After Nations announce new single and tour dates


PunKanormal Activity

After Nations has announced an upcoming new single and dates for a US tour. The shifting, experimental psych-prog project will be touring the US midwest, southwest, and west coast later this summer in support of their new single Aegenera. The single is set for release July 17th, and will be available on Bandcamp, and streaming on iTunes and Spotify.


While you wait for Aegenera to hit the streets and the band to roll through town, check out the band’s 2018 release Consteleid. The album was recorded at Grueling Pace, Meager Rations in Kansas City, MO, with tracking and mixing by Andrew Elliott, and master engineering by Brad Blackwood at Euphonic Masters in Memphis, TN.

Tour Dates

  • 8/15 Lawrence, KS Replay Lounge

  • 8/16 Denver, CO Goosetown

  • 8/17 Ft. Collins, CO Pinball Jones West

  • 8/18 Colorado Springs, CO Triple Nickel

  • 8/20 Provo, UT The Rad Shack

  • 8/21 Boise, ID The Shredder

  • 8/22 Salem, OR Graveyard

  • 8/23 Portland, OR Kenton Club

  • 8/24 Seattle, WA The Funhouse

  • 8/25 Portland, OR Myna Bird Studios

  • 8/28 Oakland, CA Flood Haus

  • 8/29 Las Vegas, NV Shawteau

  • 8/30 Phoenix, AZ Tempe Tavern

  • 8/31 Santa Fe, NM Zephyr

After Nations 

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After Nations - Loud-Stuff Interview


Loud-Stuff - Joanna Wilson

How would you describe your music?

Andrew: Our music draws from a few genres pretty aggressively. You can hear the heavier side of prog and post-rock as a foundation, and other influences that let us expand or experiment with that core sound – things like jazz, psychedelic rock, and math. I love taking elements of anything I’m finding interesting in music at the time, and creating something that is initially angular, weird, maybe even incoherent from those, and gradually turning that into something rhythmic, intriguing, and musical. People often say we sound like The Mars Volta meets Pelican, or Dillinger meets Mastodon, or a recent one that I really like – Mahavishnu Orchestra meets Captain Beefheart on crack. That all seems fair – I think I can see where people are coming from with that.

Tell us about how the history of the project?

Andrew: This project initially started as a personal, solo experiment for me. It was a way for me to explore song writing – and frankly speaking, how I gradually learned to play guitar. Since then there have been a lot of changes – the project doesn’t even resemble its earlier phases. In 2016 Travis Baker (drums) and Zack Krishtalka (bass) joined me, and most recently, David Sandoval (guitar) came with us on tour this past summer to support the release of our new album, ‘Consteleid‘.

What are your influences/ musical heroes?

Andrew: Like a lot of people, I think my influences and tastes shift and change over time. Early on I was just completely enthralled with Omar Rodriguez Lopez – and I think the impact of his approach to writing and his style of playing are pretty apparent in some facets of how I come to music. Lately, I’m really taken with Tigran Hamasyan, Poil, and Piniol. Piniol in particular are just so fucking masterful at taking what seem like simple musical ideas, and setting them in relation to one another in ways that reveal this really intriguing, deeply thoughtful compositional ability. Songs like Mimolle and Pikiwa are just brilliant in my opinion – they’re like the crystal meth of musical experiences, it’s overwhelming, intense stuff, and it can seem impossible to go back from.

What inspires you?

Andrew: Individuals that come to music in prolific, dedicated ways, and in ways that allow for change and growth, that seem to honour their particular aesthetic and orientation to music – that’s are a powerful influence and inspiration for me. At the same time, as I’ve written more and more music over the years, I’m finding that very non-musical things inspire me to write; studying and speaking Japanese, reading about physics or neurology, or mycology, or political economy, working on sociology-leaning projects with my partner – these kinds of things indirectly and directly create different kinds of inspiration and thought to pour into songwriting and music.

Do you write on the road? Or do you prefer to write in the studio?

Andrew: I never write on the road, and I can’t even really conceive of doing that to be honest. That seems like a crazy privilege that’s just out of my reach at this time. I can’t imagine having enough time or resources in one place to be able to get any meaningful ideas down. Frankly, we’re all just trying to get a minimum amount of sleep and connect with people from show to show on tour. So my preference and approach has pretty much always been to write at my home studio.

What is your favourite song to perform live?

Andrew: ‘Infora’ – off of our most recent album – is probably my favourite song to play right now. It has a few moments where we go just fucking nuts, and a few places that has the audience being bombarded with this riff that feels both really angular and powerful, but musical and accessible despite it being kind of overwhelming.

What would be your dream tour to be a part of?

Andrew: I think we’d want to tour with Pinoil. We all have a massive amount of respect for those guys (the supergroup of Poil and Ni), we’re all inspired by what they’re doing musically, and I think our styles have a really complimentary contrast that would make for a really interesting lineup for people.

What are you current thoughts on the music industry?

Andrew. Many. I think at the broadest scale, if we’re talking about trying to create livelihoods and incentivizing or supporting creativity in pragmatic, realizable, financial ways – I don’t think anyone would suggest the music industry achieves that goal. I think it’s important to recognize a few of the reasons as to why that happens as well: the conventional infrastructure and private, corporate interests that monopolize and distribute the resources and wealth generated through music have a set function, and specific incentives. That older model is designed to generate profit for private, shareholder interests. For that to work, it has to artificially create barriers of access and entry – and distribute things like access and resources selectively amongst themselves – and that system is only going to do that with and for things that are understood as relatively safe, stable investments. For that same reason, it’s saturated. Completely. There’s no real room in a music-as-commodity model for new artists to enter that space – not in any way that has to do with merits. If you’re trying to pair creativity and musical expression with the prerequisite that it’s also a ‘safe, stable investment’, you’re going to get a certain spectrum of results. That’s not necessarily a bad thing, but it gives you a framework to understand why certain trends in the music industry are so predominant and powerful, why some things don’t seem to appear or manifest, and why some things that initially seem inconsistent (e.g. “that band is incredible, why aren’t they signed”), fit pretty comfortably within that model.

If that’s the macroscale of music for profit as a commercial commodity in it, you’ve got a sub-industry of sales and consumption targeting artists and musicians who sit on the periphery or outside of that system (think Guitar Center, Sonicbids and Reverbnation – independent artist promotional platforms in general, large parts of music’s PR industry). It’s a specialized section of the music industry that largely sells certain kinds of services or limited access to the commercial music industry’s more visible areas. For some that’s a way to increase visibility and their fan base, but largely it generates its profits off of the ambitions of hopes of independent, unsigned musicians, and changes very little for the musicians that are trying to use what look like points of entry – but are largely their own industry targeting those very musicians. It’s also limited in how effective it can be in raising visibility and awareness of new music – because one thing it’s not going to do is upset the privileged access. That’s not necessarily a shitty thing either – but again, it results in certain kinds of patterns, certain kinds of results.

So what we’ve got is a music industry that is extremely talent-saturated, and is built on an older model of monetization that keeps redirecting and subsuming new innovations in distribution and access. If you look at that broad scale of music – the lens that holds both the mainstream, the musician-services industry, and the independent industry and local scenes – it can create the impression that it encourages “genuine” or “authentic” creativity due to competition. That those that “really want it” or whose music is somehow qualitatively superior is what rises to the surface in that environment. I hear some independent musicians not just echo this understanding, but even celebrate it. That what you get in a system that doesn’t materially support creative works is somehow assuring that the people that are doing it, do it because they love it – they love the music, it’s their passion. “Authenticity and sincerity matter, are best secured doing things this way”, is what seems to be suggested in that view. But that seems like just absolute bullshit to me, and takes the idea of poverty and strife and authentic creativity as mutually exclusive values. I don’t think that’s something to celebrate – I even think it perpetuates some of the ugliest aspects of the music industry.

The idea that competition within creative efforts fuels ‘better creation’, and the reality of the scarcity and difficulty that exists in terms of making a living creating music or creating art both seem pretty disconnected and distracted from the issue. I don’t think it takes very much reflection for anyone to look at the top 40 charts of any mainstream music to find examples of both brilliance and absolute derivative garbage – so it’s difficult to continue making the argument that the current system creates a better result. And we can found countless examples of musicians with and without secure financial livelihoods who sit anywhere on the spectrum of not giving a shit about the music they’re selling, to being profoundly connected to their experience of creating and sharing their music. So what you’ve got ultimately, is a system that is pro-competition, pro-scarcity and exclusivity, and pretty anti-music in a lot material, pragmatic, meaningful ways. Spinning that as positive just seems like a symptom of a very false value system, and it’s damaging to most of the unsigned, independent musicians. The one major positive I see in this system actually has nothing to do with the system itself; it’s the idea that – despite such a saturated, competitive, and statistically impossible space to succeed in supporting yourself financially, people still have such a profound and powerful desire to express and share themselves, that they’ll participate and try regardless of how fucked the circumstances are. There’s something really heartening and beautiful about that. And it’s not the music industry should be celebrated for that – it’s not fostering that spirit, it’s threatening it on systematic level. Despite all of that, people persist, they go on creating. That’s intensely inspiring.

I think it’s crucial that musicians and consumers alike recognize those general trends, and then ask themselves, “what kind society do I want to be a part of? what kind of creative environment do I want to see, what kind of creativity do I want to support? how do I actually do that? how does that work? what’s actually happening”. I don’t think there’s an inherently ‘wrong’ answer to that question, but I think criticism about that system, or about a lack of creativity in the mainstream, or railing on pop music, or insisting that people “support local” – any of these pieces taken in isolation just kind of misses some of the broader realities of how we come to music in the 21st century. That doesn’t mean you don’t “support local”, or that you don’t have an opinion; I think it means you understand why precisely one would do that, and then square that against all of your other behaviours and beliefs surrounding music, creativity, and living in a consumer-capitalist society.

If we’re living in a consumer-based society, and we don’t want to materially support artists in the way that we support every other facet of society in this kind of system, we can expect a certain kind of result – we’ll get exactly what we’re getting right now. If people want that to change, a lot of things are possible if we’re willing to rethink some things. We subsidize all kinds of things in the US – things that most people wouldn’t support if they knew and understood the nature and extent of what some of their tax dollars are supporting. There’s absolutely the room and resources to subsidize something like music, or the creative arts more generally – and to decouple the idea of ‘good music’ being wedded to shareholder outcomes. So it’s a much bigger issue than just sizing up the nature of the industry. I think answering that question involves looking to the implications of our actions, or lack of actions in some ways, and making an informed choice about what we want and what we believe in. And in this case, what we think music and creative expression means to us as individuals, as communities, as a society, and how we want to support and foster those values

What is the funniest/weirdest experience you have had on tour?

Andrew: A few years ago, I climbed Pinto Mountain with an older lineup in the band – Tyler Mehaffey and Trent Utley. We played a show at House of Blues Hollywood, finished loading out at like 2 in the morning, and then decided to drive to Phoenix the same night to get the drive out of the way. We ended sleeping for a few hours at a truck stop just outside of Joshua Tree National Park on the way, and then, very ambitiously, and very stupidly of us, we thought it would be an awesome idea to go into the park and see if we could climb a mountain before continuing to Phoenix. At sunrise we drove around for maybe half an hour, found a scenic view that had this informational placard displaying Mt. Pinto. Being the outdoorsmen that we were, we sized up the distance and figured we could get to the base, climb to the top, and return in maybe three hours. We fucked up, real, real bad on that one.

We went through all of our water and gas station trail mix in the first three hours, and over the next two hours, we managed to scramble our way up maybe 3/4 of the climb. We thought it would be an equally solid idea to get high once we decided we weren’t going to climb up any further. Needless to say, it was much more difficult to get down the mountain than it was to get up – and we ended up going down a boulder-dense route that we hadn’t come up on. There were a few moments where we thought we just couldn’t get back down – not anytime quickly. When we finally got back down to the base of the mountain, Tyler stepped on a cactus that perfectly pierced his calf in a way that looked like a snake bite (and absolutely yes – we panicked pretty intensely for a moment; there was some talk of sucking venom out before we knew what was going on). The entire two hour hike from the base back to the van, we kept slipping and having our feet sink into these loose holes in the ground – which we later discovered were tarantula burrows. Woof. We pissed in fate’s face for sure that day. So very stupid. I remember that whole experience really fondly though – it’s just one of those exceptional tour experiences that had nothing to do with music and everything to do with (perhaps like jackasses) embracing what was right in front of us.

What are your future plans?

Andrew: 2019 is going to be exciting for us. We’re releasing a new video for in January that we filmed in Denver on our past tour, I’ve begun writing the next album, and we’re planning on doing an east coast tour this summer.

After Nations is:
Andrew Elliott – guitar
David Sandoval – guitar
Travis Baker – drums
Zack Krishtalka – bass

MusicWaves Reviews Consteleid

"Trio instrumental débordant d'énergie et d'idées, After Nations devrait intéresser les amateurs de The Mars Volta et ceux qu'une expérience rock-psychédélique un peu remuante n'effraie pas."

English Translation:

An instrumental trio bursting with energy and ideas, After Nations should be of interest to fans of The Mars Volta and those who are not afraid of a restless rock-psychedelic experience.

After Nations is a band from Kansas City that has existed since 2012 at the instigation of guitarist Andrew Elliott and has made two albums since 2014. Two years after "The Bearing Point" the trio returns with "Consteleid".

To situate his style, After Nations cites three influences that have something to put the mouth water: The Mars Volta, The Dillinger Escape Plan and Russian Circles. Of the latter, the Americans share an entirely instrumental practice of their art but it is especially the reference to The Mars Volta which jumps to the ears in "Consteleid", from the beginning of the album with a "Holon Patterns" which starts on the hats of wheel in the manner so characteristic of the band to Omar Rodriguez-Lopez. We will find many times this way to bring out the raw energy by the sharp riffs and a rhythmic setting of very high intensity especially in 'The Janus Head' and 'Juggernaut Pendulum'. This comparison alone would suffice to explain the very technical and unbridled nature of the music of After Nations, whose compositions too often suffer from a lack of structure to order the proliferation of ideas and directions borrowed by the trio.

And of ideas, After Nations does not miss it and is not satisfied to propose an instrumental version of The Mars Volta. In fact, After Nations adds several variations to its psychedelic rock by going to tap into jazz-rock and post-rock. These are the moments that offer the most interest with breaths made of quieter sequences or changes in harmonic themes that give more meaning to the different layouts. Thus one appreciates the Indian modes of 'Hierophant Tongues' which will bring back to connoisseurs the jazz-rock of Shakti or the air passages of 'Eos', undoubtedly the most successful title of the album, and 'Infora' which offers beautiful parts of Zappa guitar.

"Consteleid" intimidated by its complexity and asphyxiating energy but attracted by its overflowing creativity. We come out of the experience a little sounded with a desire to deepen the good impressions experienced on many occasions but discouraged by the magnitude of the task. For fans of the various artists mentioned in this column, it should not be difficult to immerse yourself in the world of After Nations. For others, it's an adventure to try.

Original Text:

After Nations est un groupe en provenance de Kansas City qui existe depuis 2012 sous l'instigation de son guitariste Andrew Elliott et qui a réalisé deux albums depuis 2014. Deux ans après "The Bearing Point" le trio revient avec "Consteleid".

Afin de situer son style, After Nations cite trois influences qui ont de quoi mettre l'eau à la bouche : The Mars Volta, The Dillinger Escape Plan et Russian Circles. De cette dernière, les Américains partagent une pratique entièrement instrumentale de leur art mais c'est surtout la référence à The Mars Volta qui saute aux oreilles dans "Consteleid", dès l'entame de l'album avec un 'Holon Patterns' qui démarre sur les chapeaux de roue à la manière si caractéristique de la bande à Omar Rodriguez-Lopez. On retrouvera à de nombreuses reprises cette façon de faire jaillir l’énergie brute par les riffs tranchants et une mise en place rythmique de très haute intensité notamment dans  'The Janus Head' et 'Juggernaut Pendulum'. Rien que cette comparaison suffirait à expliquer le caractère très technique et débridé de la musique d'After Nations, dont les compositions souffrent trop souvent d'un défaut de structure pour ordonner le foisonnement d'idées et de directions empruntées par le trio.

Et d'idées, After Nations n'en manque pas et ne se contente pas de proposer une version instrumentale de The Mars Volta. De fait, After Nations ajoute plusieurs variantes à son rock psychédélique en allant puiser dans le jazz-rock et le post-rock. Ce sont ces moments qui offrent le plus d'intérêt avec des respirations faites de séquences plus calmes ou de changements de thématiques harmoniques qui donnent plus de sens aux différents agencements. Ainsi on apprécie les modes indiens de 'Hierophant Tongues' qui rappellera aux connaisseurs le jazz-rock de Shakti ou les passages aériens de 'Eos', sans doute le titre le plus réussi de l'album, et 'Infora' qui offre de belles parties de guitare zappaienne.

"Consteleid" intimide par sa complexité et son énergie asphyxiante mais attire par sa créativité débordante. On ressort de l'expérience un peu sonné avec une envie d'approfondir les bonnes impressions éprouvées à de nombreuses occasions mais découragé par l'ampleur de la tâche. Pour les amateurs des différents artistes évoqués dans cette chronique, il ne devrait pas être difficile de s'immerger dans l'univers d'After Nations. Pour les autres, c'est une aventure à tenter.

Los AFTER NATIONS hacen su tercera travesía por constelaciones progresivas



Hoy es el turno de presentar a “Consteleid”, el más reciente disco de AFTER NATIONS, trío conformado por Andrew Elliott [guitarras], Travis Baker [batería] y Zack Krishtalka [bajo]. En tiempos pasados, el bajista había sido Tyler Mehaffey y el baterista, Alexander Thomas. El grupo en cuestión tuvo sus orígenes en un proyecto solista de Elliott en el año 2012 en Kansas City (Misuri), pero muy pronto el trío conformado bajo esta premisa pasó a convertirse en un grupo propiamente dicho con nombre propio. Así las cosas, los AFTER NATIONS empezaron a componer, almacenar y grabar discos, comenzando con “Wake Of The Mendacon” del año 2014 y continuando con “The Bearing Point”, del año 2016, para ahora mostrarnos su tercer disco “Consteleid”, el cual fue publicado en el primer día del pasado mes de agosto. 


Los primeros 4 ¼ minutos del disco están ocupados por ‘Holon Patterns’, pieza que instala el ideario estético de la banda con su ágil y electrizante mezcla de metal experimental, math-rock y una modalidad particularmente pesada de psicodelia. A través de los complejos flujos y desvíos por los que se orientan los pulidamente calculados cambios de ritmo y motivo, el grupo elabora un desafiante juego de contrastes entre los pasajes más fieros y los más sutiles. Sigue a continuación ‘Manifold Of Aeons’, ítem que recoge y capitaliza la siembra de sofisticado vigor instaurada por el tema de entrada para darle un dinamismo progresivo más filudo al asunto. Así, los pasajes fieros adquieren una dosis mayor de furia y los contrastes con los pasajes constreñidos son más agudos; de rebote, como no puede ser de otra manera, se exige una ingeniería rítmica aún más sesuda que también incluye algunos factores jazz-rockeros en ciertos pasajes. ‘Hierophant Tongues’, el tercer tema del álbum, se caracteriza por una musculatura rotunda donde se sintetizan los legados de los dos temas precedentes y se añade un toque de juguetona majestuosidad al esquema de trabajo recurrente del trío. La miniatura ‘Aurora’ – dura poco más de medio minuto – exhibe unas lánguidas escalas de guitarra; a partir de allí, se abre la puerta para el arribo de ‘Eos’, un número bastante especial dentro del repertorio del disco pues consta de dos secciones claramente diferenciadas entre sí. La primera de ellas se inserta en un estándar post-rockero que asume influencias confluyentes entre el filo visceral del space-rock y el delirio sublime de unos KING CRIMSON de la fase 73-74. La segunda sección se estructura bajo una compleja ingeniería math-rockera donde se fusionan los horizontes paradigmáticos de DON CABALLERO (etapa 1995-8) y GIRAFFES? GIRAFFES!, añadiéndose algunos modismos metaleros en el camino cimentado con asfalto fulguroso. ‘The Janus Head’ vuelve de lleno a la dinámica de musculaturas rotundas que iba en crescendo en la ilación de los tres primeros temas: en esta ocasión específica, los aires de familia más fuertes son con ‘Manifold Of Aeons’.


La secuencia de las piezas #7 y #8 repite el proceso de miniatura y pieza plenamente desarrollada: ‘Atora’ es un breve despliegue de centellas neuróticas mientras que ‘Psychlotome’ enarbola un contundente ejercicio de ingeniería rotunda, esta vez un poco menos complejo que el que se exhibe en cualquiera de los temas largos precedentes. De todas maneras, ‘Psychlotome’ luce con robusta gallardía la sucesión de diversos motivos y esquemas rítmicos que fluye por sus conductos sonoros; de hecho, apreciamos muy positivamente el realce del rol del bajo y el empleo de muchos trucos jazz-rockeros de parte de la batería. La dupla de ‘Juggernaut Pendulum’ e ‘Infora’ se encarga de cerrar el repertorio del disco con un pletórico sentido de la compleción coherente de un sistema estético bien perfilado. ‘Juggernaut Pendulum’ elabora un recurso más mesurado para el despliegue de la garra rockera esencial del trío... la cual sigue exhibiendo su furor inmanente con la misma dosis de siempre. La misma dosis, un enfoque menos furioso donde hay cabida para algunos dejos blues-rockeros y jazzeros en medio de la perpetua mezcla de math-rock y post-metal. Por su parte, ‘Infora’ redondea la faena global del disco volviendo con todo a los modismos preeestablecidos en los dos primeros temas, logrando con ello dar una nueva vuelta de tuerca a la incendiaria vitalidad que antes marcó a la pieza #3 en conjunción con el señorío propio de la pieza #8. ¡Gran final de disco! Todo esto fue lo que el trípode musical de AFTER NATIONS nos ha brindado a lo largo del repertorio de “Consteleid”. Este disco encarna una muy estimulante y demasiado vibrante travesía por constelaciones progresivas cuya dinámica ecléctica se pasea solventemente por muchas de las áreas más agresivas del género: más de 42 minutos de música guerrera y sofisticada. Para quienes recién estén descubriendo a los AFTER NATIONS, que sepan que este disco es una estupenda y atractiva vía de entrada a su cosmovisión musical particular.

Muestras de “Consteleid”.-

Manifold Of Aeons:



English Translation:


Today it’s time to present "Consteleid", the most recent disc of AFTER NATIONS, a trio formed by Andrew Elliott [guitars], Travis Baker [drums] and Zack Krishtalka [bass]. In times past, the bassist had been Tyler Mehaffey and the drummer, Alexander Thomas. The group in question had its origins in a solo project of Elliott in 2012 in Kansas City (Missouri), but very soon the trio formed under this premise went on to become a group proper with its own name. So, AFTER NATIONS began to compose, store and record albums, starting with "Wake Of The Mendacon" from 2014 and continuing with "The Bearing Point", in 2016, to now show us their third album "Consteleid", which was published on  August 1st, 2018.

The first 4 ¼ minutes of the album are occupied by 'Holon Patterns', a piece that installs the aesthetic ideology of the band with its agile and electrifying mix of experimental metal, math-rock and a particularly heavy modality of psychedelia. Through the complex flows and detours through which the polished calculated changes of rhythm and motive are oriented, the group elaborates a challenging game of contrasts between the fiercest and subtlest passages. Then follow 'Manifold Of Aeons', an item that collects and capitalizes on the planting of sophisticated vigor established by the entry issue to give a more progressive dynamism to the matter. Thus, the fierce passages acquire a greater dose of fury and the contrasts with the constricted passages are more acute; returning, as it can not be otherwise, requires an even more thoughtful rhythmic engineering that also includes some jazz-rock factors in certain passages. 'Hierophant Tongues', the third theme of the album, is characterized by a resounding musculature where the legacies of the two preceding songs are synthesized and a touch of playful majesty is added to the recurrent work scheme of the trio. The 'Aurora' miniature - lasting just over half a minute - exhibits languid guitar scales; from there, the door opens for the arrival of 'Eos', a very special number within the repertoire of the disc since it consists of two sections clearly differentiated from each other. The first one is inserted in a post-rock standard that assumes confluent influences between the visceral edge of space-rock and the sublime delirium of some KING CRIMSON - reminiscent of their 73-74 phase. The second section is structured under a complex math-rocker engineering where the paradigmatic horizons of DON CABALLERO (stage 1995-8) and GIRAFFES? GIRAFFES !, adding some metal idioms on the road cemented with blazing asphalt. 'The Janus Head' returns fully to the dynamic of strong musculature that was crescendo in the illation of the first three themes: on this specific occasion, the strongest family heirs are with 'Manifold Of Aeons'.

The sequence of pieces # 7 and # 8 repeats the process of miniature and fully developed piece: 'Atora' is a brief display of neurotic sparks while 'Psychlotome' holds a blunt engineering exercise, this time a little less complex than which is exhibited in any of the preceding long themes. In every way, 'Psychlotome' shines with robust gallantry the succession of diverse motifs and rhythmic schemes that flow through its sound conduits; in fact, we appreciate very positively the enhancement of the role of the bass and the use of many jazz-rock tricks from the battery. The duo of 'Juggernaut Pendulum' and 'Infora' is responsible for closing the repertoire of the album with a full sense of the coherent completion of a well-outlined aesthetic system. 'Juggernaut Pendulum' elaborates a more measured resource for the deployment of the essential rock claw of the trio ... which continues to exhibit its immanent fury with the same dose as always. The same dose, a less furious approach where there is room for some blues-rockers and jazzers in the midst of the perpetual mix of math-rock and post-metal. On the other hand, 'Infora' rounds off the global task of the disc, returning with everything to the pre-established idioms in the first two themes, thus achieving a new twist to the incendiary vitality that before marked the piece # 3 in conjunction with the lordship of piece # 8. A great album finale! All this was what the AFTER NATIONS musical trio has given us throughout the "Consteleid" repertoire. This album embodies a very stimulating and overly vibrant journey through progressive constellations whose eclectic dynamics run solitably through many of the most aggressive areas of the genre: more than 42 minutes of sophisticated and warlike music. For those who are just discovering AFTER NATIONS, let them know that this album is a great and attractive way to enter their particular musical worldview.

Samples of "Consteleid"

Manifold Of Aeons:



After Nations; Interview with Andrew Elliott


As I’m sure you all know already, we here at Punkanormal Activity do our best to shine a light on all things punk. But sometimes a band comes along and gives you shake, and you just need to find out more about them. Case in point, Kansas City’s psych-prog-math rock instrumentalists After Nations. With the Aug. 1st digital release of Consteleid on steady rotation over my vacation, I reached out to the band to find out more about the band.

Before you get to the interview with Andrew , take a minute and check out the amazing preview video:


PKA: How has the reaction been so far for Consteleid

Andrew: I always struggle to get a sense of how an album is received, or what kind of reaction people are having. I think to begin with, this kind of music has a relatively small audience. We’re also a pretty obscure band – we don’t have a huge following, we aren’t networked into a marketing industry that can provide meaningful feedback or insights (facebook——–), and it’s largely people that are close to us that give us the most meaningful feedback. Sizing up a reaction to an album can be difficult then, because on the one hand, I can see a modest stream count going up and some scant online sales, but I have no idea what those people are thinking, how they’re feeling about the music. On the other hand, when I talk to my close friends, or people who have known this band for a while and have a strong opinion about music, and have a sense of how this music has changed over time, I’m hearing things like “it’s the best one you’ve done”, “it’s brain melting”, “this slays”. It’s just difficult to weigh that positive, close feedback against or alongside the kind of a void of ‘everyone else’. I don’t think one can represent the other, and for the vast majority of people that hear this album, I just don’t know what they’re thinking. I guess that’s my invitation to people to let us know what they think about the album.


PKA: Often in bands, the vocalist would be the main songwriter, and the songs would begin from lyrics or a hook as the base of the song. How does your process differ working as a band without a vocalist?

Andrew: I think there are a number of ways to go about songwriting – it’s an infinite and open process. I have the sense that not having vocals doesn’t create any kind of musical dilemma or obstacle, because I think fundamentally, with or without vocals, you’re working with the same musical elements: melody, harmony, rhythm (unless we’re talking about spoken word on top of music, or something challenging or experimenting with the concept of music). You can start with any of those, and what emerges is intimately related to where you begin.

The process of writing usually takes a few forms in After Nations. I’ll typically write several parts in a certain key: riffs, chord progressions with melodies, eccentric accent patterns, bass grooves with melodies or counterplay with the guitar, some breakdowns, a drum groove or accent pattern that has guitar and bass focused on teasing that pattern out – pretty much any iteration of those processes. Sometimes I’ll write those with the intention of structure, of having certain sections lending themselves to transition well to others. Other times I’ll treat a section as a total one-of, weirdo moments that may be difficult to put into the context of other parts. After I’ve got maybe a few dozen parts, I’ll start arranging everything into a structure. At that point, I’ll start showing what I’ve got to Travis and Zack, and we’ll begin making all of that come to life. In that process, you discover what does and doesn’t work, you adjust, and sometimes, unexpected things happen either through misunderstanding, or feeling out a possibility in real time amongst the three of us. In that space, new things can emerge, and they become yet more sections to work with in an arrangement.

Without vocals or lyrics, the focal experience is directed completely onto the music, so the intention and purpose of what is happening musically is critical. I’ve really tried to make a practice out of putting the writing process at a distance at times, and as much as I’m able to, coming to the structure of a song as a listener rather than a performer. From that view, I’ll continue to make changes to a song until it feels like everything holistically makes sense, flows well, and is fundamentally interesting as a listener. That process can happen at any time up until recording an album – sometimes we’ll have a song ‘finished’ and down for 6 months, but as I get more time on it as a listener, there’s the possibility that changes will be made. For that reason, from writing to tracking, songs tend to take a little over a year to fully come to life in this project.

I think the challenge – and a lot of the joy – of writing and arranging, is taking those various parts, and working out their place (or what’s possible and what happens when the idea of ‘place’ and expectation get shifted around). How sections can relate to one another, how the unexpected and seemingly unrelated aspects of a section can make profound sense if other pieces around it are shifted or altered to create a subtle expectation, or a jarring contrast – making all of that as a whole take you through a wide, open, ever shifting experience of sonic landscapes in a way that feels exciting, disorienting yet flowing, and so wide ranging but focused in what you experience that you have the sense that anything is possible.

PKA: Whenever I listen to any instrumental music, I often want to close my eyes, and visualize what I’m experiencing. Do you think that individual experience is what sets it apart from music with vocals?

Andrew: I think we all have an intimate, personal experience and relationship to music as individuals. I believe that’s the same when vocals and lyrics are present. Even with the shared language and intention of hearing the same lyrics as everyone else – the content that suggests certain imagery, senses, and ideas – we have individual experiences of those concepts, we relate to and understand that experience through the lens of our own life and experience.

Where it seems to differ, in my take of it, is that we don’t use music in our everyday life to communicate or make sense of our experiences in the same ways we would with language. We can communicate with language to determine and track the orbit of a satellite, or to convey to someone the specific reasons their behavior is affecting us positively or negatively. We could also express that through instrumental music – but you’re satellite is definitely getting lost, and you’re relationship may benefit from some more constructive feedback (probably best not to write a mathy song to your roommate if they’re swiping your food or if you want to start a more serious relationship with them; go talk to them). We can even use language in music to more precisely refine what it is we’re trying to say by putting it into a musical context. But when music IS the context, when it is the message, you’re talking about a domain that we use for wholly emotional, associative, and creative expression.

So the potential of instrumental just feels different. It has the ability to be perceived precisely as the listener’s experience enables them. If the same music had lyrics and vocals, it may guide or orient the listener to something else, towards a specific intention – maybe getting the listening audience closer to the same page as the writer’s own thoughts and experiences. That may also be very personal, but it’s an altogether different experience. With instrumental music, you have the arbitrary but associative symbols and experiential phenomena of the music, and yourself – there are no other guides or ideas to orient you. So I think we find ourselves entering kind of meditative, open states of mind when we listen to this kind of thing, and the ideas, feelings, concepts, and associations that we have with that experience arise from within us – and that is profoundly personal. It’s the experience of having music evoke in us whatever may arise from us as an individual.

    All music, instrumental or otherwise, is experienced on an individual level. I think there’s a spectrum where you have more orientation and possibly a more generally shared understanding of an experience on the lyrical/vocal end of things – but with individual experiences of what that music means. And that shared sense is powerful, it makes us feel connected to others in very visceral ways. On the instrumental side, you still have intention that drives that creation of the music, but the field of interpretation is vastly more open. It’s less likely to share precisely what it is that you and another person are feeling, thinking, experiencing on this other end of the spectrum, but what you experience may be profoundly intimate, and wholly embodying your current understanding of something. That’s just insanely powerful and resonant with people.

Even more profoundly, I believe there is a different sense of connection that arises from the instrumental side of the music spectrum. Rather than being expressed and verified through language, it’s expressed musically, and received and understood – musically. Something about communicating and expressing in such an abstract way feels as though we come closer to touching our lives, our experiences, our understanding, in intuitive, flowing ways – in a way that transcends language. I think both forms – lyrical music and instrumental music – are of equal weight. They just foster different kinds of feeling and thinking. I think I lean to instrumental music because I’m drawn to the feeling of connection, of thinking and understanding that feels beyond words, and apart from certain ways of thinking. If lyrical music fosters connection by bringing us outside of ourselves, through having us share our internal world and seeing and feeling those connections with others, instrumental music seems more like having the external world meeting you, prompting you to reach internally, and to find that you’re already connected to the outer – that somehow, that experience makes it intuitively felt and known that your place and sense of connection to not just music, or other people, but to everything, has always been present; it’s like realizing and living that presence, and in a very flowing, present way


PKA: Did you get a chance to work out the material live before recording?

Andrew: With every album, we go through the writing and arranging process, making revisions and adjustments along the way. That usually takes something like a year, and throughout that time, as songs feel more or less ready, we’ll begin playing them at our shows, and continue to make changes as we get a greater sense of them live. By the time we record, the album has its core finished. We’ll then track the drums and bass, and then I’ll go about the process of adding guitar layers and effects – which in the case of this album respectively took two days and a period of about two months.

PKA: Consteleid has a very raw feel, and sounds like it will translate very well live. Was it important to have the studio and live experience match?

Andrew: I think you’re right, that the album has a relatively raw, live feel to it. I think that’s a reflection of both limited experience as an engineer, and part of the sound that I’m drawn to at this stage in my listening. I’m not as drawn to overly processed or meticulously clean recordings, and I think it makes sense that a lot of my orientation as a listener comes through in the album.

PKA: I’ve seen the recent announcement of the addition of David Sandoval. How does he change the dynamics, and what can we expect from the live shows?

Andrew: People can expect to effectively hear and experience everything that’s on the album, virtually as it is, live. A huge driver in asking Dave to join us (beyond his being a guitarist that just goddamn rips and a friendly, professional guy) was wanting the ability to share these songs without making any compromises in a live setting. With this album, as with each album, I can’t play everything that’s there. I’ve always had to focus on critical parts and cut other things. With this album, I just didn’t feel we could do that. The writing is all interdependent; everything has a place, every part is serving the music. It just doesn’t have the same energy, feeling, or texture without all of it being played live – so I reached out to Dave to help fully realize this music on tour. So effectively, what you get with the album, you’re going to get live… it’s just going to more intense, and louder… like… really loud.

PKA: I ask this of everyone, which bands should we all be listening to?


Piniol Bandcamp

Strobes Youtube

Car Bomb Youtube

Sampha Youtube

Tigran Hamasyan Youtube

The Rippingtons Youtube

Owane Youtube

Béla Bartók Youtube

Punch Brothers Youtube 

Thank you very much to Andrew for taking time out to answer some questions, and for the excellent music suggestions he left us with. If your in Kansas City, MO. check out the release show on Friday Aug. 17th, or check out the remaining tour dates and the links below for all the latest on the band.

After Nations:  Youtube Facebook Spotify Instagram Website

After Nations release new album “Consteleid”


Kansas City rockers After Nations have just dropped a new album called “Consteleid”. The album features 10 tracks of technical instrumental psych-prog and is available via all digital platforms. You can check it out (and get your face melted!) below via Spotify or Bandcamp, and read what Andrew Elliott stated.

We’re immensely proud of this album. It embodies countless hours of writing, rehearsing, arranging, imagining, reflecting, doubt, excitement, and reflects our efforts to share some of our most fundamental and expressive parts of self. It’s been a long road to be able to finally share this with all of you, and we’re profoundly grateful be able to do so.” – Andrew Elliott | After Nations


After Nations Announce New Album Release, Tour, and Lineup

EPK 2018.jpg

After almost two years of relative quiet since the release of their last album and US tour, After Nations has returned with host of huge developments. The band has announced the release date for a new album, dates for an upcoming US tour, and the addition of a new touring lineup. The album, Consteleid, will release on August 1st, and be available on bandcamp, iTunes, and Spotify. Describing it, guitarist Andrew Elliott offered, "This is definitely our most ambitious work to date. I've really focused the past few years trying to develop as both a song-writer and guitarist, and in working with Travis and Zack to create something that feels like it represents where we are musically. I think the ideas and themes all feel more developed, more mature, more focused - and the album feels more expansive in the sonic ground it covers. I hope people will experience and feel that when they hear it."

They'll be debuting the new album across the US midwest, southwest, and west coast later this summer. This time around, however, they'll be joined by an additional guitarist, David Sandoval (Eat the Sun, Chaff, Kenaima). Elliott again, talking about the decision: "In the past, I've written guitar parts for albums that I have to condense down for live performances. I couldn't play everything that's there, it's just not possible, so I'd focus on critical parts and cut other things. With this album, I just didn't feel we could do that. The writing is all interdependent; everything has a place, every part is serving the music. It just doesn't have the same energy, feeling, or texture without all of it being played live. So I reached out to Dave - an incredible musician and friend from past tours - and asked him if he'd want to join us. He was down, and here we are."

Tour dates and locations are below, along with a preview of the upcoming album. Fans of The Mars Volta, Russian Circles, Animals As Leaders, and The Fall of Troy will feel in familiar territory, while experiencing something altogether different in the intense approach to heavy, shifting, instrumental psych-prog of After Nations.

Consteleid Tour - Finalized - sm.jpg



8/17 Lawrence, KS @ Replay Lounge

8/18 Colorado Springs, CO @ Triple Nickel

8/19 Denver, CO @ 7th Circle

8/21 Salt Lake City, UT @ The Underground

8/22 Boise, ID @ The Olympic

8/23 Salem, OR @ The Space

8/24 Portland, OR @ Kenton Club

8/25 Seattle, WA @ The Central

8/29 Oakland, CA @ Elbo Room

8/30 Las Vegas, NV @ TBA

8/31 Phoenix, AZ @ Rogue

9/1 Albuquerque, NM @ TBA

Recyclable Sounds (Russia) Reviews 'The Bearing Point'

After Nations - 'The Bearing Point' (2016)


Kansas City, Missouri American instrumental, experimental prog band After Nations announced the release of their second full-length album, entitled "The Bearing Point".


After Nations was established in 2012 - first as a solo project of guitarist Andrew Elliott. In 2014 he released the project's first formal EP,  "Unveil Panoptica". Later in the same year, with the participation of Tyler Mehaffey and Alexander Thomas (bassist and drummer respectively), recorded, produced, and released their first full length album, "Wake of the Mendacon". In June 2016, a vinyl split, "Hypnagogia" was released with the band Eat The Sun (Denver, CO), and in August, "The Bearing Point" was released in digital format in anticipation of a summer tour.


Andrew Elliott is now playing with a new lineup (Travis Baker and Zack Krishtalka on drums and bass respectively), but the new 7 track, 35-minute was performed and recorded by the previous lineup (Andrew Elliott - guitars, effects; Tyler Mehaffey - bass; Alexander Thomas - drums). The single off of the album, "The Laceront Arc" (released last fall) is available now (at The style in which After Nations plays from the single to the full-length remains consistent. It is entirely instrumental and experimental - prog: very dynamic, agile, explosive, emotionally overwrought (and obviously inspired by the work of Omar Rodriguez Lopez and The Mars Volta).


Not that After Nations doesn't have their own ideas... but the feeling is that their ideas are brought to life and inspired by this particular artist. That said, the trio performs at the highest level, and they shoulder the implementation of the most complex and daring design decisions. Well, if you're a fan of TMV, then be sure to listen.


Original Article:

Выход второго полноформатного альбома под названием “The Bearing Point” анонсировала американская инструментальная экспериментал-прог группа AFTER NATIONS из Канзас-Сити штата Миссури.


After Nations

AFTER NATIONS были учреждены в 2012 году – поначалу как единоличный проект гитариста Andrew Elliott. В 2014-ом он обнародовал свой первый опыт – EP “Unveil Panoptica”. И в том же году, с участием бас-гитариста Tyler Mehaffey и барабанщика Alexander Thomas, записал, спродюсировал и выпустил на компакт-дисках первый полноформатный альбом AFTER NATIONS, который назывался “Wake of the Mendacon”. В июне 2016-ого трио выпустило 10-дюймовый сплит-винил “Hypnagogia” с группой Eat The Sun, а августе в преддверии грядущего тура заявило о выходе “The Bearing Point” в цифровом формате.

<a href="">The Bearing Point by After Nations</a>

Andrew Elliott сейчас играет с новыми партнерами по трио, но 7 номеров, включенных в 35-минутный новый альбом, записаны прежним составом: Andrew Elliott (гитара, эффекты), Tyler Mehaffey (бас) и Alexander Thomas (ударные). Прошлогодний сингл “The Laceront Arc” включен. Стилистика, в которой играют AFTER NATIONS на “The Bearing Point”, никаких заметных изменений не претерпела. Это полностью инструментальный экспериментал-прог: очень динамичный, подвижный, многонотный, взрывной, эмоционально взвинченный (и совершенно очевидно инспирированный творчеством Omar Rodriguez Lopez и The Mars Volta).


After Nations

Не то чтобы у AFTER NATIONS не было своих идей… но ощущение таково, что всех их идеи рождены и воплощены в жизнь под влиянием совершенно конкретного исполнителя… Ну а поскольку исполнительская техника всех участников трио на высочайшем уровне, то им по плечу реализация самых сложных и смелых конструкторских решений. Полюбопытствуйте на досуге… Ну а если являетесь поклонником TMV, то послушайте обязательно.


After Nations

Слушать/скачивать на Bandcamp | AFTER NATIONS на Facebook

AFTER NATIONS Stream Their Entire New Album 'The Bearing Point' via Bandcamp

Pure Grain Audio

Kansas City rock trio After Nations released their new album The Bearing Point on Monday, August 8th - just prior to our summer tour - and you can now stream it in its entirety via the Bandcamp embed below. The band’s sophomore full-length release features an emerging sense of identity and style from the group - with the result being a rapidly shifting and almost maddeningly paced ride across a vast and changing musical landscape.

The seven track album is a truly psychedelic journey that touches on elements of jazz, metal, and psych-rock, but which ultimately leads into uncharted territory. The flow of ideas is torrential and can be disorienting at first, but upon closer inspection one finds the hallmarks of careful deliberation.

Emerging from a solo project of guitarist Andrew Elliott that began in 2012, After Nations has developed into a hard-hitting and focused trio. Influences like The Mars Volta, The Dillinger Escape Plan, and Russian Circles can be heard in their sound, but a personality and energy that is something else entirely stirs in their live performances and recordings.

After Nations release new album "The Bearing Point"

PunKanormal Activity

Kansas City rock trio After Nations have announced the official release of their new album, The Bearing Point, just ahead of their US summer tour. The band’s sophomore full length release, The Bearing Point features an emerging sense of identity and style from the group – with the result being a rapidly shifting and almost maddeningly paced ride across a vast and changing musical landscape.

The seven track album is a truly psychedelic journey that touches on elements of jazz, metal, and psych-rock, but which ultimately leads into uncharted territory. The flow of ideas is torrential and can be disorienting at first, but upon closer inspection one finds the hallmarks of careful deliberation.

You can listen to the album below and get it on Bandcamp.

The Bearing Point  is the follow-up to “Wake Of The Mendacon” released in 2014.

AFTER NATIONS Release Live in-Studio Music Video for "The Order of Things"


After Nations have just released a live video for "The Order of Things", a new song off of their upcoming full-length album, The Bearing Point. Recorded at Mystery Ton Studios during an east coast tour last fall, it offers an up close and rapid-fire performance by the trio, and showcases their heavy, mathy approach to instrumental psych-prog.

Emerging from a solo project of guitarist Andrew Elliott that began in 2012, After Nations has developed into a hard-hitting and focused trio. Influences like The Mars Volta, The Dillinger Escape Plan, and Russian Circles can be heard in their sound, but a personality and energy that is something else entirely stirs in their live performances and recordings.


Just Announced: After Nations 2016 US Tour

PunKanormal Activity

After Nations have just announced their summer 2016 tour, during which the trio will be performing across the US midwest, southwest, and west coast. They will be supporting the release of their latest album, The Bearing Point, and once again showcasing their distinct and intense approach to heavy, mathy, instrumental psych-prog.

You can check out the dates and locations along with a preview of the upcoming album below.


The Bearing Point comes out August 8th and will serve as a follow-up to “Wake Of The Mendacon” released in 2014.

Tour Dates (TICKETS

8/10 Lawrence, KS – Replay Lounge
8/11 Wichita, KS – Kirby’s
8/12 Lawton, OK – The Railhead
8/13 Houston, TX – The Red Light at Springbok
8/14 San Antonio, TX – Imagine Records
8/16 Austin, TX – Hotel Vegas
8/17 Midland, TX – Kamiposi
8/18 Santa Fe, NM – tba
8/19 Albuquerque, NM – Burt’s Tiki Lounge
8/20 Scottsdale, AZ – Pho Cao
8/23 Los Angeles, CA – The Mint
8/25 Eugene, OR – Old Nick’s
8/26 Seattle, WA – Sunset Tavern
8/27 Portland, OR – The Analog Cafe
8/28 Salem, OR – 50 West
8/30 – Chico, CA – tba
8/31 – Reno, NV – The Holland Project
9/1 Las Vegas, NV – House of Wonk
9/2 Provo, UT – Muse
9/3 Colorado Springs, CO – Flux Capacitor

AFTER NATIONS Releases Split 10" Vinyl 'Hypnagogia' with EAT THE SUN on CrassFed Records

Pure Grain Audio

Prog-stronaut projects Eat the Sun and After Nations have announced that they are releasing a split this summer. Scheduled to be the premiere release of CrassFed Records, the 10” vinyl will feature two new songs "Blackout Blinds" and "Wake the Vessels". The split’s title and concept, Hypnagogia - the state of threshold or transitional consciousness between the sleeping and waking mind - showcases each band flowing through territories of prog, math, and metal, creating an intensely wide ranging and heavy hitting experience.

Andrew Elliott, guitarist of After Nations, shared his thoughts on the collaboration: "We definitely share a love of mathy, proggy, metal, experimental songwriting. After getting to spend some time together when our paths crossed on a few tours, we all just vibed. Eat the Sun is one of those bands that feel like they’re completely doing their own thing in their own way, and with no bullshit, no posturing. Just intense, heartfelt musical expression, and this immutable desire to create. They feel like kindred spirits or something - it’s surreal to have met them, and to now be sharing in music with them. When Dave suggested doing a split, no persuasion was necessary - that guy’s sort of my senpai."

David Sandoval of Eat the Sun (and Elliott’s confessed senpai) added: "It's really cool when you get to collaborate with like minded people in this world. Especially when you have really weird minds. When Eat The Sun was first talking about doing a split, we thought, what band do we know that just makes us say "Fuck Yeah!" Luckily, After Nations was totally down. Being able to combine that crazy, spastic, sincere music that both bands create, and to share that in a split just felt right to us. We both just seem to love each other's tunes and vibes like they were our very own. It's pretty rad."

For more information, please visit: or


After Nations releases live video for “The Laceront Arc”

PunKanormal Activity (CAN)

Prog rock trio After Nations have released a live, in studio video for their recently released single, “The Laceront Arc”. Recorded during their fall tour at Mystery Ton Studios in Monrovia, MD, it offers an up close look as these instro-shredders move through the mathy, prog-metal weirdness of the new single.

“I really can’t stand having days ‘off’ while on tour, you know?”, says guitarist Andrew Elliott. “You’re on the road, you spend months and months planning things, and you’re there to share your music with as many people as possible. Sometimes things don’t pan out – a show gets dropped, a local band cancels, whatever – and you’re left with an open day. Sometimes those are opportunities – you just have to look at them in a different way. This video is a perfect example – a friend of mine in DC told me to reach out to Kenny (Mystery Ton Studios), so I did, and instead of sitting on our asses on a Monday in Baltimore, we made this killer video.”

The band plans to announce a new lineup in spring, and to release its next full length album, “The Order of Things” this summer.

You can watch the video below and get the single right HERE.

After Nations announces “Arc” Tour

PunKanormal Activity (CAN)

Kansas City prog rock trio After Nations are embarking on their second tour of 2015, during which the band will be performing across the US midwest and east coast. They will be supporting the upcoming release of their latest single, The Laceront Arc to come out October 14th.

Audiences can expect the trio to launch into their rapid-fire sets, sudden meter changes, and sharp pivots from gravity-of-Jupiter-crushing riffs to lighter, Explosions in the Sky inspired moments, all in a way that ultimately feels intuitive and purposeful.

Tour dates are below and tickets can be found HERE.

After Nations’ most recent album,  “Wake Of The Mendacon“, came out last December.


10/15 Columbia, MO – PDM
10/16 St. Louis, MO – The Demo
10/17 Chicago, IL – Quenchers
10/19 Cincinnati, OH – Urban Artifact
10/20 Cleveland, OH – Wilbert’s
10/21 Buffalo, NY – The Lair
10/22 Boston, MA – The Milky Way
10/23 Brooklyn, NY – The Rock Shop
10/24 Annapolis, MD – The Metropolitan
10/25 Richmond, VA – tba
10/27 Greensboro, NC – The Blind Tiger
10/28 Atlanta, GA – tba
10/29 Nashville, TN – Springwater
10/30 Joplin, MO – Blackthorn
10/31 Kansas City, MO – Californos

After Nations: Website | Facebook | Twitter | Bandcamp

After Nations Announces Allotype Tour - Summer 2015‏

Circuit Sweet (UK)

Prog rock trio After Nations are setting out on their summer tour this May, during which the band will be thundering across the US southwest and west coast. They will in part be supporting their recent full-length album, Wake of the Mendacon, but will primarily be debuting new songs slated for their upcoming release, The Order of Things (scheduled to drop later this year).

Their tour west has them on a brief whirlwind of shows in over 20 cities, where they’ll be setting the minds of audiences alight with their distinct, thrashy, and intense style of instrumental prog.

A full list of dates and their animated music video for “Soliram Pillars” can be found below:

5/7 Lawrence, KS – Jackpot Saloon

5/8 Wichita, KS – Kirby’s

5/9 Houston, TX – Alley Kat

5/10 Austin, TX – Lucky Lounge

5/11 Fort Worth, TX – 1919

5/12 Amarillo, TX – The 806

5/14 Albuquerque, NM – Duke City Sound

5/16 Scottsdale, AZ – Rogue

5/17 Tempe, AZ – Tempe Tavern

5/18 El Centro, CA – Stranger’s

5/19 San Diego, CA – The Jumping Turtle

5/20 Los Angeles, CA – Silverlake Lounge

5/21 Oakland, CA – tba

5/22 Eugene, OR – Luckey’s

5/23 Seattle, WA – High Dive

5/24 Portland, OR – Liquor Store

5/26 Chico, CA – 1078 Gallery

5/27 Fresno, CA – CYC

5/28 Las Vegas, NV – tba

5/29 Santa Fe, NM – Ghost

5/30 Colorado Springs, CO – Seven-One-Grind Fest

5/31 Denver, CO – 7th Circle


Emerging from a solo project of guitarist Andrew Elliott that began in 2012, After Nations has developed into a hard-hitting and focused trio whose current lineup have been described as “… a fiery, turbulent bunch of proggy instro-rockers, quick-shifting through different time signatures and sharp-edged riffs so fast it’ll make your head spin.” (Space City Rock – Houston, TX). Influences like The Dillinger Escape Plan, The Mars Volta, and Russian Circles can be heard in their live performance – but a personality and energy that is something else entirely stirs in their sound. | @AfterNations


Yes, Indeed! 2014 Rundown - After Nations

Space City Rock (Houston, TX)

...a trio down from Kansas City, After Nations, who play some very, very cool, thoughtful, heavily proggy instro-metal, the kind that makes me think of Scale The Summit or Animals As Leaders, although they’re a lot more reserved and restrained than either of those bands tend to be. It’s interesting, though, because while they’re relatively low-key, there’s also a current of menace, of nervousness, of desperation boiling up from beneath the spiraling prog-rock guitar lines and stutter-stop rhythms; these guys are really good at holding back just enough to hint at what’s truly there. They remind me of Co-Pilot that way, actually, especially because some of those guitar lines seem to take a spaceward turn at times… To make things even cooler, the band’s got an animated video for “Gilgamesh III” which is pretty neat to see; like their music, it’s both low-key and tense at the same time.

See more at:

TentaclEars - Show Recommendation, After Nations

TentacleEars (San Diego, CA)

“Clearly influenced by great post rock artists like Mogwai and The Mars Volta, After Nations is a fire tornado of sound. Each track, each chord and each arrangement begins with just a little spark, like a dropped glass acting as flint, until the momentum builds and breaks in a rolling cresendo of flame. At times it can be beautiful and glorious in it’s oxidated release of energy with inspiring waves of divergent and pliant organization that comes across unexpected like the approaching intensity of heat. This take on rock stems from a belief that mainstream rock with formulaic progression is bland due to predictability. For those of you completely comfortable with spontaneity it’s easy to note how jazz influenced the experimental take on rock right down to it’s solely instrumental perspective. Ultimately, the sound is loud with an artistic point of view that inspires a release of energy that without warning can be explosive.

After Nations is a young band formed in 2012 and currently reside in Kansas City. Being modern, the band used Kickstarter as a campaign to fund the band’s endeavors.  The trio consists of Andrew Elliott shredding the guitar with wicked style, Tyler Mehaffey providing a heavy bass and Trent Utley bringing mad percussion skills. Together they create a feel that is loud, in your face and full of energy. They integrate the three instruments in such a way that it feels both harmonious and clashing in an exciting juxtaposition. Unveil Panoptica, their latest EP, released this April and the band is currently touring the sound.” ~ TentacleEars

SXSW Overflow 2014: Day Four (After Nations, Take One Car, Jacob Latham, The Hat Madder, jungles!!!, Doomsquad, & More)

 Space City Rock (Houston, TX)

“…these Kansas City guys are a fiery, turbulent bunch of proggy instro-rockers, quick-shifting through different time signatures and sharp-edged riffs so fast it’ll make your head spin. They teeter on the edge between more metal folks like Pelican and Russian Circles and more flat-out prog people, while throwing in some Tom Morello-style guitar tricks and spacerock-y atmospheres and generally trying to paint some kind of a mental picture. The end result is damn impressive, kind of like a Midwestern cousin to Houston’s own Sunrise and Ammunition, and I’m liking what I’ve heard quite a bit.” ~ Space City Rock