Johan Steensland Music

Dear readers, we are pleased to offer you in this article an interview with a Swedish composer, educator, singer and guitarist best known for his contributions to the Progressive Rock scene. We welcome Johan Steensland.

Hi Johan how are you?

“I’m good – working hard on my new album!“

You are a composer and multi-instrumentalist, how did your passion for music and in particular Progressive Rock come about?

“As a young boy, I started to realize that the musicality I had within me, was unusual. At first, I was surprised that other kids did not, as a rule, have the ability to sing and taprhythms, like I could. I wondered why they couldn’t. As a teenager, my musicality became my vehicle to gain respect, get friends and – of course, girls. My passion for music grew, and I was heading for success and stardome. Or, at least I thought so, ha ha. I was very immature. I skipped school and formal education, I worked low-paying jobs to make ends meet. I devoted all my time to my bands and my compositions.
However, after finishing writing the rock-opera Crossfade, at about 23 years of age, I was done. I wanted no more.
I was poor, uneducated, single, and worked only sh*tty jobs. The commercial market was not interested in my music. And I was uninterested in the commercial music market. It was lose-lose. So, I made a clean break. The following decades, I educated myself. I earned a PhD and I built a family. Travelled. Made money. Trained endurance sports. Was happy.
Then, when the kids were all grown up, I wondered: what now?
I was 50, and suddenly my passion for music started burning brighter than ever. I recorded some old works, and after a couple of years, I decided to start re-recording Crossfade. And now it’s out – almost 40 years after I wrote it!“

What are your main sources of inspiration in this regard?

“When I was about 15 years old, I heard Second’s Out, by Genesis. Of course, I was already exposed to music from Sweet, ELO, Deep Purple etc, but Genesis really hit me like a ton of bricks. I must have played Second’s Out a million times. I could sing and air-drum every section of the entire album. Oh, how I loved it! After that, we explored a lot of progressive rock. Of course, all Genesis albums, but also bands like Yes, King Crimson, Rush, UK and Gong. To me, this music was like comming home.“

Your new album ‘Crossfade’ was released on September 09, 2024, how would youdescribe this work?

“Musically, it is a mix of lots of styles. Some reviewers have loved that, while others were more sceptical of the lack of staying in one box. Crossfade has purely orchestral parts, some fusion-like parts, some rock-pop parts, and of course, a lot of prog parts. Underlying it all, is the fact that it is a rock-opera, a little bit like Chess. To me, it is all connected. But I understand people who think it spreads out too much.“

It is an intense and rich Prog Rock Opera, what themes does the album’s concept deal with?

“Well, as opposed to e.g. kings, dragons and swords, I love writing about “real” people. I believe life is complex, mysterious and beautiful enough as it is without going into phantasy. Crossfade is about the characters Joseph and Linda and what happens in the aftermath of their turbulent break-up. It’s quite a ride, becuase both characters develop a lot during the play of the rock-opera.“

14 tracks make up this new work, intense and elaborate, how does the creative process of your music take place?

“Oh, tough question, as it was about 40 years ago I wrote it … But I write allone, most often by the piano, or keyboard. To me, nothing beats sitting by the grand piano and just letting the songs come to me. At the keyboard, I love having access to strings, horns and a host of cool sounds to play with. My writing process might seem a bit weird, because I am a guitarist. I am probably the worst piano player in the entire universe (ha ha), but still, I am the most happy by the grand piano. Being the way I am, I most often also write the guitar parts, the bass parts, and – yes – the drum parts. I am used to this since the early days back in the 80:s. “

As a solo project, many of our readers and your fans wonder if there will be a chance to hear your music live, do you have any plans in this regard in the near future?

“Good question! Right now, I am establishing myself as a serious prog rock composer and musician. Hence, there are not yet a huge demand for live gigs. But if things go like I want them to, my following will grow and there will be a demand for live gigs. Of course I will absolutely love a large following that voices their wish.

However, I’m afraid I will have to let them down. This is for several reasons. One, I suffer from type-1 diabetes and the stress of being on tour will not be good for my health. Two, I love working in the studio, trying to perfect this and that. I get stressed over live gigs because of their inherent dynamics. Three, ever since I was a teenager, I have never been
comfortable on stage. I think some of it had to do with a need to create a fantastic stage-persona, which I never could. Today, as an older guy, I don’t care about that. But the discomfort is still there.“

Sweden is one of the most interesting countries in Prog Rock, how do you see the modern scene in your country and more generally in the world?

“Funny you should mention this. I grew up in the prog-rich city of Uppsala in Sweden. Uppsala has been home to The Flower Kings, HFMC, Samla mammas manna, and Kaipa. And my own band Sheik Ahmeed. Even if we were a bit of novices, we were one of the pinoneers in the genre in the city. Nowadays, “prog rock” is just a name. There is nothing progressive about it anymore. It’s just the name of our genre. Some prog bands just repeat what was already done in the
70:s. Others borderline to pop, although with a bit of mellotron on top. Then we have the progressive metal, which is huge right now. Still, there’s alot of wonderful music in the genre, progressive or not. Sweden keeps on being very productive in all kinds of progressive rock. The Flower Kings, HFMC, Kapia and myself are still going strong. Then we have acts like Meshugga and Scar Symmetry. All in all, I am happy that the genre has so many fans over the world. That makes it
possible for me to reach out and touch many souls with my music. I love that.“

What advice would you give to young artists approaching music with more elaborate sounds like yours?

“Oh, man. I would say: Get an education, build your family, live your life, but work with your music as much as you can. You will probably not make any money from your music. But it will give you joy, love, friends, and it will make you grow as a person. Life is a big puzzle. Putting the pieces in is a unique thing for each individual. Make your life count!“

In a market that values more commercial sounds, how difficult is it (if at all) to assert yourself by proposing a more refined genre like yours?

“Well, I am a researcher, and a bit of a nerd. So I try to learn as much as I can about web precense, social media platforms, the do:s and don’t:s etc. You got to be careful, as though it has a tendency to take all your time if you’re not careful. Even if I am a pedagog and like making videos, I’m not a “youtuber” – I am a musician. However, there’s no use
writing music if no one will ever hear it. So, you got to balance these things. For example, now I’m working extremely hard with my album. That means, I cannot be as active on social media as I would like to.“

Do you have any other activities or artistic passions outside of music?

“I’m a runner. Love running, although I am not particularly good at it. Putting on my running shoes, getting out in the woods for a hard session is just wonderful to me. Also, I am a math teacher. Helping young adults with their education is among the best part of my life.“

I thank Johan for the interview and wish him all the best for the continuation of his artistic career.

Hi everyone! Welcome to another EMQs interview, this time with Swedish Progressive Musician, Johan Steensland. Huge thanks to him for taking part. 

What is your name, what do you play and can you tell us a little bit about the history of the band?

Johan Steensland. I play the drums, guitar, bass, keyboards/piano, and I sing. I don’t really have a band, as I am a solo artist. But I started in Garage bands in the 70s. Yes, I am that old I have released two prog albums, “Crossfade” in 2024, and “Duality” in 2025, both Rock-operas. In the past I have released some other kinds of music.

What Country / Region are you from and what is the Metal / Rock scene like there?

I’m from the prog-rich city of Uppsala in Sweden. Uppsala has bred acts like The Flower Kings, HFMC and Kaipa. And me. We are all about the same age (i.e. realy old), and grew up close to each other.

What is your latest release? (Album, EP, Single, Video)

My album Duality.

Who have been your greatest influences?

Genesis, Rush, King Crimson, and UK.

What first got you into music?

As a child I noticed I could sing and “feel” music in a way most other kids could not. Through the years, this made me feel a number of ways, making me behave in a number of ways. To say the least, it colored my life.

If you could collaborate with a current band or musician who would it be?

Guthrie Govan.

If you could play any festival in the world, which would you choose and why?

I don’t play live much.

What’s the weirdest gift you have ever received from a fan?

I don’t know whether it counts as a “gift”, but as a teenage Rock musician, I was once after a gig asked to write my autograph on a certain soft, round body-part on the upper body of a beautiful girl…

If you had one message for your fans, what would it be?

Have another listen – see what you discover this time!

If you could bring one rock star back from the dead, who would it be?

John Lennon.

What do you enjoy the most about being a musician? And what do you hate?

Making music, singing, playing my grand piano. I hate the frustration of being a small artist in an obscure field.

If you could change one thing about the music industry, what would it be?

Making music valuable again.

Name one of your all-time favourite albums?

“Danger Money”, by UK.

What’s best? Vinyl, Cassettes, CDs or Downloads?

None of the above – I like watching the artists’ videos on Youtube!

What’s the best gig that you have played to date?

I don’t remember.

If you weren’t a musician, what else would you be doing?

Teaching maths.

Which five people would you invite to a dinner party?

My closest friends.

What’s next for the band?

Promoting “Duality”. And I have already started working on my next album.

What Social Media / Website links do you use to get your music out to people? 

https://www.youtube.com/channel/UCsaYDG05hDfa-qlQsHy04ew

https://www.facebook.com/JohanSteenslandMusic

There’s a long-standing food-based debate here in the UK. And we’d like your help. So… A Jaffa cake – is it a cake or a biscuit? Discuss! 

I’m from Sweden, haha!

Thank you for your time. Is there anything else that you would like to add?

I also have another career. I’m a Ph.D in computational science. I have worked many years as a researcher. Now, I work as a maths teacher.

Hi Johan, thanks for your availability! You began your musical path in the early 1980s

in Uppsala, a city often associated with influential Scandinavian prog rock. How did

this environment shape your creative personality in those formative years?

Hi Pedro, thanks for reaching out to me! Growing up in Uppsala during the late 70s and

early 80s was special. Punk rock had hit hard in the 70s, and youngsters were

manhandling various instruments in garages and cellars everywhere. It was gold for me.

I had a rough childhood and very low self-esteem. But my nick for music changed

everything. Suddenly, I had something that was high in demand. In the 80s, prog in

Uppsala was really a thing. So, when I started my prog band Sheik Ahmeed, there were

friends lined up to be a part of the band.

After your early band experiences and the original 1980s version of Crossfade, you

stepped away from music for many years to pursue a career in science. How did that

long break influence your artistic voice upon returning?

It changed completely. Because I changed. A lot of things happen to a person who opens

his mind to knowledge and science. I truly believe that the most valuable things I learned

through this journey are things outside my particular field of expertise. My perspective

changed drastically as I studied, earned my PhD, worked as a researcher, built a family,

being a parent … I guess it’s only natural and expected. But for me, this change was huge.

My relation to music changed with everything else. I was no longer plagued with the

“misunderstood composer” syndrome. I was no longer frustrated with the shallowness

of commercial music. Of course, I was still uninterested in the commercial side of music.

The big difference was that I had built myself a larger identity, creating more things I

was proud of. I was a father, a teacher, a researcher, and a writer. There was no need

for me to agonize over the fact that my music would never bring me any kind of income.

And there was this newfound curiosity. I was suddenly inspired by the fact that I could

create music free of compromises, raw and honest. Of course, when you subject yourself

to math and science for decades, something happens to your brain, ha ha. I was now

more interested in music theory, more into understanding other compositions. I re-

visited my old heroes, like UK, King Crimson and Genesis, and like the nerd I had become,

started to analyze them.

You’ve mentioned spending thousands of hours training your voice, and you also play

multiple instruments. How does this multi-instrumental background affect the way

you conceptualise and construct your music today?

Well, training my voice has become a mission. Today, it’s at the core of what I do. I love

expressing myself through my voice. And the more I train it, the happier I get with my

voice as an artistic outlet. Playing the drums has been a time-consuming but necessary

project. I have been a drummer my whole life – but only in my head. And of course, with

my hands on my thighs. But apart from a short period in my youth, never with sticks and

pedals on a real drum kit. At almost 60 years of age, I realized I just had to try to learn

doing it “for real”. I don’t know how many hours I have spent practising, but it’s a lot.

Today, I’m good enough to play pretty complex pieces and get them to groove just right.

Still, without the expert technique of a true professional, I do need to edit my drumming

a bit on the computer. I’m pretty good, but not Dennis Chambers-good, if you know

what I mean. I realize I did not exactly answer your question! For my album Duality, it

was important to me to play everything myself. This was important because I realized

that now, for the first time in my life, I had the competence to do so. It did not affect my

writing process at all. I know exactly what I want in my drumbeats, and now I could play

it myself – it was liberating!

Duality tells the intertwined story of Eddie, a writer suffering from amnesia, and Lydia,

the head nurse who becomes central in his recovery. What first sparked this narrative,

and why did the psychological dimension of memory, identity and trauma appeal to

you as the core of a rock opera?

My mother had been diagnosed with Alzheimer’s, and she was getting worse. A lot of

my time, thoughts and energy were devoted to making sure she was getting the love

and care she needed and deserved. I guess Eddie’s loss of memory in Duality was

inspired by what I went through. Lydia’s challenging upbringing – largely unseen at home

by her drinking mother, trying to be invisible at school – was inspired by my own

childhood. There are some strong parallels there. I love writing about “real” people in

“real” life. Life, psychology and human interaction are complex, exciting and

unpredictable enough as they are. I don’t need to place my stories or my characters in a

fantasy world.

Compared to Crossfade, your previous rock opera, where do you see the major artistic

evolution in Duality?

In a word: Tension! Back in my early twenties, I was not mature enough to implement

simple rules of composition effectively. I was young, stubborn in my belief that creation

was an act of talent and will. Rules were for people who lacked one or the other. That’s

how immature I was! Composing today is another thing altogether. At the same time,

it’s exactly the same! What I mean is that I now have a deeper understanding of basic

compositional rules, and that these rules are with me when I am writing. I don’t

consciously think about them. They have fused with my creative process. One of the

simplest rules of composition is “tension – release”. Sure, Crossfade has tension, but the

harmonic tension is underdeveloped. Duality, on the other hand, has an abundance of

harmonic tension. The harmonisation is more complex in both its tension and the way

this tension is resolved. This is something I am really proud of.

You collaborated with musicians such as Aleena Gibson and Per Nilsson. What were

the biggest musical or interpretative contributions they brought to the project?

Aleena sings like an angel. Ever since I heard her with Kaipa, I have wanted to work with

her. What prog fans might not know is that she is first and foremost a fantastic singer-

songwriter in the realm of commercial music. When it comes to Per Nilsson, I have been

a fan for a long time. But it’s really his work with Kapia that appeals the most to me. It’s

no coincidence that he is endorsed by Strandberg Guitars and that they built him his

signature model. Per is just crazy skilled! And on top of that, he is a down-to-earth guy,

wonderful to collaborate with. Aleena and Per brought that little extra to the table. Per’s

solo on The Dr Dorian Dance brought me to tears the first time I heard it. I love his

playing on the album.

Duality is deeply cinematic, with shifting emotional intensities and evolving

psychological landscapes. How did you translate these emotional arcs from the story

into the musical architecture of the album?

It was pure magic! I guess it sounds pompous, but that’s the best way I can describe my

creative process. I think of something: a character, perhaps. Or I doddle at my grand

piano. Then suddenly things happen. Of course, not always. But when they do, it is

magical. I never understood how it happens, but I learned to be proud of it and respect

it. It’s a gift, I understand that.

As someone who performs most instruments yourself, how do you keep objectivity

during arrangement and production, ensuring each instrument serves the narrative

rather than falling into a one-person-band trap?

Ever since I started Sheik Ahmeed (my prog band) back in 1982, I have written music for

a band. For Sheik Ahmeed, I wrote the drum grooves as well as the fills, the bass parts,

all the keyboard parts and so forth. Hence, it has been an integral part of the way I work.

In my creative process, I always have a clear vision of what I want the track to be. And

with that, instrumentation, sounds and instrument parts come to me. I still write for a

band. I still have that clear vision of what I want with a track. But in this stage of the

process, there are no particular musicians in my head. That comes later.

Vocally, Duality ranges from delicate introspective passages to more dramatic,

theatrical deliveries. How did you design the vocal approach so that Eddie’s and Lydia’s

perspectives could both feel distinct yet connected?

I hope my answers above explain most of that. However, when it comes to vocals, there

are also specific technical aspects to consider. Range, for example, is important. But just

“range” says very little. It’s more about where in your range you prefer to be when

expressing a certain mood. And since the vocals are so up front and centre, I sometimes

need to sacrifice other aspects of a composition. Working with my compositions, fine-

tuning them to the vocals, is super interesting, but hard.

Did any section of Duality go through major structural rewrites during the production

process because it didn’t capture the intended emotional tone?

Yes! Sometimes parts, verses or choruses that sounded absolutely magical when I

created them turn out to be underwhelming. If this happens, it does so early on in the

writing process. I do have to rewrite stuff from time to time. But most of Duality came

to me rapidly, and very few parts are rewritten.

After Duality, do you already envision new conceptual or musical directions?

Yes! I am working on a new album. I discovered stuff in Duality that I want to take to the

next level. I love to mix in a bit of fusion in my progressive rock. And I also love to make

hard and complex stuff easy on the ears.

What have you planned for live presentations of this album?

Let’s cross that bridge when we get there! If there is a demand for setting up Duality

live, I will absolutely consider it.

Thanks for your time. Any parting messages you’d like to share with your fans or our

readers?

Thank you! I want to thank anyone and everyone who has shown interest in my music!

I will never make any money from it, as it costs a lot more than it can ever bring in. But

when people contact me and tell me they love my music, it’s all worth it.

JOHAN STEENSLAND – Duality
Sweden – Independent release – 2025 – 64:07

Original in french: https://drive.google.com/file/d/1HMK0PXTwMPzhCvIx7eyDrk7k_i3xRARP/view?usp=sharing (page 7)

Johan Steensland has a rather atypical background. Passionate about music, he was part of several bands in the 1980s, a period during which he also composed a rock opera entitled Crossfade. Faced with a lack of audience, he redirected his career toward scientific research, which led him to live and work in the United States for several years. Upon returning to Sweden, he rekindled his musical drive, first by producing an album with his band Position Melker, then by releasing Crossfade last year.

Following on from that comes Duality, his second rock opera, divided into two acts of six tracks each. While the cover artwork has a cold, artificial feel, it nonetheless illustrates the concept perfectly: that of a writer suffering from amnesia, whom his nurse helps to rebuild his identity (one is reminded of Babysteps by Henning Pauly in 2006).

These two roles are performed by Johan Steensland himself and Aleena Gibson, singer of Kaipa, in the female role. Her voice, reminiscent of the late Tracy Hitchings, with that irresistible grain, works wonders here. Steensland, who wrote all of the material, handles most of the instrumentation himself—particularly impressive is the drumming—assisted by a few guest musicians, among them Kaipa guitarist Per Nilsson.

“Fragments” opens the album, a short and solid instrumental that is not without evoking the American band Cairo. The songs that follow are very well constructed, built around carefully crafted melodies and relatively refined arrangements. The influences and musical affinities—ranging from neo-prog (Cross in particular) to Genesis and Izz—are perfectly assimilated, giving the whole a distinct and undeniable personality.

Without going into a detailed analysis of each composition, it is nonetheless worth highlighting a few that stand out as the most successful in our eyes. “Only Good Men,” with its bucolic symphonic feel reminiscent of Eric Woolfson, offers one of those vocal duets that are among Duality’s greatest strengths. This complementarity reaches its peak on “The Shredded Suit,” whose chorus carries great emotional power; Nilsson’s always highly lyrical solo makes the track even more intense and essential. The same can be said for “The Dr. Dorian Dance,” featuring a sublime guitar solo, or for “What Would You Give?” with its magnificent refrain.

It is also hard to resist the simple and delicate “Black Sea,” sprinkled with a beautiful fretless bass. Finally, “Here and Now” closes the album with ten minutes infused with that inspired breath that makes Johan Steensland’s work so endearing.

Overall, the album is permeated by a certain melancholy and great sensitivity, which one might be tempted to compare to that of Anthony Phillips. Needless to say, Duality deserves far more than a quick listen.

Jean-Guillaume Lanuque