leslie mandoki tour

Mandoki Soulmates – the international and inter-generational supergroup consisting of rock and fusion grandmasters surrounding founder and mastermind Leslie Mandoki – proudly announce their new album,  A Memory Of Our Future , to be released worldwide on May 10th via Sony Music’s label InsideOutMusic. 

Auftritt der Mandoki Soulmates vor der Basilika in Budapest am 18. August

Am 18. August um 19.00 Uhr erklingt auf dem Platz vor der Basilika in Budapest wieder Musik, wenn der in Ungarn geborene Musiker, Produzent und Sänger Leslie Mandoki, der sich selbst immer als Pester bezeichnet hat, mit seiner großartigen Band Mandoki Soulmates dem ungarischen Publikum ein besonderes Konzert zum Stephanstag präsentiert. Der Eintritt ist frei.

An diesem beeindruckenden Ort, wo Kunst und Musik miteinander verschmelzen, wird die Band allen Anwesenden ein unvergessliches Erlebnis bieten.

Die einzigartige Atmosphäre des Konzerts wird nicht durch besondere visuelle Elemente bestimmt, sondern durch die mitreißende Musik, die herausragenden Künstler, die positive Energie und nicht zuletzt durch das begeisterte Publikum. Die Atmosphäre des Abends wird durch die zauberhafte Kulisse und den freien Himmel noch verstärkt.

Zu den Mandoki Soulmates gehören Ikonen des englischen Progressive Rock und des amerikanischen Fusion Jazz, die zusammen 35 Grammys gewonnen haben.

Das Konzert am 18. August wird eine besondere Gelegenheit sein, nicht nur ein fantastisches Konzert zu genießen, sondern auch die wohlverdiente Verleihung der Goldenen Schallplatte zu feiern.

“Der 18. August wird eine besondere und einzigartige Gelegenheit sein, gemeinsam ein großartiges Konzert im Geiste der ungarischen Musikkultur zu erleben. Wir sind zuversichtlich, dass wir unserem Publikum mit unserem Konzert einen unvergesslichen …. oder besser gesagt “wolkenlosen” Abend bieten können und dass wir alle diese Momente noch lange in unseren Herzen und Erinnerungen bewahren werden”, so Leslie.

30 YEARS OF SOULMATES

The band of band leaders., in 1992, ian anderson, jack bruce, and al di meola became founding members of leslie mandoki’s band project mandoki soulmates, and for over 25 years since, leslie mandoki has continued to unite a who’s who of the icons of anglo-american and european rock and jazz- rock in the mandoki soulmates band. the remarkable lineups in the band’s recordings and performances over the years has included singers and players including ian anderson, jack bruce, david clayton-thomas, chaka khan, chris thompson, bobby kimball and steve lukather, nick van eede, eric burdon, nik kershaw, greg lake, al di meola, randy and michael brecker, cory henry, bill evans, john helliwell, till brönner, klaus doldinger, mike stern, richard bona, anthony jackson, victor bailey, pino palladino, tony carey, mark hart, paul carrack, peter frampton, and jon lord. original soulmates compositions and collective improvisations on highest levels are just as much part of the concerts as world-renowned hits of the individual soulmates members. “one stage – one band” with his soulmates leslie mandoki raises jazz-rock back to socio-political relevance, to quote him in his own words: “even in times of twitter, social media and short news on the smartphone, when mental laziness often blocks the perception, music for us is still like a love letter to our audience - handwritten with ink on paper.”.

“Diese Band repräsentiert einfach zu 100% das wofür ich mal als Musiker angetreten bin.” - Till Brönner

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Exzellente Musiker gestalteten einen schier unvergesslichen Abend. Sie präsentierten ein reichhaltiges musikalisches Spektrum von Pop über Rock, Sinfonisches, Jazzklänge bis hin zu Referenzen an ungarische Klassik und Volksliedzitaten. Dabei mischten sie Altes mit ganz Neuem und zeigten eine unglaubliche Spielfreude! Wir hatten den Eindruck, dass die Band überhaupt nicht aufhören wollte zu spielen. Erst nach 2:45 Stunden endete diese prima Performance!

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An Interview with Leslie Mandoki of the Mandoki Soulmates

From humble beginnings in Hungary, at an early age, Mandoki developed an affinity for both Jazz, and Prog Rock, and sought to bring to fruition, an ambitious vision of combining the two while coupling the music with Mandoki’s socio-political leanings.

All images courtesy of Chipster PR

Few artists have the intestinal fortitude to follow the path of trailblazing visionary, Leslie Mandoki.

After escaping a communist-ruled homeland, Mandoki found himself a refugee, with no money, no instruments, and no place to call home. Through a twist of fate, Mandoki was invited to sing on a few Disco tracks in the late 70s, and soon, Mandoki found himself an unwilling member of the Pop/Disco act, Dschinghis Khan.

For two years, Mandoki toiled away in a world of Pop-laden hell, and while money, fame, and fortune were raining down upon his shoulders, Mandoki’s artistic vision and integrity were just as quickly being buried, and so, in the face of even more fame, and riches, Mandoki chose to leave the burgeoning scene and started a new once again as a Progressive Rock musician, with his first release coming in the form of 1982’s Back To Myself.

In the years since Mandoki has forged a long and successful career as a solo artist, and as a member of the Mandoki Soulmates, whose newest record, Utopia For Realists, continues Mandoki’s trend of working with the genre’s latest, and greatest, while attempting to plug holes in an ever divided socio-political climate.

Leslie Mandoki has manifested his vision, but ever perceptive, Mandoki knows his worth is not done.

In this career-spanning interview, Leslie and I dig into his early roots, escaping his communist homeland, his entry into the fervent world of late 70s Disco, escaping Pop hell to begin a new, and a whole lot more. If you would like to learn more about Leslie Mandoki, and the MonDoki Soulmates, you can head over to his webpage, and dig in . Don’t forget to tune in for his live stream via YouTube on January 15th as well, which you can find a link to here .

Andrew: Leslie, I appreciate you taking the time today. How have you been holding up over the last year or so What have you been up to?

Leslie: The COVID pandemic has, of course, affected us and changed our lives, but two aspects of the life of a musician you cannot put into quarantine — responsibility and creativity. Consequently, in times of closed concert halls, we have decided to give something back to our audience, who have carried us on their hands over the past decades, in the form of our online concert.

Andrew: Before we dive into your professional career, let’s go back a bit. What first got you hooked on music?

Leslie: It was probably a mixture of my father playing the violin every night instead of reading me fairy tales, and later the feeling that music is the universal language of freedom against communism, a kind of natural rebellion. Originally, I wanted to be a poet, but my father wanted me to have a profession that could earn money and support a family, so I started playing the drums, and eventually fell incredibly in love with this instrument.

Andrew: Who were some of your early influences?

Leslie: I was influenced very early on by the American music culture of the time, such as embodied by John Coltrane, Charlie Parker, Miles Davis, or the rebellion and music of a Jimi Hendrix, British Invasion music, The Doors, and Prog Rock legends like Jethro Tull; I had a fourth-generation mono tape copy of their Aqualung album that probably changed my life. Even at that time, the desire grew in me to combine the meaningful,l and socio-political Prog Rock with the virtuosity of Jazz Rock into a new work of art.

Andrew: Let’s go back a bit. Take me through the formation of Dschinghis Khan.

Well, I was a refugee and became a session player in the second half of the 70s, in the greatest time of the Munich studios (which was called the Munich sound era). So, they asked me to sing a song, which was definitely not my understanding of music, but I was offered in return almost priceless studio time at that time, where I would have been allowed to produce my own music. Then, I sang it, and it became a big number one hit…. and I found myself on the covers of magazines. The beautifully brutal story of being a Pop Star even though I had a completely different musical, artistic vision. It certainly opened some doors for me, but in retrospect, it also closed some.

Andrew: The late 70s Disco era was such an interesting, and chaotic time in music. Paint a picture of what that singular era in time was like.

Leslie: That was a bit bizarre for me, who came from an idealistic, anti-communist student movement and longed for freedom, a kind of Prog Rock voice of the student movement, who lived a mature musical life as part of an intellectual movement, to gain a foothold in a purely commercial scene dominated by money and drugs. It was less about real creativity, and more about the artistry of producing smash hits based on a simple model. But this scene made so much money, partly because of the total irrelevance of the performers who called themselves “artists,” that it developed the biggest studio landscape.

So, again Elton John, Queen, Deep Purple , The Rolling Stones, and so on were attracted to Munich. Freddy Mercury and Donna Summer lived in the city at that time. So, I found my niche through the legendary Klaus Doldinger, and Udo Lindenberg, the technical situation in the studios was fantastic, and I started to develop a holistic understanding of making music. But yeah, sure, it was chaotic. And after the sessions, I often played through the night in Jazz clubs.

Andrew: While Dschinghis Khan was a classic Disco group, it’s been said that you were unsure regarding your involvement with the group being that you’re more Rock-centric. Is that true? If so, can you expand on your overall sentiment and general feelings toward Disco at the time?

Leslie: Disco and Electronic music have little craft relationship to what you can hear on the albums that Elton John or Freddy Mercury, for example, produced during their time in Munich. We hear here the sound of two completely different worlds, different in content and different in form, and extremely different in the way they were made. Disco productions were fast, efficient, and focused only on commercial reasons, and thus very successful for a while, but then came the American musical answer, which sounded much better, and the greatest music makers left Munich with their teams for Los Angeles, like Giorgio Moroder or Harold Faltermeyer.

The B-Call gang of Disco musicians stayed, but by that time, I was already in London. If you try to understand my vita, a central point is that I am a refugee. So, when I had to leave Hungary illegally as the leading Rock voice of the student opposition to communism, I was on my own. I couldn’t speak a single word, had no instrument, and theoretically no future. A total fresh start. It was not an easy challenge to start and grow into my new DNA to survive as a musician. I was a formerly relevant artist and freedom fighter, playing at huge illegal open-airs, and then suddenly, I ended up in a refugee camp, without an instrument, and looking at the next steps. And yes, I’ve always been interested in the future, so for example, I created the complete sounds of E-Mobility for a friend, the CEO of the Volkswagen Group. Always with an eye on tomorrow.

Andrew: What are your thoughts on Disco’s overall impact on Rock music? Being that you’re a Rock guy, do you have any regrets at all? In the early 80s, you left Dschinghis Khan. Take me through the events leading up to your decision.

Leslie: Leaving Dschingis Khan as soon as possible was an absolutely necessary, and understandable step. We sold millions of records and made a few people really rich, but as a Pop Star, you had no dignity at that time. My kids didn’t know for a very long time that their father had done that, and it was only two years of my life anyway. I then wrote my first Prog Rock album, Back To Myself , in 1982, to save my soul and deal with the previous two years.

However, I wanted to get back to the music I was born and ran for as soon as possible, a slightly more mature, sophisticated music because I had a vision of merging British Prog Rock complexity, and social relevance in poetic lyricism, with the virtuosity of American Jazz Rock. That was my path. As I said in the refugee camp, I wanted to play with Ian Anderson, Jack Bruce, and Al di Meola, who then also became the founding members of Mandoki Soulmates almost thirty years ago. I had and have a mission.

Andrew: You’re also a renowned producer and have worked with the likes of Phil Collins, Lionel Richie, and more. How did you end up entering that space?

Leslie: If my unintentional “career” as a Pop Star was good for anything, it was certainly the fact that this huge success and the fame I gained from it naturally opened many doors — in the music industry, show business, and also the world of film, and so, one thing led to another. For my own project, Soulmates, I was able to win over illustrious names from Jazz and Prog Rock, such as Ian Anderson, Jack Bruce, and Al Di Meola, right from the start. For many people, that was certainly an indication that we were doing good work here. The motto in our studio was, “Music is a matter of taste, and recording is a matter of dedication and professionalism. In our language, quality means no compromise!” Of course, word gets around, and artists like Jennifer Rush or Joshua Kadison came to us.

As Musical Director for Disney/BVI, I was able to produce many feature films, and that’s how we first met Phil Collins, with whom we not only recorded the songs for Tarzan but also for Brother Baer . The beginning of the wonderful collaboration with Lionel Richie came from a completely different direction, namely for the world premiere of the ProductLounge for the Mercedes SL, for which we composed the song, and then produced it with Lionel.

Andrew: I mentioned a few of the artists you’ve worked with earlier. This said, looking back, who are some of your favorite artists you’ve worked with. Which albums stand out the most?

Leslie: Well, once again it is a great honor and privilege to be able to work with such a long line of exceptional talent. Perhaps the closest is Ian Anderson, as the intellectual musical leader of the founding generation. But hey, Nik Kershaw, Chaka Khan, Randy Brecker, Mike Stern, Al di Meola, the guys from Toto, and Supertramp …and let’s talk about recent genius’, Cory Henry, and Richard Bona. And my Julia is one of the absolute greatest musical talents I’ve ever had the privilege to work with.

Of course, I have to mention Phil Collins, Lionel Richie, Greg Lake, Jon Lord, Peter Frampton…the list could go on and on. Being able to realize my musical vision with all these artists for almost thirty years is something I consider an honorable privilege, so it’s hard for me to choose from all the different works I’ve been allowed to create and produce. I recently sat with my friend Gabor Csupo (Simpsons, Rugrats) in LA at the screenings for Don’t Look Up , an epochal stroke of genius that — I’m sure — will have a similar impact on the next generation as Easy Rider did back then. Of course, it’s nice to see that the messages I formulated in my album, Utopia For Realists , such as division, greed, and the lack of humanity, are now being visualized in a Hollywood movie.

Andrew: As you’ve alluded to, your versatility seems to know no bounds, and you’re also an accomplished director of commercials with clients such as Audi, Daimler, and Disney. What led to you breaking into the directorial space?

Leslie: I understood the paradigm shift, and my prediction a long time ago was that the recording industry would undergo an implosion. I was a few years ahead of the mainstream in my mind with this clear, unpleasant judgment. But I had no intention of closing our huge studio complex and laying off my salaried studio staff. So, against the judgment of a stumbling big industry, I explored new areas where our academic knowledge was useful, somehow needed, and respected. So, we became experts in scoring, writing, and producing title and end credit songs, sports anthems, and creating complex entertainment events, multimedia, and live experiences. The last gigantic task was to design and develop the complete sound aesthetic for Volkswagen Group’s E-Mobility.

Andrew: You touched on this a bit before, but take me through the formation, and progression of the Mandoki Soulmates, which for those that don’t know, is a really great Progressive/Jazz group. Do you have any new music on the horizon we can look forward to?

Leslie: I fled communist Hungary at the time to join Ian Anderson of Jethro Tull, Jack Bruce of Cream, and Al Di Meola in turning the vision of fusing meaningful and socio-political Prog Rock with the virtuosity of Jazz Rock into a new work of art into reality. They actually became the founding members of the Mandoki Soulmates, a musical community of values that unites the who’s who from Jazz and Rock, all of them bandleaders themselves. All of them know exactly what is important, and over the years, real friendships have developed.

From time to time, we get together in my studio at Lake Starnberg, make music, cook, and debate social politics together. This has resulted in nineteen joint albums with newly recorded music, countless joint concerts, and tours. Together we Old and Young Rebels have made it our goal to bring Progressive Rock back to socio-political relevance and, as long as there are challenges, and problems in our world, and society, to put our finger in the wounds. The global challenges facing humanity in the coming years — the pandemic, economic crises, migration integration, and climate change — we will only overcome these if we transcend the divisions across all borders, the Old Rebels and the Young Rebels together. That’s what it’s all about, generational justice, cooperation, and collaboration.

So our current radio release, “ The Torch ,” from our new album Utopia For Realists , is about generational justice because we have to ask ourselves — in what condition do we hand over our world to our children, the Young Rebels? Making that point in the lyrics of the song, “The world’s gone mad — the world you’re living in is all we have, you pay the dues; you pay the fine.” So, riding the strength and courage of a younger generation, and with our mutual hunger to strive for the right solutions, we can all fight for the cause while there is still time. Again, from the song, “Be brave, be strong, be hungry – pass on the torch!”

Andrew: Easy ones now. What are a few of your favorite albums, and why?

Leslie: This question is easy to answer. These are the albums that shaped me and helped me define my musical path

-Frank Zappa — One Size Fits All – Genesis — Selling England By The Pound -Jethro Tull — Aqualung -King Crimson — In The Court Of The Crimson King -Yes — Close To The Edge

But as you can imagine, after so many years in the profession, my list naturally includes far more works than could ever be written down here.

Andrew: What other passions do you have? How do those passions inform your music, if at all?

Leslie: I look at things holistically; my fundamental socio-political interest is naturally based on my musical vision. I originally wanted to become a poet before my father brought me to music. This is a never-ending source for our music, and we artists have to be loud and put our finger on the wound if anything is to change. We have direct contact with our audience, unlike painters and writers. A bit unconventional, but the best ideas, including for the sound aesthetic of the Volkswagen Group’s E-Mobility, come to me when I’m out canoeing in the early morning. The sounds of nature are an incredible source of inspiration.

Andrew: What sort of equipment do you use in the studio, and the live setting?

Leslie: I always try to combine the best of the analog, and digital worlds in my studio, so the centerpiece in my Neil Grant-designed control room is a ninety-six-channel SSL console of the latest design, which, in conjunction with the recording room, the appropriate microphones, and various state-of-the-art outboard (I’m a big Tube-Tech fan), is responsible for our sound. Live, my live engineers often have the pleasure of putting brand new equipment from renowned manufacturers through its paces, thanks to our far-reaching relationships.

Andrew: Do you collect vinyl? CDs? Cassettes? Or are you all digital now? If you do collect physical media, why is that important to you? Why do you feel keeping physical media alive is important in this day and age?

Leslie: Sure, I collect vinyl records. It’s a very special feeling, and an emotional, and haptic experience to take a record out of its sleeve, then put it on and study the record sleeve, and the booklets while listening to the music, not to mention the great sound experience! Basically, I have always been a supporter of physical recordings, which also has to do with the appreciation of the artists and authors and their works.

I see the financially disastrous development for these professions through streaming very critically because it denies the young up-and-coming musicians the opportunity to build a livelihood with their art. Especially in times when the live sector has almost completely come to a standstill due to the COVID pandemic, there is a lack of such reliable revenue models that streaming does not offer.

Andrew: Last one. What’s next on your docket? What are you looking forward to most in the post-COVID world? Do you plan on hitting the road, or playing any festivals in 2022?

Leslie: We are already waiting to be allowed to return to the big stages in 2022, our concert in Budapest in August this year was allowed to give a small foretaste of this. We have extensive live activities planned for the coming year, we will perform at several festivals, and play a big tour through Germany. We also already have some concerts in America in planning, plus we want to do a small streaming event in January, more about that will follow later — stay tuned!

Interested in learning more about the work of Leslie Mandoki? Check out the link below:

Dig this interview? Check out the full catalog of  VWMusic   Interviews , by Andrew Daly, here:   www.vinylwritermusic.com/interviews

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Mandoki Soulmates Deliver 'Blood In The Water' Video To Announce New Album

Avenged Sevenfold, Disturbed and Slipknot Lead Rocklahoma Lineup- Imagine Dragons Premiere 'Eyes Closed' Video- Glass Animals- more

Mandoki Soulmates to Release New Studio Album 'A Memory Of Our Future' in May

The album will be released on May 10.

Mandoki Soulmates – the international and inter-generational supergroup consisting of rock and fusion grandmasters surrounding founder and mastermind Leslie Mandoki – proudly announce their new album, A Memory Of Our Future, to be released worldwide on May 10th via Sony Music's label InsideOutMusic. Pre-Order A Memory Of Our Future here .   

The group celebrates the announcement with the release of a new single and video, Blood In The Water. 

A Memory Of Our Future is Mandoki Soulmates' latest work of art and nothing short of an instant prog-rock classic, bringing world-class musicianship and composition together with trenchant social and political messaging. The entire album was recorded and produced purely in the analog domain, from microphone to mixing and mastering, making A Memory Of Our Future a manifesto of precision and passion that is hard to find in today's music landscape.

Recorded and mixed in Leslie Mandoki's Red Rock Studios near Munich, mastered in the infamous Sterling Sound Studios in New York and cut in the Emil Berliner Studios in Berlin, the Soulmates are also making a statement as a kind of “revenge of the analog” in times of digital deception, scam bots, and internet trolls. The analog format is also an expression of their special appreciation and bond with the band's audience, “like a love letter handwritten with a fountain pen”.    

Mandoki continues, “The hyper-emotionalization of  news in social media delivers outrage instead of information, intentionally triggering waves of over-excitement and manufactured conflicts. Without fact-checking, where can we find the truth among all the ‘alternative facts,' lies and AI-generated propaganda? This has yielded a deep crisis of trust that is being exploited by the populists and demagogues of the world. Despite their seemingly obvious fallacies and contradictions, the people in their bubbles actually believe them. Rational, civil discourse rarely takes place, and without the sensible exchange of ideas we are left with a festering breeding ground for insecurity, hate and division.”      

With the 12 new tracks on A Memory Of Our Future, the band hangs a beacon of light at the end of the depressing tunnel of today, and remind us that rock music has always sung for freedom in peace and for peace in freedom.

The album announcement comes with a new single called Blood In The Water, which has it all: a pulsating beat, a catchy hook, and that ineffable prog-rock spirit that appeals to heart and mind simultaneously. The single is an anthem for resilience in the face of a shark tank's-worth of daunting challenges. It encourages those who dare to resist conformity and courageously to look ahead; it issues a call to be different and join a movement of resistance.   With virtuosic solos from Ian Anderson's inimitable flute and Cory Henry's searing Hammond organ, Blood In The Water's powerful lyrical message is delivered with insistent passion from vocalists Leslie Mandoki, Nick van Eede (Cutting Crew), Tony Carey, and Jesse Siebenberg (Supertramp).

Watch Blood In The Water here:

The song reflects Mandoki's vision of building bridges among disparate groups using progressive jazz-rock and incisive lyrics to comment on the social challenges of our time, to inspire the aspirational, pointing toward a utopia for realists.  

Reflecting with some chagrin, Mandoki states, “The dreams of my generation lie in ruins today. After 1989, we had such a wonderful, historic opportunity to create a mindful, humane, peaceful, and absolutely free world for future generations. But we blew it. Driven by egotism and greed, we have inadvertently enabled the creation of a world where money itself makes profit faster than human labor, no matter the value-added proposition. This devaluation and commodification of people's work has also led to the disregard for sustainability, both economically and environmentally, yielding a climate of social imbalance, inequity, and unrest. This division and radicalization, as we have unfortunately and painfully learned, has even led to war. And so, I sing that there is ‘blood in the water.' Far too much blood in the water.”  

He adds about the meaning of the black swan on the album cover: “Blood In The Water as a song presents our contemporary situation as a labyrinth of crises in a world without a compass, where unifying and stabilizing movements in society have crumbled. The dreaded ‘black swan' has landed. It sits on our album cover as a symbol of our times, in which reality outstrips our worst fears with previously unimaginable tragic scenarios. We must stay vigilant, as we sing: you better keep an eye open, if you fall asleep...”  

Mandoki Soulmates are:   Leslie Mandoki Ian Anderson (Jethro Tull) Mike Stern Al di Meola Randy Brecker Till Brönner Bill Evans John Helliwell (Supertramp) Cory Henry Richard Bona Steve Bailey Simon Phillips (Toto) Tony Carey (Rainbow) Nick van Eede (Cutting Crew) Jesse Siebenberg (Supertramp) Mark Hart (Supertramp).

TICKET CENTRAL

Leslie Mandoki: Bridging the Brit Prog-American Jazz Divide and a Whole Lot More

Leslie Mandoki of Mandoki Soulmates talks about long career and breaking into America with Utopia for Realists: Hungarian Pictures

By Nick Tate

Photo: Larry Marano Photography

He’s one of the most accomplished artists you’ve probably never heard of, he’s collaborated with everybody who’s anybody in British prog circles, American jazz-fusion legends, and even world-beat luminaries. Cream’s Jack Bruce compared him with Duke Ellington. Al Di Meola calls him the “Hungarian Quincy Jones.” Greg Lake deemed his band “probably the best in the world.” Ian Anderson says he’s the “master chef in the kitchen, mixing all of these exotic spices and mystical musical influences.” But mention Leslie Mandoki’s name to most American progressive rock or jazz fans? Crickets. That’s because he’s largely unknown outside his native Hungary and his adoptive home of Germany, where he is a musical legend who counts Angela Merkel and Mikhail Gorbachev among his friends.

But that’s all about to change.

At 66, Mandoki has just issued his first American album — a lush prog-rock affair featuring a Who’s Who of prog and fusion superstars from both sides of the Atlantic. It’s an expanded version of his 2019 Hungarian Pictures suite — based on the classic masterwork by Bela Bartok of the same name – released under the title Utopia for Realists. Billed as a visual album, the record is a two-fer of sorts. It features the remixed/remastered original music and, on Blu-ray, Mandoki’s 2019 all-star concert marking the 30th anniversary of the fall of the Berlin Wall with stunning animation from Gabor Csupo (of Simpson’s and Rugrats fame).

It’s the latest release from the muti-instrumentalist composer’s long-running collective, Mandoki Soulmates, founded in 1992 with Anderson, Di Meola, Bruce, Lake, and others. The double-disc set also includes performances by Chris Thompson (Manfred Mann’s Earth Band), Bobby Kimball (Toto), Blood Sweat and Tears), John Helliwell (Supertramp), Nick van Eede (Cutting Crew), Mike Stern, and Julia Mandoki (his daughter).

The group is largely unknown outside of Europe. But if you’ve ever wondered what it might sound like with Di Meola guesting with Yes, Anderson fronting Return to Forever, or King Crimson scoring Igor Stravinsky for rock orchestra, this just might be your cup of prog tea.

As ground-breaking as it sounds, Mandoki says he’s aiming to more than simply bridging the Atlantic divide that has traditionally separated British prog from American fusion since the 1970s. Utopia for Realists delivers an urgent appeal to close the cultural, national, socio-economic and political divisions that have become magnified around the world in the era of COVID-19.

He says he launched the project to send a message about the power of rock and roll – and prog, in particular – as a unifying force that can knock down the walls that separate musical genres and people alike.

“Music is the great unifier, and this is what Utopia for Realists is all about,” he says in a new interview with the Prog Report. “This is elementary – it’s about bringing people together. “We have to lead out from this darkness, from greediness, social media-led misinformation, and political echo-chambers to get back to recognizing there’s something larger that we need to create. That’s why I call it Utopia for Realists.”

We sat down with Mandoki during a brief stop in Miami to discuss the new album, his preparations for a 2022 global tour with Mandoki Soulmates and what it’s like to work with so many big names in prog, jazz, and R&B circles.

The wide-ranging interview also offered a revealing glimpse of progressive rock behind the Iron Curtain in the 1970s and how it inspired Mandoki’s emigration to the West as a young artist in 1975, with Csupo and his musician friend Laslo Bencker. Progressive rock, he says, is both the classical music of our times and a powerful answer to fascism – “a kind of protest music” — that continues to fuel his writing and musical ambitions.

Excerpts of the interview follow.

Q: First off, let’s talk about the new album. This is your first release in the United States?

A: I’m a newcomer [laughs].

Q: Right – you’re an overnight sensation who’s been overnighting for 40 years.

A: Yes, absolutely.

Q: So, how did this album come together? I understand Greg Lake suggested you do something with Bartok’s music some years back?

A: That’s right. Eighteen years ago, we had this idea for Mandoki Soulmates to do a concert to celebrate 50 years of rock. It was a Who’s Who of American and British rock. But I also invited Mikhail Gorbachev and he came on stage to explain that prog rock helped bring down the Iron Curtain. To prove Glasnost was real, he said he released on a state-owned record company, Jethro Tull’s Aqualung. It just put this show on another social level. And I think people should understand that music has a social role.

A: One of the nights of the rehearsals for that show, Greg Lake came up to me, with Jon Lord, and he said, ‘Look, you’re a Hungarian boy, what is your relationship to Bela Bartok?’ And I said every Hungarian boy learns to walk [and play] the piano. And, of course, Bela Bartok was a national hero and an anti-fascist hero. So, I said to Greg and Jon that, “Yes, this is in my blood, it’s my DNA.” And then Greg says that Emerson Lake and Palmer, when they did Pictures at an Exhibition, they also wanted to do Hungarian Pictures, but they couldn’t get the rights. So, we should do it now. And so, I said, OK, yes, let’s do it.

Q: It’s interesting because Bartok wasn’t just a classical composer. He included Hungarian folk elements in his music, he loved jazz and was a man of the people.

A: Absolutely. He used to say jazz was classical music, but it’s just not written down. I remember [jazz bassist] Anthony Jackson taking me into his Harlem apartment and showing me his Bartok recordings, along with Miles Davis, John Coltrane, Charlie Parker, Jimi Hendrix. Then later I learned from Chic Corea that he was also into Bartok.

Q: So, when did you actually start writing the new album?

A: In January 2018, we got invited to play at the Beacon Theatre [in New York], as part of the Grammy Awards weekend. Two days afterward, I started writing the new music. I was working 20 hours a day, in Bali. So, that’s how it started. Then, in October 2019, we played several concerts and recorded one on the anniversary of the fall of the Berlin Wall in a concert hall in Berlin. Angela Merkel was there, and we were playing the new Bartok stuff.

Q: COVID-19 was still several months away.

A: Right. We planned a huge worldwide tour, but then COVID comes, so we cannot go on tour, and everything locks down. But before the shut down, I got together with Gabor [Csupo] and he said let’s do something very special with animation for this album and we were moving forward to do that. But then, a year ago, I caught COVID, right before the vaccines became available. My wife is a doctor, so she did a test and said I had the highest possible load of virus, and an 80% chance of dying. I was alone for 40 days, quarantined, but I felt absolutely nothing. Maybe a little fever. So, I took that time and just wrote … and was working on the video. Every day I would sit and do everything, melding the pictures and the music.

Q: So, let’s talk about the music itself. Brit prog and American jazz aren’t exactly on the same page, musically speaking —

A: Unless you’re listening to my records.

Q: Fair enough. But I’m wondering how you make those connections when you’re composing? Do you hear that those disparate musical styles co-mingle in your head when you write, or do you bring these different musicians together to see what we come up with on the spot?

A: No, no. It’s all written down before; everything is written before we get together and play. That’s the glue — the compositions, the writing.

Q: You’re primarily a drummer, but you also play guitar and piano, and you sing, as well.

A: Yeah, yeah. But I’m hearing the music in my head first, then I’m just controlling it when I write it down and play it. Melody first, then lyrics.

Q: When you’re writing, are taking into account what Di Meola, Anderson and the others can do together in the studio or on stage?

A: Yes, right. Like Jack Bruce used to say, “Leslie knows exactly who’s supposed to be doing what, but after these two bars or those two bars, I can be myself.” Of course, I would never say to Ian Anderson which kind of flute solo I imagine. I’ll say: “This is your 16 bars and you come in there,” and this is the way it is.

Q: So, let’s go back a bit, to the start of your career. What drew you to progressive rock in the first place? I don’t imagine prog was played on the radio behind the Iron Curtain in the 1970s.

A: When I was 18, I was a leading rock voice with my band of the anti-communist opposition in Hungary. JAM was the name of the band. And we were playing universities. And it was only prog, all original, because I was totally attracted to Ian Anderson, King Crimson, ELP and that classic stuff. Jethro Tull’s ‘Aqualung’ changed my life. I got a fourth-generation mono copy of the album. But it was illegal. Prog was highly illegal. It was called evil music, devil music by the government…because of the intellectual nature of it. And I was not allowed to listen to it. I was not even allowed to learn English because the Iron Curtain was a barrier.

Q: How did you first come by the music of Tull, Crimson and ELP?

A: There were no record stores or a way to get this music. But there were [bootleg] copies you could get. So, I got a copy of Aqualung. I translated the lyrics and I wanted to understand the arrangements and the harmonies and the production. And then I made a fifth copy and shared it.

Q: When you emigrated to the West in 1975, I heard that you told a refugee camp resettlement office that you had crossed the border because you wanted to work with Ian Anderson.

A: Yes, and Jack Bruce and Al Di Meola. And then he said, “Wait a minute, there’s no connection between those guys and their music.” He knew them all, you see? And I said, “Well, the idea is to merge American jazz fusion with British prog rock.”

Q: Did he get it?

A: No [laughs]. So, I told him I’m so attracted by the prog rock because of the compositional structure, harmony, architecture, the intellectuality of it and from the political aspect. But I’m missing the virtuosity of the American jazz players. And I want to bring them together.

Q: You had a quite a sense of yourself at age 22 to say that your career ambition was to play with Ian Anderson.

A: Well, the intellectuality of the music, like with Ian, was for me always an important aspect. It’s not for every musician. And that’s OK. For instance, my dear friend Phil Collins doesn’t write lyrics like Peter Gabriel, end of story. The same goes for a genius like Steve Lukather. But Ian has everything: He’s got that intellectual torch, he has the musicality, the preciseness, the incredible focus.

Q: When did you meet him and what was it like?

A: I was in my 20s, in 1982. I asked Ian’s promoter in Germany to set up a meeting and he arranged it. We [hit it off] right away, and since then, we became close friends. The same thing happened with Al Di Meola. Our families have come together. Our kids know each other. Now it’s a friendship that’s lasted 40 years.

Q: You’ve said that your father was a big influence on you, in terms of leaving Hungary and pursuing your musical aspirations.

A: Yes, he had a lot of ideas about how important it was being a free man with a free mind. He said that talent was a responsibility. My father thought the only way to win the battle against dictatorship is to study and be the best at what you do, including making music.

Q: So, from the beginning, prog has been both an expression of freedom and a kind of protest music that bridges the divisions in musical genres, but also brings people together.

A: Yes. Music is the great unifier, and this is what Utopia for Realists is all about. This is elementary — it’s about bringing people together. We have to lead out from this darkness, from greediness, social media-led misinformation, and political echo-chambers to get back to recognizing there’s something larger that we need to create. That’s why I call it Utopia for Realists.

Q: Seems to me that, in some ways, you’re returning to the roots of progressive rock in the late 1960s and 1970s. Ian Anderson once told me that prog was an outgrowth of the turmoil of that era – the anti-war, anti-establishment sentiments. It was about breaking away from the mainstream, in terms of the music and the message.

A: Yes, it’s reinventing all that whole thing. I see this incredible division in society today, in general, and it is wrong how many poor people we have and how many rich people we have. It is sick and it’s not OK. Back in the 1960s and 1970s, we came up with prog rock as an answer to that. In the 1980s we were able to blow away the Iron Curtain. And now this is Utopia for Realists, and it’s about making a 180-degree U-turn because we are going I the wrong direction. We have to be optimistic about it, but let’s be realistic. Which is why I call it Utopia for Realists. If we were able to blow away the Iron Curtain and tear down the Berlin Wall, we can do this.

Q: Would you say that the COVID crisis has amplified those divisions?

A: COVID is just a magnifying glass. It’s a test of character for individuals, for families, for bands for companies, for society. It’s a magnifying glass. So, Utopia for Realists is an answer to that. As an old rebel, I would say my generation [fouled] things up. And we have a responsibility to work together to make this generational contract and [lead] change and the heal the divisions. The words of my father are still true today: Talent and intelligence are responsibilities. And we just have to make a U-turn and we need to recommit to these basic human values, and we need to fix this. So, Utopia for Realists is the soundtrack for the U-turn. That’s what it is all about.

Utopia For Realists: Hungarian Pictures

CD/LP 1 Sessions In The Village 00:06:50 2 Utopia For Realists 00:02:08 3 Transylvanian Dances 00:26:38 4 You’ll Find Me In Your Mirror 00:02:34 5 Return To Budapest 00:15:27 6 Barbaro 00:04:31 7 The Torch 00:05:50

Blu-ray 1 Session In The Village Live In Berlin 00:07:12 2 Utopia For Realists Live In Berlin 00:02:19 3 Transylvanian Dances Live In Berlin 00:21:42 4 You’ll Find Me In Your Mirror Live In Berlin 00:02:54 5 Return To Budapest Live In Berlin 00:09:22 6 Pre-Barbaro Live In Berlin 00:04:43 7 The Torch Live In Berlin 00:09:37 8 Intro The Movies 00:03:04 9 Session In The Village The Movies 00:03:20 10 Transylvanian Dances The Movies 00:02:13 11 The Truth Behind The Dance The Movies 00:02:05 12 Cedar Of Life The Movies 00:01:42 13 Session In The Academy The Movies 00:03:34 14 Utopia For Realists The Movies 00:02:13 15 Children’s Dance The Movies 00:03:26 16 You’ll Find Me In Your Mirror The Movies 00:02:38 17 New York The Movies 00:02:25 18 Furioso The Movies 00:05:51 19 The Torch The Movies 00:05:51 20 Behind The Scenes 00:47:45

Leslie Mandoki (Mandoki Soulmates) Interview – Utopia for Realists

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[News] Mandoki Soulmates’ release new single and video for “Devil’s Encyclopedia (feat. Ian Anderson)”

Mandoki Soulmates ‘ new single, “ Devil’s Encyclopedia ,” is an exciting sneak peek into their new album for 2024, as well as the ongoing Thirty Year Anniversary Tour (dates below).

This new Rock soundscape comes from Ian Anderson (Jethro Tull) , Jesse Siebenberg (Supertramp) and Tony Carey , along with bandleader Leslie Mandoki , Fusion legend Mike Stern , and Richard Bona .

Mandoki reflected on the inspiration for this new work: “ When I see the division and radicalization accumulating today especially through a feeding frenzy on endless crises with social media, I feel that my art must work toward a generationally just world. I want to say to the grandchildren of Woodstock: Courage is calling for people like us.* “

Continuing his rumination, Mandoki points to the accompanying music video, which “ addresses humanity’s eternal questions, crying out against totalitarianism and brutality. These days, wounded hearts are calling and the dogs of war are howling, presenting those of us who want to live peacefully in a free world with a dilemma. ” As the song says, When words fail, music speaks.*

Watch the video for “ Devil’s Encyclopedia ” through the YouTube player below:

Mandoki Soulmates are currently on their Thirty Year Anniversary Tour in Germany:

Sept. 1, Hamburg Sept. 2, Berlin Sept. 3, Munich Sept. 4, Dresden Sept. 5, Leipzig

Tickets: https://www.eventim.de/artist/mandoki-soulmates/

Mandoki Soulmates | Official Website | Facebook Page | Instagram | YouTube Channel |

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   DRIFT INTO BLACK to Release “Voices Bene...

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Mandoki Soulmates release new single and video “The Big Quit” from upcoming album “A Memory Of Our Future”; announce Dolby Atmos album mix and exclusive live open air concert in Munich on August 15th, the only German Mandoki Soulmates show this year

Mandoki Soulmates – the international supergroup consisting of rock and fusion legends as well as founder and mastermind Leslie Mandoki – release the 2nd single  The Big Quit  from the upcoming album,  A Memory Of Our Future .

Pre-Order  A Memory Of Our Future  here:

https://mandokisoulmates.lnk.to/AMemoryOfOurFuture-Bio

The Big Quit  is a prog rock tour-de-force with a hooky melody that will have you singing along long after the needle has been lifted from the vinyl. As Leslie Mandoki comments:

“Well we were sitting on a wonderful summer night in Tuscany, with friends and also fellow Soulmate Till Brönner. We were talking about the future, and as we spoke I came up with the main lyrics: Hard times creating hard people, hard people making easy times, easy times creating easy people, and easy people bring us hard times again. And on that night I created this song ‘The Big Quit’. Have a listen to the wonderful playing.”

Watch the video for  The Big Quit  here:

Stream  The Big Quit  on your favorite DSP or buy here:

https://mandokisoulmates.lnk.to/AMemoryOfOurFuture-Album

In addition to the new single, Mandoki Soulmates announce the availability of a Dolby Atmos album mix, which will be available to stream and buy on May 10th. The mix was done by Bruce Soord, multi-instrumentalist, songwriter and frontman for internationally renowned experimental rock outfit “The Pineapple Thief”.  Dolby Atmos  is an immersive surround sound format that offers a spatial sound experience that has so far mainly been used in cinemas. When done well, Dolby Atmos allows music to be reproduced with unparalleled clarity and depth.

The entire album was recorded and produced purely in the analog domain, from microphone to mixing and mastering. Recorded and mixed in Leslie Mandoki’s Red Rock Studios near Munich, mastered in the infamous Sterling Sound Studios in New York, and cut in the Emil Berliner Studios in Berlin. The analog format is also an expression of their special appreciation and bond with the band’s audience,  “like a love letter handwritten with a fountain pen” .

See Leslie Mandoki explain the analog process in this short video.

180g black 2LP wide spined Gatefold & extensive 12-page booklet Ltd. CD Edition PocketPac with noble matt/gloss finishing, Vinyl-look disc and extensive 24-page booklet Standard CD Jewelcase (US Version) Digital album Dolby Atmos version Tracklist

• Blood in the Water – 06:54
• Enigma of Reason – 10:06
• The Wanderer – 05:03
• The Big Quit – 08:35
• Devil’s Encyclopedia – 05:47
• A Memory of My Future – 06:26
• I Am Because You Are – 04:32
• My Share of Your Life – 07:48
• Age of Thought – 04:38
• Matchbox Racing – 06:56
• We Stay Loud – 05:25
• Melting Pot – 05:51

Earlier this month, the supergroup released the single and video,  Blood In The Water . The single has it all: a pulsating beat, a catchy hook, and that ineffable prog-rock spirit that appeals to heart and mind simultaneously.

Listen to the single here & watch the video here.

After their successful 30 Years Anniversary Tour through Europe, the Soulmates will be performing a special open-air concert in the courtyard of the Munich Residenz on August 15, 2024 and play the new album live.

Buy tickets here:

https://www.muenchenticket.de/tickets/performances/etbn0mu9zw2q/Mandoki-Soulmates

Mandoki Soulmates are: Leslie Mandoki Ian Anderson (Jethro Tull) Mike Stern Al di Meola Randy Brecker Till Brönner Bill Evans John Helliwell (Supertramp) Cory Henry Richard Bona Steve Bailey Simon Phillips (Toto) Tony Carey (Rainbow) Nick van Eede (Cutting Crew) Jesse Siebenberg (Supertramp) Mark Hart (Supertramp)

Mandoki Soulmates online:

Website:  https://mandoki-soulmates.com/

Facebook:  https://www.facebook.com/mandoki.soulmates

Instagram:  https://www.instagram.com/themandokisoulmates

YouTube:  https://www.youtube.com/@MandokiSoulmates

Spotify:  https://open.spotify.com/intl-de/artist/7fl0Hsad90Ni5g3zVYzg6m

Amazon Music:  https://music.amazon.com/artists/B07S2KV19B/mandoki-soulmates

Apple Music:  https://music.apple.com/de/artist/mandoki-soulmates/1526677421

YouTube Music:  https://music.youtube.com/channel/UCS6fldWIZXVQJA_AhfGNZ_g

Deezer:  https://www.deezer.com/de/artist/65835822?app_id=140685

Tidal:  https://tidal.com/browse/artist/15805305

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High-end 2024 – Exclusive partnership with Mandoki Soulmates

The organiser of the trade fair in the bavarian metropolis, high end society service gmbh, is delighted to announce a unique partnership with the band mandoki soulmates for high end 2024 in munich..

• High End Society Service GmbH is convinced that the partnership between High End 2024 and Mandoki Soulmates stands for diversity in audio.

For several years now, High End Society Service GmbH , the organiser of the world’s leading trade fair in Munich, has been focusing on exclusive partnerships with artists in order to deliberately create a direct link between music and the solutions that serve to reproduce music in the best possible way. Artists are also to become ambassadors of fine sound, whose appeal extends beyond the HiFi scene itself and thus appeals to a broader target group.

This year at High End 2024, High End Society Service GmbH is proud to announce a very special partnership with Leslie Mandoki and his band Mandoki Soulmates.

Long live diversity in audio

It is interesting to note that High End Society Service GmbH says that the partnership with Leslie Mandoki is a new way of cooperating with world-famous artists and is intended to emphasise the motto of this year’s trade fair in Munich. From 9 to 12 May 2024, High-end 2024 will be all about “Long live diversity in audio”.

An expression of a shared commitment to diversity in the audio world

A key aspect of the partnership between High End Society Service GmbH and Leslie Mandoki is that it goes much further than previous partnerships with artists at the High End in Munich. It is also emphasised that this is much more than just a PR campaign.

This partnership was sealed last January at the Red Rock Production Studios on Lake Starnberg, according to the company.

The successful producer will of course be personally present at the High-end 2024 in Munich and will give insights into his latest Mandoki Soulmates album, which is entitled “A Memory Of Our Future” and will be officially released on 10 May 2024, at an exclusive press event.

A special feature of this album is that it was recorded and produced entirely in analogue, making it a perfect fit for the trade fair for the finest sound from a purely technical perspective.

The general public will also be able to see this for themselves at High-end 2024, as the album will of course be available on site and can be signed directly by the artist at the Mandoki Soulmates merchandise stand as part of a planned meet-and-greet event.

“The connection with Leslie Mandoki and the Soulmates is more than just a partnership for us. It is a shared mission to celebrate diversity in the world of audio experience. Like our trade fair, Mandoki’s music unites people from different cultures and generations. Leslie itself stands for innovation, creativity and musical excellence – values that the High-end also represents one hundred per cent.” Stefan Dreischärf, Managing Director of High End Society Service GmbH

About Leslie Mandoki and the Mandoki Soulmates

The artist, musician and producer Leslie Mandoki founded the Soulmates over 30 years ago together with the greats of jazz and rock, including Ian Anderson from Jethro Tull, Jack Bruce from Cream, Al di Meola, David Clayton-Thomas from Blood, Sweat & Tears, Bobby Kimball from Toto, Mike Stern, Anthony Jackson, Bill Evans, Randy and Michael Brecker from the Brecker Brothers.

Over the years, many other legendary musical greats have been added, and Leslie Mandoki has regularly brought them on stage and into the studio in changing line-ups ever since. Within this unique collective of world-famous musicians, the Mandoki Soulmates serve a cross-genre spectrum.

In the studio and on stage, the Mandoki Soulmates have won 35 Grammys and sold over 350 million records, with over twelve joint albums and several live DVDs and Blu-rays to their name.

When and where – the facts

High-end 2024 will open its doors on 9 May 2024 at the M.O.C., Lillienthalallee 40 in D-80939 Munich, with 9 and 10 May 2024 reserved for trade visitors. On Saturday 11 and Sunday 12 May 2024, the trade fair will be open to all interested parties. The first three days are open from 10.00 to 18.00, on the final Sunday the trade fair is open from 10.00 to 16.00.

The 2-day B2B ticket costs € 30,-, while the 4-day B2B ticket costs € 49,-. Visitor day tickets for Saturday and Sunday cost € 10,- each. All tickets are available directly from the High End Society Service GmbH ticket shop.

Getting to the point

The motto of High End 2024 is “Long live diversity in audio”, and this will be communicated to the public through an exclusive partnership between High End Society Service GmbH, the organiser of the trade fair, and Leslie Mandoki and his band Mandoki Soulmates. It is therefore fitting that the Mandoki Soulmates’ latest album “A Memory Of Our Future” should be released just in time for the trade fair in Munich and presented at it, especially as it is a purely analogue production that fits in perfectly with an event that rightly claims to set the undisputed tone for first-class music reproduction.

Michael Holzinger

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30 Years Anniversary Tour

Die Band der Bandleader - Eine musikalische Wertegemeinschaft für eine bessere Welt Vision von Virtuosität und Verantwortung

Mit ihrer 30 Years Anniversary Tour 2023 kehren die Mandoki Soulmates im September auf die Bühnen in Deutschland zurück. Leslie Mandoki und seine Band der Bandleader aus Progressive und Jazz Rock freuen sich auf ein Wiedersehen mit all den Musikliebhabern am 1.09. in der Laeizhalle Hamburg, am 2.09. im Admiralspalast Berlin , am 3.09. im Circus Krone München , am 4.09. im Kulturpalast Dresden und am 5.09. im Gewandhaus Leipzig .

Im 30. Jahr nach ihrer Gründung durch Leslie Mandoki, Ian Anderson (Jethro Tull), Jack Bruce (Cream) Al Di Meola spielen die Soulmates mit einem Großaufgebot an legendären Rock- und Jazz-Größen von Weltrang live das Beste aus ihren bislang 12 gemeinsamen Kult-Alben.

„Unsere Vorfreude ist riesig. Wir können es kaum erwarten, endlich wieder gemeinsam auf der Bühne zu stehen“, strahlt Produzent, Schlagzeuger und Sänger Leslie Mandoki gerade nach den schwierigen, zwangsweise auftrittsfreien Jahren der Pandemie. „Diese schwermütige Zeit hat in unseren Musikerkalendern und Planbarkeiten weit mehr zerstört, als man sich vorstellen kann. Die Mandoki Soulmates sind eine Band der Bandleader. Viele unserer Mitglieder müssen langfristig planen und die Komplexität unserer Logistik, bei der die einzelnen Soulmates von ihren eigenen Tourneen aus allen Teilen der Welt anreisen, erlaubt uns nicht, nach der Formel „one Step foward - two steps back“ zu arbeiten.

Wir mussten auch lernen, dass vieles nicht mehr funktionierte auch wegen „The Big Quit“. Dieser hatte ausgerechnet die steuerzahlende Musiker & Ton-Techniker-Gemeinde mit am härtesten getroffen und so hatten viele wichtige Leistungsträger zwangsweise zumindest temporär den Beruf gewechselt und waren in andere Branchen „abgewandert“. Ähnliche Probleme erlebten wir auch im Bereich Beschaffung von Technik, Equipment und Logistik.

Nachdem wir aus all diesen Gründen letztes Jahr schweren Herzens unsere langersehnte Tour auf besser planbare und hoffentlich für uns alle sicherere Zeiten im September 2023 verlegen mussten, freuen wir uns jetzt umso mehr. Allerdings dachten wir natürlich noch nicht, dass dieser völkerrechtswidrige, schreckliche Angriffskrieg auch das zu einer schwermütigen Zeit werden lässt, was wir eigentlich als „sicherere“ Zeit geglaubt haben. Diese Konzerte wollen wir für unser Publikum mit einem großen Lineup spielen, ohne Kompromisse und damit das Jubiläumsjahr 30 Jahre Soulmates gebührend ausklingen lassen. Für uns Soulmates ist es gleichzeitig der Start in ein neues aufregendes gemeinsames Jahrzehnt. Wir werden bis zu den Konzerten viel Zeit gemeinsam im Studio verbringen und an unserem neuen Album arbeiten, das am 24. Januar 2024 weltweit veröffentlicht wird.“

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Admiralspalast Berlin Friedrichstr. 101 D - 10117 Berlin

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Moscow Metro

The Moscow Metro Tour is included in most guided tours’ itineraries. Opened in 1935, under Stalin’s regime, the metro was not only meant to solve transport problems, but also was hailed as “a people’s palace”. Every station you will see during your Moscow metro tour looks like a palace room. There are bright paintings, mosaics, stained glass, bronze statues… Our Moscow metro tour includes the most impressive stations best architects and designers worked at - Ploshchad Revolutsii, Mayakovskaya, Komsomolskaya, Kievskaya, Novoslobodskaya and some others.

What is the kremlin in russia?

The guide will not only help you navigate the metro, but will also provide you with fascinating background tales for the images you see and a history of each station.

And there some stories to be told during the Moscow metro tour! The deepest station - Park Pobedy - is 84 metres under the ground with the world longest escalator of 140 meters. Parts of the so-called Metro-2, a secret strategic system of underground tunnels, was used for its construction.

During the Second World War the metro itself became a strategic asset: it was turned into the city's biggest bomb-shelter and one of the stations even became a library. 217 children were born here in 1941-1942! The metro is the most effective means of transport in the capital.

There are almost 200 stations 196 at the moment and trains run every 90 seconds! The guide of your Moscow metro tour can explain to you how to buy tickets and find your way if you plan to get around by yourself.

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Tour Details

Moscow metro tour: architectural styles of the subway.

Duration: 2 hours

Categories: Culture & History, Sightseeing

This metro tour of Russia’s capital and most populous city, Moscow, is your chance to get a unique insight into the beautiful and impressive architecture of the city's underground stations. Admire their marble walls and high ceilings representing Stalin's desire for glory after World War 2, and see first-hand how the interiors change with the rise of new political eras. Your guide will lead you through the complex network, which is one of the most heavily used rapid transit systems worldwide, with over two billion travelers in 2011.

Opened in 1935, Moscow’s underground system, now 190 miles (305 km) long with 185 stations, is today one the largest and most heavily used rapid transit systems in the world. On this Moscow metro tour, discover the impressive architecture of Moscow’s underground stations and learn how they reflect the Soviet era.

Getting around by metro, your local guide will take you through parts of Moscow’s infamous history. Stop at stations built during the time of the USSR (Soviet Union) that are praised as one of the most extravagant architectural projects from Stalin’s time. After World War 2, he was keen on establishing Stalinist architecture to represent his rising regime and a recognized empire. Learn how when his successor started the de-Stalinization of the former Soviet Union in 1953, the extravagancy of the architecture was toned down.

Discover how the unique character of each station reflected several different eras. While stations like Kievskaya and Slavyansky Bulvar have pompous halls and high stucco ceilings brimming with extravagant decorations, those built later, like Volzhskaya, are lightly adorned with sparse furnishings. Architect Alexey Dushkin and painter Alexander Deyneka were just two of the many artists who made these magnificent landmarks possible.

Revel in Moscow's glory days, as well as the years of scarcity, on this fascinating Moscow metro experience. Conclude your tour at one of the central stations in Moscow. If you're lucky, you may even find the secret entrance to the unconfirmed Metro-2, a parallel underground system used by the government -- a mystery which has neither been denied nor confirmed today.

Nearby tours

Soviet-Era Walking Tour in Moscow: Lubyanka Square and the Gulag History Museum

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Walking Tour of Moscow's Kolomenskoye Estate

On this walking tour through the Kolomenskoye Estate in Moscow, immerse yourself in Russia’s interesting royal history. Walk around the UNESCO World Heritage-listed Ascension Church, built in 1532, and enter the Hou...

Moscow Cultural Walking Tour: Red Square, Kitay-Gorod and St Basil's Cathedral

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Kremlin Grounds, Cathedrals and Patriarch's Palace Tour from Moscow

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Moscow City Tour

The Moscow City Tour covers all the highlights and most beautiful places in the enchanting Russian capital. The tour begins with a stop at the Red Square and St. Basil's Cathedral, the architectural masterpiece and w...

Culture Shock Rating

We have a wide range of tours designed to give you an insight into the destination you're travelling in and there is something for everybody. The culture shock ratings considers the destination visited, transport used, activities undertaken and that "Wow, I'm really not at home now!" factor. While generalisations are always tricky, a summary of our gradings is as follows…

This is the least confronting of our tour range. Transport used on the trip is either private or a very comfortable public option, the activities included are usually iconic sites and locations that are not all too confronting.

The tour can include a mix of private and public transport providing a level of comfort that is slightly below what you would experience at home. Sites visited are usually iconic sites, tours can also include market visits, visits to communities etc that provide the traveller with a fantastic insight into destination.

Expect to rough it for parts of this tour, whether it's a packed public bus where you are forced to stand, a visit to a local market, a local community, you are sure to have an experience that is very different from what you're used to at home.

The comforts of your home town and the environment you are used to are more of a rarity. Expect some challenging transport options, visits to local sites and areas that don't resemble anything at home.

You're out there in the global community! You are likely to be exposed to the elements, travel in whatever means of transport is available and basically take it as it comes, whatever comes! It can be tough.

Physical Rating

Our physical rating gives you an idea of how much huffing and puffing you can expect on the tour. While generalisations are always tricky, a summary of our gradings is as follows…

These tours have very limited physical activity. Usually climbing in and out of the transport provided, walking through sites, markets etc included in the itinerary.

These tours have a bit of physical activity but nothing that should challenge you too much. This could be climbing on and off public transport through to a walk through the destination you're travelling in, they can include walking only tours or a combination of walking and transport.

These tours involve a bit of physical activity from walking up and down hills in the destination you're travelling in or the surrounding areas. Climbing on and off local transport or riding a bike up to 30 kms along predominantly flat terrain or jumping in a kayak for a gentle paddle on flat water.

These Tours will provide you with some solid physical activity. Whether its bike riding, walking, trekking, kayaking or riding on public transport you will need to have a good level of fitness to enjoy this tour.

Be prepared for some serious physical activity. These tours are our most challenging and involve some serious walking, hiking or bike riding. Can involve step climbs by foot or pedal and some challenging public transport options in the destination you are travelling.

Luxury Rating

Some trips are like a stroll on the beach, while others have you trekking alpine passes. Some of you thrive on camping out on the savannah, while others may prefer a hot shower and a comfortable bed in a lodge. Follow the grading systems below to find the right trip for you.

To help you choose the trip that's right for you, we've broken all of our trips down into four service levels. Measuring the comfort level of the accommodation and transport. So whether you're travelling on a budget and want to save money by using public transport, or prefer upgraded accommodation and are happy to pay a little more, then we have a level for you.

This is grassroots travel at its most interesting

Authentic experiences with some of the comforts of home

For those who like to travel in comfort

All the unique experiences wrapped up with a gold ribbon

More From Forbes

The very best way to see the san francisco bay.

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There are countless ways to experience San Francisco, but nothing quite stacks up to a liquid commute into the city from Marin County. Here are a few good reasons to make the Larkspur ferry part of your visit to the Bay Area.

It's an action-packed trip between Larkspur Landing and the Ferry Building on San Francisco's ... [+] Embarcadero.

Welcome home

I was born in Marin County, but until recently had never returned to that part of the world largely because I’m always drawn to the endlessly interesting big city across the water.

But when I discovered an RV park near the Larkspur Landing ferry terminal, that was it. After nearly six months on the road, my husband and I pulled our 23-foot Thor Gemini into the Marin RV Park and started making big plans. First up, dinner at Hog Island Oyster Co. , at the nearby Marin Country Market .

John Finger and Terry Sawyer are founders of Hog Island Oyster Co., which has several popular ... [+] locations including Larkspur Landing in Marin County.

What a rich history

John Finger and Terry Sawyer founded Hog Island Oyster Co. , four decades ago, starting modestly with a five-acre lease on Tomales Bay. Today, Hog Island produces and sells more than 5 million oysters and assorted shellfish a year. Plus, the company has become a leader in the sustainable seafood movement.

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We started our meal at Hog Island with an assortment of local bivalves and a few from the Pacific Northwest. Hooray for the gorgeous Blue Pools from Hama Hama .

The absolute star of the evening, though, was the seafood stew, a mainstay on the menu. The beautiful bowl was packed with a mess of mussels, clams, sweet shrimp and chunks of ling cod. Oh, and the grilled slices from Acme Bread Company were perfect for sopping up the rustic tomato broth. It definitely brightened up a rainy evening.

The cozy Hog Island is often packed and doesn’t take reservations, so it’s a good idea to call and find out the wait time before heading to the place during prime dining hours.

All aboard!

The ferry — run by Golden Gate Bridge Highway and Transportation Department — is a shining example of the best kind of public transportation, with departures leaving regularly and on time. At least in the few times I’ve used it.

It’s a 30-minute trip across the Bay, a journey that begins gently and then roars to jet ski speeds upon reaching open waters. Yes, ball caps will fly off if you’re not careful. On this trip, passengers will be able to spot so many famous — and infamous — landmarks. There’s San Quentin and Alcatraz, as well as the Golden Gate and the Bay Bridge. Getting closer to the city, you can spot Coit Tower before docking at the spectacular landmark, The Ferry Building . A breathtaking trip for roughly the price of a fancy coffee drink.

I met up with friends for lunch on a busy Saturday. The vibrant Ferry Plaza Farmers Market is a glorious feast for all senses. We decided to grab a multi-course spread from some of the vendors, starting with an excellent pimento cheese from Point Reyes Farmstead Cheese Company and crackers from Frog Hollow Farm accompanied by an excellent, good-for-the-gut Golden Kvass from Wise Goat Organics . The view from a park bench near the water made for a truly memorable picnic.

Leta McCollough Seletzky and her husband Dimitri enjoyed a memorable picnic near the Ferry Building ... [+] in San Francisco. Leta is the author of the acclaimed book The Kneeling Man published by Penguin Random House. The paperback version is out April 2024.

A walking tour

After I said so long to my friends, I started walking towards Union Square, where I’d booked a night at the Beacon Grand Hotel. The stroll through the Financial District was pretty lonely, the streets cleared of pedestrians on a chill Saturday. In the square itself, there was live music but not much of a crowd gathered.

Like many downtowns, San Francisco was hard hit by the pandemic and the ensuing movement towards working from home. Still, there are encouraging signs of a new chapter beginning.

The Beacon Grand Hotel offers comfortable, modern rooms near Union Square. The historic property was ... [+] formerly the Sir Francis Drake.

Take the Beacon Grand, for instance. This historic property was once the famous Sir Francis Drake, home of the Beefeater costume-clad doormen. Its refreshed version takes care to preserve the nods to the storied past while bringing a modern sensibility to its comfortable rooms.

Dinner at The Post Room exceeded expectations for such a casual setting. My better half began with an expertly shaken Bombay Sapphire martini, though lamented the lone olive on the toothpick. Three cheers for a trio of those briny bites, right?

Speaking of briny bites, let’s have another round of oysters from Tomales Bay, please and thanks. Simple, elegant presentation let those oysters on the half shell shine.

For the main, the whole rock cod was a vision swimming in herbs and Italian-style beans and — wait, what this? It was expertly deboned in the kitchen, so there’s no need to deal with that sometimes messy process.

Whole rock cod at the Beacon Grand Hotel's Post Room was a standout on the seafood-centric menu.

After dinner hill climb

While it was still light, we took a stroll down memory lane all the way up to the top of Nob Hill. There were so many familiar haunts, the Tonga Room , the Top of the Mark , the steps of Grace Cathedral, where we happened to spy a certain Friends cast member emerge after getting hitched back in 1999. Going further back on this nostalgic tour, my grandmother lived in this neighborhood in the 1960s when I was a kid. While that swing set is long gone, the current playground still stirred up the feeling of going home. A very sweet way to end an extra special trip to one of my favorite cities.

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• April 4, 2024

Comedian Leslie Liao talks about upcoming tour and Netflix stand-up

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