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SIMON SAYS



Last Updated: 12/2/2009

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Status: Single
City: Gothenburg
Country: SE
Signup Date: 8/22/2006

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Monday, October 05, 2009 
Plop.
Plop.
Plop. 
The growing sensation of something repeatedly touching his forehead slowly forced Tardigrade into consciousness. As he opened his eyelids, with some effort as if they were glued together, he found himself in a tiled, naked room, bathing in blinding light coming in from somewhere far above. Tardigrade immediately closed his eyes in pain, shocked by the sudden burst of vision he groped in panic around him. His hands caught something metallic, a handle behind his head. He didn’t really intend to pull it, but never had the time to react to the friction he felt as he yanked the lever towards him.

He forced his eyes open again. Tons of water suddenly came splashing in from holes in the walls, a hole opened in the floor and he was flushed down, down, down, through whirling tunnels, seemingly endless. He felt himself being washed out into the open, sunlight caressing his body, sand running down his neck, then the welcoming, soothing safety of darkness embraced him again.

From the promenade above the beach, Gobblethroat watched the limp body being washed out of the sewer. "I hope we’ve made the right decision", he thought, "bringing you here after all this time. ’The world has changed’. Isn’t that what you used to say? Now you’ll wake to a new kind of dream". He stood, watching this still life for a while, then swept his cloak around him, turned and went back into the huge tower across the street.

With the incoming tide an especially eager wave washed far up on the beach, caressing Tardigrade into awareness. With it came the realisation. I am here. I am now. He stood up, feeling the blood giving new life to his sore limbs, spotted a staircase leading up to the rustle and bustle of the street above. 

The sight was incomprehensible to him. The city itself spread out in every direction, climbing the hills with it’s concrete buildings for miles and miles. Only a faint yellow on the horizon marked the beginning of something else. The streets were filled with row upon row of people in front of computers, eyes fixed on the screens, satisfaction shining from their faces.

Passing by, Tardigrade noticed all seemed to be playing the same computer game. Getting closer he saw it was a game of raw violence, with scenes of utmost decadence and depravation. Though already disgusted, he sat down at one of the screens and followed the instructions. Visor on. Electrodes connected to his skull.

But instead of logging into the game, as was meant to happen, information suddenly flowed into his brain cells. Update. The Utopian States of Allindustria was governed by the Spiders, the ruling party, who had more or less built this world on their own, starting as a small sect-like organisation on the old net, slowling incorporating more and more people of power, until their party controlled the major posts in all the industrialised countries. With billions and billions of money, two huge devices had been built in space, spreading light almost as bright as the suns, both in fixed orbit on each side of the northern hemisphere. On these latitudes, night had been abolished. As had rain, and so all life outside the vast cities. The natural circle dance of the water was obsolete and had been stopped, permanently. But the program embedding it’s files in Tardigrade’s neurons didn’t contain any explanation to how man still could survive. 

Tardigrade, being the true expert on survival, decided that this couldn’t be all the world had come to. There had to be an alternative. People still had to eat, wouldn’t they? They still consisted of two thirds of water. There had to be a lie somewhere. As well as an alternative to all … this. He removed the devices from his head and left.

Gobblethroat saw him through a window high up in the tower. He nodded his head, choosing to be content with the way things had turned out. Bringing new life to the sleeper was not what they had intended, but would refine the plan. The plan for this perfect world they had built. The world where there was no more pain. No more suffering. No more loss. 

Tardigrade, unaware that he was being watched, went down to the shore again, seeking shelter from the sterility of the vast city, from the almost unbelievable knowledge planted in his brain and from the shocking scenes displayed on the crystal screens, in the only patch of his beloved Mother Nature that was left. 

Torn between anger and grief, he worked his way along the shore, moving towards the nearest edge of the city, which took it’s time. Several hours later he stood on the brink of a desert, and followed a dry river bed what used to be upstream. Skeletons of dead trees lined the river banks and soon Tardigrade found himself in what had once been a grove, now almost resembling a maze of barb wire, organic but petrified in the dry hot air, hardened by the relentless mechanical sun competing with the real one. Here he thought of what the world used to be, and called out to his maker to set things right. But he had once banned the maker himself. And so his maker did nothing. Emotions welled up inside, and for days he fled farther into the dead forest.

Gobblethroat looked at the satellite images presented on the wall screen before him. Oh yes. The enemy base had been found at last. Now he would teach them to worship him and nothing else. He gave the order. 

Tardigrade never really noticed the troops before they had completely surrounded him. Suddenly he was gagged and held firmly, but not brutally, and led to a nearby cliff where a cave opening appeared. Inside, he was led into a lit hall, filled with equipment and people. It looked like an army stronghold. An officer greeted him and explained. This was the resistance, the few fighting the Spiders. Somehow they had the knowledge of who Tardigrade was and that he was important for the party, but they did not know why. They wanted him to join the armed rebellion. "I can’t take up arms" Tardigrade replied. "You have to understand, this doesn’t seem to be my world any longer". The officer hesitated, nodded, and ignoring his protests plugged a visor and electrodes into Tardigrade’s head again.

A new information rush and suddenly it all matched. The Utopian States of Allindustria had since long used up all their natural resources. Now they were raping the southern hemisphere. An army of robots were slowly obliterating all individuals in the resourceful but comparatively poor and over populated countries. The robots were controlled by the game players, which were working in symbiosis with their computers. The players believed they were only playing games, but actually were in the process of annihilating the people of the southern countries – and the programmes fed them constant endorphine orgasms through the visors’ electrodes. And so the majority of the people of the northern hemisphere had become computer addicts. 
While the resistance continued to prepare for battle, Tardigrade wept.

Shortly before what used to be "dawn" grenades exploded all around them. The walls of the underground base shuddered, portions of the ceiling collapsed as the Spider troops bombarded the base with shells and missiles. Inside was devastation. The few officers still standing upright shouted out orders to the even fewer soldiers still alive. Blood was spattered across the floor and the remains of the machinery. Then BOOM! and a huge gap appeared in one of the walls as the Spider troops swarmed in.

Tardigrade barely managed to follow the fleeing resistance fighters down a secret passageway through the mountain. A new cave opened before him, a cave filled with vehicles, apparently hovercrafts. As they all got inside the hovers, an officer blew up the tunnel behind them, blocking the way for the troops chasing them. The armada of hovers sped down the widening tunnel for a few hours at tremendous speed, then suddenly shot out into th daylight on the other side of the mountain range, to go down a slope towards something blue at the bottom. 
Tardigrade wondered how long he had to keep fleeing. He felt he was trapped in a maze, but somewhere deep inside he refused to give up the faint glimmer of hope he still felt.
There would still be rain.

Sylvester turned off his computer for the very last time. He had finally served his purpose, done the deed for which the resistance had planted him deep in the Spider-led company Computertronics’ programming staff. 
The programmers were the only ones, except for the party officials, who knew the truth about the devastation and mayhem on the southern hemisphere. They efficiently both controlled all the game stations in the cities as well as the robots thousands of miles away and also rewrote history as unwanted reports came in. Thanks to the visors and it’s bio-electronic machinery, people who had deriving opinions were easily dealt with, removed and killed, and then all information about them were erased or manipulated

Sylvester had known of Tardigrade’s existence for some time. It was he that had told the resistance of this "survivor" from a bygone time. Exactly the kind of hero the resistance needed, the true symbol, a relic from the old world, the one that could convince people of the truth, the messiah the poor countries were expecting. And it was he that had overridden the game sequence in Tardigrade’s computer and fed him the mole information instead.

Sylvester shuddered as he thought on all the lives he had contributed to put out, while working under cover in Computertronics.  The net could have been such a wonderful thing, the intentions had all been the right ones when it was built long ago. Bring people together. Make information available to all. But it had turned into something completely different. First just a silly fun fair. And these days … malevolent. Evil. Selfsuppliant. A being of it’s own. 
Now he’d got some distressing signals from the base. Apparently Tardigrade had refused to be the messiah. All could be in vain. Unless he did something about it and acted as Tardigrade himself. He could turn the Spiders’ own weapon against them. 

Sylvester got in his hover, turned on the stealth shield he had supplied it with in secrecy and steered south.

Some time later Sylvester landed just outside of the resistance camp. Oh, this was something else after the long flight, making his way south while trying to avoid all the scout robots on the way: green trees, singing birds, lush vegetation. Air filed with scents. Humidity. A brook, gently dancing it’s way down to the blue lake at the bottom of the valley. Fish making ripples on the water’s surface as another insect fell as prey. Wind in the trees.
A host of people were there to greet him. He immediately recognized the stranger, coming towards him to take him in his ams. Finally meeting Tardigrade had an enormous impact on him. This was a person from a completely different world, though still the same as his own. Surely he was the one to follow. 

Sylvester stayed a long time in the camp, and a deep friendship between Tardigrade and himself began to grow. But he could never convince Tardigrade about the necessity of war. Tardigrade stayed adamant about the issue: "I have seen too much violence in my days to ever take up arms again", he answered. 

After some time Tardigrade also started to talk less and less to Sylvester and spent more and more time with Aino, a woman who worked as a teacher for the few children there was in the camp – a woman Sylvester himself had warm feelings for. And when Tardigrade and Aino revealed that they were expecting a child and planned to move to a derelict cottage on the slopes of the nearby Moon Mountain, Sylvester understood he had missed his opportunity. His old friendship gradually turned into disappointment, annoyment, and then eventually into jealousy and hate. 
He decided.

When Tardigrade and Aino left the camp Sylvester made his move. For weeks he talked with the top officers, slowly starting to convince them that Tardigrade was only a selfish egotist who didn’t care about his fellow man – and who could deny he was correct? It didn’t take long before he had the ears of almost everybody and they agreed to follow his plan: he was to become Tardigrade himself – the messiah the people on the southern hemisphere had waited for for years. 
The real Tardigrade, though, followed the inner voice telling him to gather peace loving people on Moon Mountain. They would be his army, not a single shot would be fired.

For eight summers he and Aino lived happily in the cottage on Moon Mountain, gathering their disciples around them. Most of them came from the south, refugees having escaped the robot wars. But some of them also came from the barren north cities, because word was spread about this new leader. Whether these rumours were exaggerated or not didn’t seem to be important to the refugees. Some of the stories came from Sylvester, unintentionally supplying the real Tardigrade with people. But many had also heard about this survivor who planned to build an emerald city, Tardigrad, in the wild, and march to the north, bringing with him evidence of the richness there still was and the message that the cities could be abandoned, the dream machines destroyed and the solar satellites turned off. And there were of course the religious believers reacting only to the name. Tardigrade’s here. The messiah has come.
But one day Tardigrade awoke with Aino dead in the bed beside him. She had been posioned in her sleep. Evidently with a substance only the Spiders possessed.

Deep grief weighed Tardigrade down for all of the autumn and winter. For all of this time he didn’t utter a word to anyone. His followers began to loose their faith in him, some returning to their home countries, some seeking the resistance to join them in the coming war. Only a few stayed on.

Then, on the first day of spring, Tardigrade without warning got into a violent rage, insanity gripped him and he smashed all of his possessions and burned down his house before he ran out of the valley and threw himself in the river beside the village, riding it quickly downstream.

At the foot of the mountains, the river slowed down, moving on into a plain. Tardigrade swam ashore. Out on the plain stood a lonely hill, with jagged ruins forming a harsh silhouette against the setting sun. This place felt familiar. Tardigrade, climbing the hill, suddenly realised he had been here before. This used to be the religious center of his world. This used to be the temple surrounding the holy open place – Paradise Square. Then and there, he eventually let his grief for Aino come out in burst upon burst of emotional distress until he was totally exhausted.

Tardigrade asked the memory of Aino for forgiveness. But when he felt no response, he gave in to the last months growing urge to follow another path. 

Sylvester enjoyed life as a coming revolutionary hero. He had all the women, the booze and the other pleasures he wanted and developed a passion for heavily spiked strawberry jam. Everybody would do as he ordered, follow every whim of his, eager to satisfy the Great Messiah. Even those who knew who he really was started to believe what he said. Somehow that was the most comfortable thing to do. So while the weapon maker started to work less and less, the drug fabricators had more and more to do, spiking the red fruit, "imported" from the south, with heavier and heavier synthetic stuff. Noone ever asked where his drug addiction came from, but Gobblethroat knew.
The drug dealers were all on his payroll.

Tardigrade left for the northern cities again, walking through the thick forest that bordered on the desert, marking the frontier between south and north. He had a sense that history was repeating itself, that time only turned round and round in the same tracks. He brooded over this matter, but it didn’t seem to get him anywhere. Somehow it seemed easier to do as Sylvester did – he had heard of Sylvester’s excesses along the way, from the odd traveler he met. But he immediately rejected that idea and continued to walk in sorrow through the silent forest. 

Two years later he stood on a square in Livingstone 2.3. The Spiders had somehow let him be when he arrived in the city. Since then he had started to agitate against them on the streets, drawing attention from the computer games. The players found this a nice change in their everyday matters as long as it didn’t prevent them totally from getting their endorphine kicks in front of the crystals. A few even believed his words and stopped playing, but all of them were considered thoughtless reactionaries by the rest.

This day, Gobblethroat himself had even agreed to meet him in a debate on one of the squares. The debate was even downloadable on the evening news bulletins web page. Afterwards Tardigrade, seemingly content with the opportunity to speak his mind, left and disappeared in the alleys.

A few turns later he quickly glanced over his shoulder to see if he was being followed. He wasn’t. He ran the last few hundred yards, down a stair, opened a cellar door and slipped inside. 

The cellar was one vast room. Some time in the ancient past, it had been a parking house. Now it was transformed into a secret arms factory. Gun after gun was put together efficiently on the assembly line. He had found a lot of his followers when he arrived in the city, all of them now worked for him again and they were bringing in new revolutionaries every day, from the south, from Sylvester’s disillusioned army and even from the city’s inhabitants, who all had to undergo endorphine rehab treatment. The hall worked like clockwork and the arms were piling up before being taken out of the city and smuggled to the distant Tardigrad. In other cities there were other factories, constructing heavier weapons, armed vehicles and even a few aircraft.
Everyone believed that the resistance moles they had planted in Computertronics put a cover over everything that was going on, but to the Spiders it didn’t matter if the moles succeeded or not. They had discovered long ago and things were still going as they planned. 
They had the intention to end it all in one big epic battle, but they didn’t have the means. All their robots were occupied on the southern hemisphere, and the rest of the population was needed either for bringing necessary goods in or playing the computers. And so, they would let Tardigrade build his army and make the south countries believe that it was a threat to them. "Let them kill each other while we look on" Gobblethroat mused.

Tardigrade still had lots of inner debates with himself. Was this really the right thing to do? Yes. The Spiders’ evil was beyond rescue. They simply had to be terminated. The loss of Aino still gnawed at him, but now only making him brutal, hard, casting all his human emotions aside.
One night he dreamed he met her again and she blamed him for letting it go this far. "You should run instead and be grateful for all you have, grateful to this Earth you are treading, that which gave you life" she said. He replied "This earth has bereft me of everything. Why should I be grateful to it?". Then he wakened, but the complex feelings evoked by the dream lingered in him for days afterwards.

Near the village of Tardigrad there grew a willow. It had seen a lot of years, but still enjoyed standing beside the river. It was here that it had watched, with much amusement, Tardigrade and Aino kiss each other once. It did not see, however, that Sylvester also had watched them. 
Sylvester spat on the willow as he passed it. He had been deserted by everyone, and given up his childish dream of being Tardigrade. He loathed himself for having dreamt it and hated Tardigrade even more now, blaming him for his position. He also was plagued by strawberry drug abstinence.
The people of Tardigrad, though, took him under their wing and welcomed him back. But even on the first night he went out and cut the willow tree down and hit everyone trying to stop him, so they decided it was best for him to keep him locked away in a cell they prepared for him under ground. Though they treated him well, he raved and went on, cursing them and Tardigrade, muttering dark prophecis of what was to come. The villagers started to make wide circles around the place where he was held captive, to avoid the ramblings coming out of his tiny peephole.

Then came the day. Suddenly trumpets rang among the cliffs and the great resistance army marched into the valley. Tanks thundered in, legions of young revolutionaries marched as one, hovers came flying past. The army made camp on the slopes of Moon Mountain, not far from the cottage. Tardigrade laid plans for the great battle and in no time at all a arms factory was improvised in Tardigrad itself. Tension was slowly building for days. 

One night suddenly the whole sky exploded in one massive thunderbolt, quickly followed by eruption upon eruption of mortar fire, bomb crevades, the smattering of automatic weapons, whirling of projectiles and the deafening roar of missiles echoed between the mountain slopes. The resistance army answered with the same maddening outburst of wrath. Thick dark smoke filled the valley while the onslaught continued endlessly, relentlessly, mercilessly. In his tomb, Sylvester shuddered and pressed his hands tightly against his ears.
The battle had come at last – but the attack had not come from the north, but from the south. 

On the top of Moon Mountain Gobblethroat watched the mayhem with amusement. The plan had worked, the desinformation spread on the southern hemisphere had made the leaders believe that the Spiders were massing a human army among the mountains, to unleash it in a final blow for world dominion. The south countries had quickly withdrawn every man they could spare and directed them to Moon Mountain. Now the armies of his enemies were obliterating each other. 
Gobblethroat lit a cigar.

The next day all was quiet. Tardigrade lay on the ground, trying to summon the strength to rise. His strategies had gone hopelessly wrong. Every preparation he had made was in vain. He didn’t see the chaos around him. He only saw the figure hovering above him. His maker. Or was it Aino? He couldn’t tell. No, it had to be his maker. "I could have done something more", he said to the figure suspended in the air. "There had to be an option, but I didn’t see it. Take my soul away." 
But when the figure finally answered it was with Aino’s voice. 
"Take my hand" she said. 
And then she lead him towards the light that began to fill all of his vision.

Gobblethroat saw Tardigrade from the outskirts of Tardigrad, where he was striding triumphantly with only three of his men amongst the remains of the two armies. He saw how Tardigrade raised his arm for a moment, and then let it drop and lay still on the ground. 
Through the little opening in his underground cell, Sylvester saw it too and suddenly all his hatred for Tardigrade disappeared. In this hour he chose to remember their frindship instead, his old admiration for the ultimate survivor. And now that great, great person was killed by the people Sylvester hated even more, the ones who really had taken everything he had from him. In fierce rage he clawed at the opening, trying to widen it a little more. Slowly it gave way, a few more insanely furious scratches and he would be able to get out. 
Gobblethroat was now standing only a few feet from Sylvester’s cell, but still hadn’t discovered it. He was still going on in triumph over the enemies death, and furthermore: he sent his men away to warm up the hover. He just wanted to cherish his victory a little bit more. He stood with the back towards the under ground cell.
Sylvester saw his chance, made one giant leap upwards, through the hole and in three quick strides he grabbed his enemy round the neck, pulling him backwards. "Now I’ll truly make your throat gobble!" he hissed and then choked the Spider by pressing the nearest thing he could lay his free hand on down his throat. When his victims last spasms stopped, he removed the item and went south, to find a way over the mountains. 

He had a new task to fulfill.

Climbing the first slopes he observed two things. 
The first was that in the ruins of Tardigrad the three other Spiders had found their leader dead. Sylvester decided to let them live. He’d done his share of murder. Never again.
The second was that he still held the thing he had killed Gobblethroat with in his left hand.
It was a crown made of willow leaves.
Saturday, July 05, 2008 
LOM: The album Tardigrade made quite an impression on me. In my review I mention that you were able to melt several prog rock styles onto one album. Would you agree?

Stefan Renström: Thank you. Yes, I have always had that ambition. Songs can take me anywhere they want, I don't have any option but to tag along if I like the idea. It's no fun confining yourself to just one style. I also think it's counter-productive.

LOM: It has been no less than six years since the previous album. Can you explain what happened in between Paradise Square and Tardigrade?

Stefan Renström: First we did the Kalevala track, that was in summer 2002, I believe. Then we tried to rehearse, bringing Nils Stenström from the Ceinwen lineup back into the fold. That didn't work out, he had personal problems and never showed up for rehearsals. Instead Magnus was taken on board and we rehehearsed for quite some time. But because the band was scattered across Sweden and different members had other projects, it was hard to get any continuity. We focused on new material instead and recorded the drums, Daniel's vocals and some keyboards for Tardigrade, in summer 2003. I started to have problems with my wife, which slowed down everything. A lot. 2004 we skipped Tardigrade and did "Minds of Mortal Men" for Colossus and Musea instead. That felt a lot fresher. In 2005 we did nothing, I was on the verge of ditching Tardigrade, because it felt "old". But after my divorce, I listened to it again and thought we really had something there. It took some time for me to gather the necessary strength to start working on it again, I was pretty down for a long time. We spent the fall of 2006 laying down the remaining tracks and stared mixing in April 2007. And so, after endless computer crashes and technical problems we managed to bring it all home.

LOM: When did you get to write and work on the album and did it turn out the way you thought it would?

Stefan Renström: Well, the bulk of it was written pretty quick after Paradise Square. I think I did it in a couple of months time in spring 2003. Then we added "Strawberry Jam", "Moon Mountain" and "Your Future" later on. It turned out pretty much as I intended, especially "Brother", which sounds almost exactly as my vision of it. Songs seldom do, on Paradise Square only the title track ended up just as I imagined it.

LOM: Can you tell a bit more about the concept of the album and the main character Simon?

Stefan Renström: Simon, which we left on PS without really telling what happened to him, awakes as Tardigrade after 100 years of sleep. The world has turned into a wasteland, the industrialized countries waging war against the poor. Tardigrade has the chance to lead the fight against the ruling party, originally a sect born on today's Internet. But he refuses, up until his woman is killed. He takes up arms, starts a war – and of course dies. The entire story can be found at www.paradisesquare.net or www.myspace.com/simonsayssweden.

LOM: The song "Brother Where You Bound?" is the epic of the album, did you plan this? As it is common use for a prog rock band to do tracks of many minutes ...

Stefan Renström: I never plan songs. If I stumble across a few bars that sound interesting I always let them decide which their surroundings should be, by playing them endlessly until I "just happen" to play the piece that seem to fit next to them. Or things come naturally, in real time. So if songs want to be of a certain length I let them – even if it is 26 minutes. Or 26 seconds.

LOM: When you had to compare Tardigrade to either Selling England By The Pound (Genesis) or The Yes Album (Yes) which one would it be and why?

Stefan Renström: Hard question. From my point of view these records both are pretty unlike Tardigrade. Hmm ... musically The Yes Album was a bigger step forward for Yes than Selling England By The Pound was for Genesis. I guess Tardigrade is pretty logic if you listen to Paradise Square. So if I have to choose, I'd choose Selling England.

LOM: The prog rock scene is quite large but not many bands are able to go out on a tour that often. Are there plans for Simon Says to go out in support of the album?

Stefan Renström: We had plans, and had started rehearsals with me on bass and keyboard wizard John Lönnmyr on the synths. But one month ago I had a mild stroke, which changed everything. I was hospitalized and am still nursing myself back to health. We'll see what happens in the future. The intentions are there, anyway, but we can't time any tour with the album, I'm afraid.

LOM: As well as the album turned out the more disappointing is the more and more important representation of the band on the Internet. Your site hasn't been updated in a while. Homepages, or a MySpace page, are very popular and relatively easy to maintain. Any plans to pick that up?

Stefan Renström: Our home page is under reconstruction. Parts of it are updated. We also have the Myspace page I referred to earlier.

LOM: Record companies are becoming less important these days, bands and artists have more control of their career because the internet and modern techniques offer easy access and promotion. What's your view on that?

Stefan Renström: I think that is just great. Music has never been better than it is now. Just surf around on MySpace, for instance, and you'll find thousands of interesting bands, in any genre. Also it has been easier for niche companies to represent themselves, at least up until home burning and downloading exploded.

LOM: Anything specific you want our readers to know about the band, the album or yourself?

Stefan Renström: Can't think of anything now, sorry.
Tuesday, July 01, 2008 
Daniele Cutali: Greetings, Stefan, and welcome on Movimenti Prog pages, an Italian webzine about progressive music and culture. How and when was Simon Says formed?

Stefan Renström: Simon Says were formed in 1994. A sort of offspring from a band called Egg, with which I played in the early 90's.

Daniele Cutali: What are your major musical influences?

Stefan Renström: That really is a tricky question. I like to think the songs themselves are. I've played in a lot of bands through the years, everything from punk and reggae, to pop, space rock and prog. But of course it's obvious that I really love bands like Yes, Genesis and King Crimson. I also like a lot of italian bands like Banco (such splendid musicians!), PFM, Le Orme, Cherry Five ... just to name a few.

Daniele Cutali: What do you particularly remember of Ceinwen, since 13 years have oassed since its release?

Stefan Renström: We did it in 10 sessions, spread over almost a year, so it was a sort of relaxed, very calm atmosphere about doing it. No time limits, no pressure. Also I was the one playing most of the instruments – bass, keyboards, acoustic guitars and the odd electric guitar. Daniel was very young, only 17, and did exactly what I told him to :-) I also remember we were very inexperienced in the studio – which is painfully obvious when you listen to it. I still love the songs, though. "A Bedtime Story" is a number I really want to play live again. And "Kadazan" has some very strong moments. The studio itself was situated far out in the swedish countryside, on a farm. Beautiful landscape, filled with history, with tradition. The heartland of Sweden. But the equipment kept giving us hell. Only the studio owner could deal with it, and in his own special way. Every time something broke down we had to call him on the intercom and then he appeared, sucking on his pipe, humming and mumbling. "Hey Alf! There's no sync!" Or "Hey Alf! What's that noise on channel 14?" More humming and mumbling and eyebrows frowning. Then he used to take his pipe out of his mouth and knock on the tape recorder or the mixing desk and it would work again! Great guy!

Daniele Cutali: Six years passed from the realease of Paradise Square. Meanwhile there was the song for Colossus' Kalevala. Why did you take so long to record another album?

Stefan Renström: Writing Tardigrade was actually finished about a year after PS. We also laid down the drum and vocal tracks ... in 2003. Jeez, that's long ago. Then we got the offer to do 25 minutes for The Greatest Tale, a triple concept CD about Odysseus. So we did that in ... 2004 ... I think it was, and it took most of the year to write, arrange record and mix. Because all the time I was having a lot of marital problems, which ended in a divorce in 2005. All this comsumed a lot of energy and time. For years I was not capable of doing anything. Then, about a year ago we finished the old sessions and also added some more songs to Tardigrade.

Daniele Cutali: Daniel spent a lot of time in India and Middle-East. Has he come back definitely to Sweden, to go on with Simon Says?

Stefan Renström: Yes he has. He has also moved to – and back from – Berlin. He is always on the move, so you never know. But given the rate we produce records in, it should be no problem …

Daniele Cutali: Daniel attended some lessons to learn to play the sitar. Why didn't you feature that instrument on the new album? It could have been interesting and fascinating.

Stefan Renström: Yes, and I have some bad feelings about this. Because I told him after PS that the next record should feature a lot of his Middle Eastern instruments. As it happened it ... never happened. But he plays some sitar on our latest recording, "Becomes A Boy", soon to be released on Inferno by Musea.

Daniele Cutali: So we arrive to Tardigrade, the nickname for Simon, the main character of the concept of your album. What does the name "Tardigrade" mean? Are you inspired by something or someone?

Stefan Renström: Daniel studied marine biology and wrote an essay on tardigrades – water bears. They are small tiny creatures that look a little like teddy bears and live everywhere where there is water. You can see one on our MySpace, www.myspace.com/simonsayssweden. They are the ultimate beings -- they can survive almost everything, we should be glad they are not two metres tall! Daniel told me they just needed water and if they dried they would hibernate. They can hibernate for a 100 years and then wake up if you pour some water on them. I thought this was a foundation for a good concept: the story of a guy named Tardigrade, who wakes after having slept for 100 years and finds his world has changed completely. So we made Simon sleep for a 100 years and return as Tardigrade.

Daniele Cutali: In "Tardigrade" you have rearranged and rerecorded "As The River Runs", your great song from Kalevala project. Why did you put it in? Is it connected in some way to the concept?

Stefan Renström: It wasn't. But when I wrote it for the Kalevala record we were given only 7 minutes. I felt that version was a bit chopped off, there were some other things to develop. So I wanted to redo it. And it was fairly easy to fit into the new concept, since I had to write new and English lyrics anyway.

Daniele Cutali: Why the protagonist is called Simon? Has that name something to do with the monicker of the band?

Stefan Renström: That originates from an Egg song, actually. Per Lindblom, guitarist of Egg asked me if I knew of someone representing total wisdom. I immediately answered "The pillar saint", the guy who lived in the desert and to whom people came to have their every day mysteries revealed. Turned out the Pillar saint's name was Simon. Then "Simon Says" came out of the blue and struck me as a very good name for Egg. Simon Says being a child's play and what the Pillar saint said. It could be interpreted as "worth listening to but also playful". It felt only natural to let the main character bear the name too.

Daniele Cutali: There's the figure of Simon in Paradise Square too, but not on Ceinwen. Is it so?

Stefan Renström: In fact Simon is on Ceinwen too. The story of Simon actually starts with "Pilgrim's Progress".

Daniele Cutali: In which way the concept of Paradise Square is connected to the Tardigrade one, since Simon is at the centre of both stories?

Stefan Renström: Tardigrade is the world of Paradise Square 100 years later. The priests no longer are in power, now the technocrats are.

Daniele Cutali: Simon is destined to save the corrupted humankind. In which way? Is there some metaphor behind the concept, connected to our modern world?

Stefan Renström: Tardigrade is a sort of Messiah for the poor countries. There's the myth of this "sleeper" coming back to save the poor. The resistance in the industrialised world takes advantage of this myth to overthrow the technocrats. The concept can be read in it's entirety on our MySpace page, we are also [going to] to put it on www.paradisesquare.net. And yes, I meant the story to refer to a lot of things in our world, it's definitely metaphoric.

Daniele Cutali: Is this the last adventure of Simon?

Stefan Renström: I think so. I am longing to write just "songs" :-)

Daniele Cutali: Six years between two albums is a lot of time and the band went through technical-, line-up and personal problems. Will Tardigrade be the last chapter for Simon Says too?

Stefan Renström: Good heavens, no! "Becomes A Boy" will be released this year, then there is the Purgatorio song and some more stuff waiting to be conceived. I have tried to quit making music a lot of times. But there's no use, I HAVE TO write.

Daniele Cutali: What would you like to say to the Italian readers of Movimenti Prog?

Stefan Renström: You should be very proud of living in a country with such a strong prog tradition. A lot of great, great artists emanates from Italy. You are all part of this. So I should say: Thank you, Italy!
Tuesday, July 01, 2008 
IO Pages: Did you record any album with your first band Egg? You made some "unorthodox" music with those musicians…why did it not work out and why did it with Simon Says?

Stefan Renström: No, we never did do an album, which was one of the reasons I left them. I strongly wanted to do an album. They didn't. We had different ambitions I guess, and I was also taking over as main song writer in the band, which caused some friction. Which is too bad, because they had some strong characters in the band. But maybe it worked out for the best: Egg's keyboard player Johan Wallén and Egg's extraordinary drummer Ricard Nettermalm are now members of Paatos, along with Stefan Dimle from Landberk.
With Simon Says it was totally different. In 1994 I formed the band as a project, my ego trip. I made the music, they played the stuff I didn't play myself. But now I feel the sound of Daniel's voice, for instance, is almost inseparable from Simon Says sound. Matti has contributed a lot. And Jonas plays guitar like I certainly NEVER could. I guess we eventually settled into a good constellation: even if it's still me doing 99 percent of the music the other guys understand what it is I'm trying to say.

IO Pages: It's obvious your inspiration comes from the old Genesis-albums of The Seventies. Can you tell me something of your first love-experiences with that classic prog rock music?

Stefan Renström: I was fourteen at the time. Only listened to classical music, apart from some ELO and Jean Michel Jarre. Then one evening I watched a swedish documentary about norwegian war refugees during WWII. There were these somber pictures of the border, up in the highlands ... and some fantastic music on the soundtrack. Felt like an electric version of Vivaldi's concert for piccolo to me. Turned out it was Pink Floyd's "Shine on ..." and it was love at first ... hear. Then I heard Mike Rutherford's "Smallcreep's day" some weeks after – when it was just released I believe – got to know he was in Genesis and started to buy my way through the prog classics. I consumed every second of them hungrily, just had to hear more and more and more. I still do.

IO Pages: You played the flute when you were very young. Why don't you bring this instrument into Simon Says, like Peter Gabriel did?

Stefan Renström: Oh, I did. There is some flute on Ceinwen, but I hadn't played it for so long and had lost a lot of my technique. And a lot of my lung capacity, I was a notorious smoker for over a decade. So it didn't sound good enough. But maybe ... we'll see ... I've got some interesting flutes among my instruments.

IO Pages: You play bass and keyboards ... I read you prefer the bass, why is that so?

Stefan Renström: Well ... I am not that a natural keyboard player. Sure, I can play some very hard things – if I practice hard enough, but ... to be honest I hate practicing. I am much more confident as a bass player, I've played the bass since 1980. Keyboards are nice to compose on, though, and with a lot of patience I can do manage at least some convincing stuff on the synths. But when we rehearse with John Lönnmyr nowadays, I only play bass. He is marvellous, as skilful as any prog band could wish.

IO Pages: Why is Jonas Hallberg - the clown - playing his guitar solos naked?

Stefan Renström: Ha ha, that's just some of the crazy stuff happening when you're in a band of loonies, I guess ... Jonas is not the only clown, but surely the worst! Similar incidents happen all the time with these guys, we all love ridiculous humour, have always tried to keep a good distance to ourselves. But never to the music.

IO Pages: Is he very much influenced by Steve Howe of Yes (listening to "Moon Mountain" for instance)

Stefan Renström: He is very impressed by Steve Howe at least. But I shouldn't say influenced. I am, though, so I'm sure that's what you may hear. Most of the stuff he's playing on Tardigrade we worked out together. The good thing about working with Jonas is he has complete trust in me as an arranger. So I told him "no, play the very opposite!". Or "no, play rockabilly riffs here!" Or "play like Hendrix here". And he did and I think his guitar work all through the record is fantastic. Regarding "Moon Mountain", it's all mine. I recorded those parts on a demo ... and then we recorded him playing them like I intended :-)

IO Pages: Does the name "Simon Says" refer to the children's game or the horror film? Why did you choose it?

Stefan Renström: When I was in Egg, Per Lindblom the guitarist was working on some lyrics and asked me if I knew of a person representing total knowledge. I suggested the Pillar Saint, the man who according to legend sat out in a desert and answered people's questions. Turned out he was called Simon. Then the name "Simon Says" came out of the blue, I thought it was great, referring to "worth listening to" as well as the childrens' game. I like that mixture of seriousness and playfulness.

IO Pages: Do the other musicians always have to do what you say as the leader of the band? (like Simon says ...) or is democracy neccersary?

Stefan Renström: They do as they're told or else they're fired! No, to be serious ... I do act as a dictator most of the time, but it's only natural that the song writer has a veto. If I have a very strong vision I will absolutely not allow myself to compromise with it. Someone has to lead the way too, and since we've been only a "project" for so long there was no need or time for democracy. But nowadays I am a bit more open to their suggestions than I used to be.

IO Pages: Does the story of Simon and the transformation into Tardigrade have anything to do with your own life? If so, what's the autobiographical thing or feeling to you?

Stefan Renström: Well, both Ceinwen and Paradise Square were autobiographical in some senses. Ceinwen deals with coincidence and destiny, and was written in a period when I seemed to have no control of my life and thought a lot about those issues. PS is about religion and was conceived when I went from an agnosthic to an atheist. But the stories themselves are completely surreal and absurd fantasies.

IO Pages: Looking at the name Tardigrade it seems the maincharacter seems to be lazy or slow person ... is that so? But he still has to "deal with the difficulties concerning survival and revolution in a depraved society" ... how can he do that?

Stefan Renström: Tardigrade means "slow mover", yes. But they exist for real, tardigrades. They are also called "water bears", microscopic creatures living in water. Daniel once told me about them – he was studying marine biology – how they could survive even 100 years of hibernation. I thought that would be the starting point for a great concept to close Simon's story with, one guy awakes after 100 years and has to deal with a world that has no resemblance whatsoever with the one he remembers. I think that the parallells with our own world is easy to draw: when the church runs out of power, the technocrats will take over. And probably mess it up even more.

IO Pages: Looking at the albumcover the face seems to be split in two sides…a dark side and a bright, lighter side ... is that the Dr. Jekyll & Mister Hyde, the good and the bad, the yin and yang in every person?

Stefan Renström: Yeah, sort of. It's about the paths you can choose to follow. We had the same thoughts when we did the cover for PS. The sharp contrasts also seem to fit the music.

IO Pages: In the review I will write that Simon Says has the same supergroove like your Swedish brother Kaipa has, but now without the folky influence. Do you recognize this and agree?

Stefan Renström: I guess that may be a pretty good description. Such questions are tricky to answer, I tend to only hear the differences.

IO Pages: Due to a great drummer like Matthias Jarlhed is, what other aspects makes a prog band really swing?

Stefan Renström: Yes, he is great and becoming better every month. "Swing" is hard to define, though. It probably can be expressed as "when all musicians have the same conception of time". But that would be too dry, too academic. I like to think of it as "joy of playing, and keeping time most of the time" :-)

IO Pages: There's so much Mellotron, Moog and Hammond flying up and down ... why this love for the old, authentic sounds and not use modern digital stuff?

Stefan Renström: Well, I simply adore those sounds. Though I may not adore that equipment. We used a real Mellotron and a real Moog on Ceinwen ... and had a real hell with them. So 99 percent of the keyboards you hear on Tardigrade are software synths. Also, the Moog for instance is a highly versatile instrument, capapble of expressing a lot of things. Just listen to a guy like Manfred Mann, who makes the Moog feel almost organic.

IO Pages: Do you and Magnus play just as much keyboards on the new album and how do you decide who plays what? Is it hard for you to leave some stuff to him?

Stefan Renström: I play most of the solos and most of the organ. We split the piano parts and the rest of the keyboards pretty much in half. Magnus plays the long keyboard solo ten minutes into "Brother Where You Bound?" though, and a short solo in "The Chosen One". The "Brother" solo was tough for me to leave to him, but I really wanted him to do at least one of the highlights, so he got the best.

IO Pages: It seems to me "Suddenly the Rain" has all the ingredients of prog and a great melody as well…. I think it takes more time to discover the treasures of the epic "Brother Where You Bound", but that's probably because of the length ...?

Stefan Renström: Yes, I think so too. "Suddenly ..." is much more accessible and contains some of the best music I have ever written. But I am personally more into "Brother ...", which contains some of our best playing.

IO Pages: I think it is hard to deny that "Circle's End" had a great part of inspiration out of the Genesis track "Entangled" ... what's the basic charm of this music-atmosphere and what did you add to make it your own piece?

Stefan Renström: There are parallells, of course, but I think what makes you think of that particular Genesis piece is mainly the theremin/choir unison melody at the end. I had my thoughts about that, but decided to do it anyway, since it's such a great sound and worth to do anyway. On both songs there also is thosy dreamy, repetitive guitars going on all of the time, that's what enchants me about them. But I like to think of "Circle's End" more as a 13-years-later-"Pilgrim's Progress", the Ceinwen track that actually starts the story of Simon. But of course, every time you arrange a couple of acoustic guitars in that way, you will think of Genesis – and rightly so. They were first and it was a great contribution. Thank you guys for showing us new music with Trespass!

IO Pages: That's kind of a contrast with the uptempo "Strawberry Jam" and a lot of fast Moog solos. Do you love the type Yes (Wakeman) and Marillion (Kelly) just as much as Genesis (Banks) does?

Stefan Renström: Yes, I'm into both Wakeman and Banks, though I am more impressed by Banks, since he is a master of melodic, fast counterpoint. What I really love about Wakeman's playing is his passion. Modern music needs more passion.

IO Pages: I haven't heard the former albums ... yet. Did you make another step forward, concerning to the production? Because this one, Tardigrade, sounds great…

Stefan Renström: Staffan Bruto made a great job mixing and mastering Paradise Square, and I also liked our ambition to use only analog sound sources. It's a bit unorthodox, sounds almost like an old LP. Tardigrade is more traditional, more modern and compressed, there's not much air between instruments. But I am proud of both.
Tuesday, July 01, 2008 
BBM: Tardigrade is finally out before 2009 (remember our previous interview!), but you sent me an almost finished copy about 18 months ago so it seems that the final touches were very long to achieve. Why couldn't you issue the album earlier ?

Stefan Renström: Well, we had some major technical problems all the way through the mixing process. Some days Matti's PC crashed every ten minutes – I'm not exaggerating – which was a bit frustrating.

BBM: You worked with the same musicians with the addition of Magnus Paulsson ..boards. Can you introduce him ? Was it more challenging for you to have a "real" keyboard player in the line-up in terms of composition, playing, etc?

SR: Magnus is a very old friend of mine, I've known him for almost 30 years. He played Hammond and trumpet in a group in the rehearsal room next to us and we hung out a lot together through those important teenage years. As for the challenge, I don't think it was that hard. It's still me doing the most of the keyboards, he really wanted to stay in the background. I gave him the long solo in "Brother", though, 'cause I really wanted him to have ay least one major spot on the cd. But he plays it just the way I did on the demo, so I kind of still regard it as "my" solo. He is no longer a part of the band.

BBM: This album is still very positive (musically speaking), even if some parts of your private life were not so good these past years. I mean, it was more predictable to find dark and sad music than what can be heard on Tardigrade. Do
you think you were able to separate your music and your personal life ?

SR: I have always tried to do that. I'm not very much for social realism, I think it puts a lid on your imagination and on your creativity. Inspiration carries you away, and you just have to tag along and see where you will wind up. Even so there sure is one or two bits on the cd that reflects my mood at the time … the orchestral part in "Suddenly The Rain" I wrote in frustration and anger, for instance.

BBM: In my previous review of Paradise Square, I wrote that I was really impressed by the fact that your music was truly original...but in Tardigrade, there is a strong reference to Entangled, the Genesis song... Is it more and more difficult to make original music ? With more than 40 years of rock music behind us, is it inevitable to use themes or tunes that one can have in mind, even unconsciously?

SR: You're talking about Circle's End … I thought a great deal about that arrangement, because with those two guitars, the mellotron choir and the Theremin, it does sound like Entangled. But I came to the conclusion that noone owns an orchestration, and I liked that arrangement so much I decided to let it stay, as kind of homage to Genesis, and instead face the possible negative critique that would follow that decision. I don't really think the actual melody sounds like Genesis at all, just the choice of sounds. I regard Circle's End more as "Pilgrim's Progress, part 2", concluding the song that started the "Simon cycle". So no, I don't think it is hard to write original music. I still think we sound a lot like Simon Says.

BBM: And finally, can you tell us your future plans with Simon Says ?

SR: Well, I'm still on the mend from my sickness in March, so we haven't rehearsed since then. We have no specific plans yet, but I have bought some new toys that surely will shape the future sound. Also, we are contributing on two tribute cd:s, to be released later this year and the next year, I guess.
Monday, May 19, 2008 
The swedish prog song Simon Says are currently processing will be Kaipa's "Tajgan", originally recorded for "Solo", 1977. "I had some doubts after a while", Stefan Renström says, "because I really wanted to twist it a lot, almost shred it and felt I maybe was intruding on songwriter Hans Lundin's artistic rights – even though it IS an interpretation of what he wrote. But I told him what we were doing and why and he had nothing against us redoing it totally. Also I think there are two good reasons for altering it completely: Firstly Tajgan, this little forgotten gem, is beautifully delivered in it's original version. We really can't improve on that version. And secondly: what would be he point?"
Tuesday, April 29, 2008 
Simon Says have agreed to participate on a tribute to swedish prog. This time the band has chosen to record an instrumental. "We will twist it a bit, Simon Saysify it, yet stay true to the mood of the original" the band states. More details further on.
Tuesday, April 29, 2008 
Band leader Stefan Renström has announced Simon Says will continue with the planned undertakings. All spring rehearsals have though been cancelled until further notice.
Tuesday, April 29, 2008 
We have to inform you that Simon Says leader Stefan Renström has suffered a mild stroke and will be on sick leave for quite some time. It is uncertain how this is going to affect the band.
Tuesday, April 29, 2008 
Simon Says are proud to have ex Valinor's Tree keyboardist John Lönnmyr to join the band for rehearsals. John's technical skills allows Stefan Renström to focus mainly on his beloved basses. Please check out John's own Myspace site, click on him in the top friends section.