring a superb conclusion to a work of great quality.

A superb album whose quality distinguishes it among the mass of releases. Give it a chance, especially if you are a fan of rock opera, but also beautiful guitars and voices!

Original: https://www.backgroundmagazine.nl/CDreviews/JohanSteenslandDuality.html

In 2024 Johan Steensland delivered his debut album, Crossfade (see review), a rock opera. I listened a few times to that album. My overall opinion is that it is a nice album. There are a few great tracks on it. My point of criticism is that I do not always like the voice of Johan, it is a bit over the top now and then. Maybe that also belongs in the concept of the album because it deals with a broken relationship. Musical wise I always have respect for multi instrumentalists because they can play so many different instruments, chapeau.

Only a year later, Johan is back with his second album, Duality. Once again Johan made a rock opera. As a multi-instrumentalist, Johan plays all instruments by himself. However, this time he got some contributions by some people who we know from the progressive rock music industry. We can hear Aleena Gibson from Kaipa on vocals as well as Per Nilson from the same Kaipa playing guitar on several songs. Because I am a really great Kaipa fan, I can only smile when I see that they are contributors. Besides the Kaipa people, Ingemar Brandt plays piano on Only Good Men, Owe Eriksson who plays fretless bass on Black Sea as well as vocals on They Believe That I Am Kind and Ture Trygger who plays flute on Only Good Men and Here And Now.

On the website of Johan you can read the full story of this album. I tried to read it, but it was such a long story that I quickly decided not to want to know the story. Normally it is better for my imagination to let my intuition do the work, so I will trust on that and let the story be what it is.

Let’s take a look at the music, that is always what counts.

Fragments is the album opener, the shortest song of the album. Some lovely guitar comes your way, played on an easy level, open and multi interpretable. But then it results in a solo and that one sounds good. After the soloing the guitar repeats the first seconds.

They Believe That I Am Kind starts with easy guitar tunes and then Johan is starting to sing and what stands out is that he sounds really emotional, the whole song. On some moments the music reminds me of Pink Floyd. The song is not that heavy, but it does provide a certain direction. It all sounds a bit more freely interpretable than on the previous album. It seems to have a bit more depth. This first full song is a good one to me. This tastes for more.

Only Good Men starts with penetrating piano sounds and when they fade, there is a flute solo from Ture Trygger. In this one Johan sings on an other level than in the earlier song, this variation is good to hear. I can say that Johan his singing qualities have improved considerably. During this song your ears are also caressed by the voice of Aleena Gibson, what do I like her singing, also in duets with Johan. Musical wise you do not know what to expect, let yourself be surprised.

Then it is the turn for The Shredded Suit, and for the first time we can hear Per Nilson playing a few guitar solos. And this solos are so incredibly good, just wow. But because of the high level of guitar playing, the rest of the song is a bit insignificant and that is a shame.

A Perfect Lie is next. The singing of Johan and Aleena is here top notch again, I really like this duets. It is a nice neo prog song. Also in this song you can hear Per Nilson playing a great guitar solo. What is this man good with his guitar!

After A Perfect Life we will hear An Ordinary Man. A nice start with singing of Johan and some repetitive drum sounds. We don’t know where the drums are going to but it keeps you on your toes. After a while it becomes more melodic and yes, it is a bit danceable, but then you really need to know the beat of the song, because that sometimes changes. And just as in the previous song, Per Nilson may give his guitar some spotlights again.

Now we are halfway the album and so far almost all songs are good ones, also because of the good addition of mister Nilson as well as Aleena Gibson.

Let Me In! is an emotional song with beautiful duets between Johan and Aleena. Also the music is very emotional. This one is totally different from the other songs so far and tastes for more. The only point of criticism is that it has a fade out and I normally do not like fade outs.

Walking In A Straight Line is a song that does not walk in a straight line, to cite the title. It has another time emotional vocals but musically you do not know where it will go and I really like that, the unpredictability of it. Johan gives a guitar solo this time, he plays a really other style than Per, but it is a good one.

Black Sea starts with the great voice of Aleena, she proves again what a great vocalist she is. I surely hang on her lips if she is singing. It gets a bit boring, but this one is another emotional one, with some great fretless bass playing by Owe, that just stands out. Sometimes it comes to mind that a more important role for the guest musicians the album would have been of an even higher level. Maybe that is a missed chance.

The Dr. Dorian Dance starts with a lovely guitar solo. In this song Johan sings a bit too high, because of this I do not like this one as much as the other songs. The playing of Per Nilson, who has another contribution in this song, cannot prevent this, unfortunately. Yet every album should have at least one song that is the weakest one.

What Would You Give is the penultimate song of the album and starts with piano combined with Aleena, a combination of gold. Johan gives a nice guitar solo after which he dives into his emotional singing again. This time it is a less higher in range and that fits exactly. The intensity of this duet is from a really high level. It is a pleasure to listen to.

The last one is the longest one, Here And Now and clocks 10 minutes. It starts a bit ominous with another leading role for a guest musician, Ture with his flute. You will hear him more than once in this song. Lucky you will hear both singers again, they are a good couple that complement each other. Your ears are caressed again, this time by a deep guitar solo from Johan. This one is a good album closer. When the album is over, you have a smile on your face because you know that Johan and Aleena has find each other. You can hear that in the music, in the lyrics and in their emotions.

Over all this album is from a higher quality than it’s predecessor and that is because of a few things. For me Johan has grown in his singing, the guest musicians are from a high level and the overall picture is easier on the ear. The album is a grower for me, the more I listen to it, the more I can appreciate it. So I can highly recommend this album.

**** Michel Stolk (edited by Tracy van Os van den Abeelen)

Original link: https://www.wrinklyrockersclub.com/w1-cd-data/duality/a124a05d-df7a-4310-b723-09456675128f

Opening with the reflective instrumental ‘Fragments’, Johan Steensland’s ‘Duality’ sets the stage for a fully realised Rock opera. The album follows a fiction writer recovering in hospital after a car crash. Stricken with amnesia, he attempts to reconstruct his identity through scattered memories and imagination. A nurse, voiced by Aleena Gibson, becomes a key presence in the story, her warm vocals providing a welcome counterpoint to Steensland’s own and adding emotional depth to the unfolding narrative.

Given its concept-driven framework, the album’s length and Progressive ambition feel intentional. Early highlight ‘I Believe I’m Kind’ neatly captures the record at its most compelling. Steensland’s vocal delivery carries an intriguing resemblance to Peter Gabriel, though tinged with a subtle Nordic character. The track rises on carefully layered arrangements and shifting time signatures, with melodies that soar while retaining compositional precision.

‘Duality’ is an album that benefits from repeated listening. At first pass its generous runtime may seem slightly indulgent, and a few moments appear to edge towards polished Prog-Pop territory. Yet with time the album’s subtleties emerge and its structure reveals itself as carefully assembled rather than sprawling.

Among the standout moments is ‘The Shredded Suit’, where Per Nilsson’s piercing, fusion-tinged guitar work cuts through the arrangement with striking clarity. ‘Let Me In’ follows with a surge of melodic lift before giving way to ‘Ordinary Man’, whose groove is driven by tight, almost military-style drumming and an infectious sense of Funk.

Elsewhere, ‘Walking in a Straight Line’ introduces flickering electronic textures that provide an atmospheric setting for Steensland’s expressive vocals. These moments highlight the album’s attention to sonic detail as much as its narrative ambition.

Closing track ‘Here and Now’ brings the Rock opera to a satisfying conclusion. Its uplifting tone carries a quietly spiritual resonance, suggesting the fractured elements of the story have finally come together.

Ambitious, occasionally indulgent but ultimately rewarding, ‘Duality’ is a richly layered progressive work that reveals more with each listen.

Ivan De Mello