Swedish-American vocalist, multi-instrumentalist, and songwriter Nad Sylvan has carved a unique place in the Progressive Rock world. Best known as the lead singer for Steve Hackett’s Genesis Revisited tours since 2013, he has also been a key member of Unifaun and Agents of Mercy alongside Roine Stolt. On June 20, 2025, Nad released Monumentata (InsideOutMusic/SONY), a personal musical kaleidoscope that moves fluidly between dramatic Hard Rock, sweeping Symphonic passages, intimate Soul, and intricate rhythmic grooves. Each track reflects a specific mood, drawn directly from Nad’s own memories and reflections, creating a cohesive and multifaceted experience.
The album features an extraordinary lineup of guest musicians, including Randy McStine, Nick Beggs, Tony Levin, Jonas Reingold, Marco Minnemann, Mirko De Maio, Lalle Larsson, and more, all contributing to a musical monolith made of diverse stones cut from the same mountain. In this interview, Nad Sylvan shares insights about the making of “Monumentata,” his artistic vision, and decades of experience in Progressive Rock.
On the new album “Monumentata”:
“Monumentata” is described as a “musical kaleidoscope” of your memories and states of mind. How did this concept come about?
I think I was more than halfway through writing the album when my dad passed away last year. Having by then lost both my parents, it was quite an eye-opener — it gave me a new perspective on the passing of time and made me realize that, being the eldest of five siblings, I’ll probably be the next to go one day. That realization felt monumental to me, so I decided to add the Hungarian word for “daddy” at the end, since my father was half Hungarian. From there, the lyrics began to take shape, and I realized I had the foundation for a concept — or a story, if you will.
Each track feels like a self-contained chapter. How do you decide which personal stories to share through music?
I tend to dig through my own life and pull out the moments that feel most significant — the ones that have stayed with me, sometimes for years. They might be things that have troubled me, inspired me, or simply marked a turning point in who I’ve become. Music has always been my way of making sense of those experiences, of transforming them into something beautiful or meaningful. If a memory keeps resurfacing, I take it as a sign that it wants to be heard — and that’s when it becomes a song.
The album spans Hard Rock, Symphonic, Soul, and intricate grooves. How do you balance such diversity without losing coherence?
I honestly don’t know! What matters most to me is exploring new ground and not repeating myself. As a progressive artist, you always want to move forward rather than get trapped in a formulaic approach. So if you still hear coherence in my work, despite me venturing in different directions — that’s pure luck! But it’s also something I’ve always strived for, consciously or not.
You worked with an extraordinary lineup. How did you select guests like Tony Levin, Nick Beggs, Marco Minnemann?
It really comes down to availability — and the fact that I’ve known some of them for many years. Tony has played on four of my solo albums, Nick was on the very first one, and Marco did a brief stint with us in Hackett’s band back in 2019. After twelve years of touring and recording with Steve, I’ve been fortunate to build relationships with a number of remarkable musicians who’ve become both trusted collaborators and dear friends. They understand my vision instinctively and are always eager to help me bring it to life.
Were there any collaborations that particularly surprised or inspired you during the recordings?
Yes — guitarist David Kollar, in particular. He calls himself a “musical anarchist,” and I think that describes him perfectly. His playing is unlike anything I’ve ever heard — utterly distinctive, unpredictable, and full of character. He brought a kind of beautiful chaos to the music that I found truly inspiring. And of course, Tony Levin’s bass work is in a class of its own. He always delivers such tasteful, sophisticated lines, but this time I feel he truly outdid himself. His playing added depth and elegance to the songs in a way only Tony can.
What were the biggest challenges in producing such an eclectic album?
Time, really. Trying to stay focused in between tours can be difficult. You can’t force creativity — it has to come from pure joy and inspiration. That said, writing in different styles has never felt like a challenge to me. It’s something I’ve always done quite naturally. I suppose versatility has become part of who I am as a songwriter.
How did you approach the lyrics in relation to such diverse musical styles? Is there a track that you consider the emotional “heart” of the album?
Most definitely the title track, “Monumentata.” It’s about the loss of my father — someone I had, in many ways, already lost long ago. But when he passed, it suddenly became final, absolute. That sense of closure — the realization that both my parents are now gone — runs through the lyric. It’s a song born out of reflection and acceptance, and for me, it truly forms the emotional core of the album.
“Monumentata” features complex Symphonic arrangements. How did you coordinate these parts with the band?
Most of the parts are actually me on keyboards and guitars. I provided fairly strict arrangements for the others to follow — I had a clear vision of how I wanted things to sound. But at the same time, I gave them the freedom to explore and offer alternative takes. That way, I could later cherry-pick the ideas that best complemented each song. It became a wonderful balance between structure and spontaneity.
Your voice has always been a defining trait. Did you experiment with new techniques or approaches on this album?
As I’ve grown older, I’ve matured — both as a singer and as an artist. I’ve become far more aware of what my voice can do, and perhaps more importantly, what it shouldn’t do. So yes, I did explore new approaches this time. I now have an instinctive sense of how the vocals should serve the song rather than dominate it. It’s taken me many years to reach that understanding — to truly let the music and the emotion guide the performance.
On your career and past experiences:
Looking back, which moments do you consider crucial for your artistic development?
The moment I became a full-time professional — about ten years ago now — was truly pivotal. From that day on, I could devote all my time and energy to my art, without compromise. That freedom allowed me to grow in ways I never could before, and I believe that evolution is reflected in everything I’ve created since.
Your collaboration with Bonamici in Unifaun and Roine Stolt with Agents of Mercy was pivotal. What lessons did you take from that experience?
It’s always valuable to have a sounding board — someone who’s equally invested in the project. You’re not alone in the creative process, and that exchange can be incredibly enriching. Of course, it comes with both pros and cons. These days, I’ve become very determined to follow my own heart completely and surround myself with musicians who truly understand what I’m about. I prefer not to have anyone tampering with my music anymore. I don’t like to compromise — and that’s precisely why I now have a solo career.
From a live performance perspective, what have you learned working with artists like Steve Hackett and Nick Beggs?
Not being the frontman, yet often having a frontman’s role, has sometimes been a delicate balance. The way I see it, the Hackett band has more than one frontman — it’s about whoever commands the moment. It could be Rob on sax, Roger playing something intricate, Jonas stepping into the spotlight with a tremendous bass solo, or me pouring my heart into a vocal performance. And of course, there is Steve – the star of the show. When Nick Beggs was in the band — which feels like ages ago now — we were almost like twins on stage. There was a certain chemistry between us that sometimes nearly stole the show, and not everyone appreciated that! But over time, I’ve learned that being in a band is all about knowing your place — when to step forward, and when to hold back.
Over the years, how have you seen Progressive Rock and its audience evolve?
I’ve seen them age! We more or less have the same devoted audience returning year after year — give or take a few new faces — to see what we’re up to. I wouldn’t say I’m an avid follower of progressive rock as a genre; I simply love great songs, regardless of style. So perhaps I’m not the right person to analyse the movement itself — I just try to make music that feels honest and resonates, whatever label people choose to put on it.
Do you have a memorable or funny anecdote from the Genesis Revisited tours?
That would definitely involve Nick Beggs and Rob Townsend. They’re both absolutely hilarious — true natural comedians. There were nights when they had me laughing so hard backstage that I ended up with stomach cramps, which didn’t exactly help my singing later on! But that kind of humour and camaraderie is what keeps the long tours fun and full of life.
Personal reflections and future projects:
After such a personal and collaborative album, what are your next artistic challenges?
To keep listening to my inner voice. I never want to be afraid of exploring or of stepping into new territory. The last thing I’d ever want is to repeat myself or rest on past successes. The goal is always to bare my soul and stay completely honest — because people can sense that. When the music comes from a genuine place, that’s when you truly connect with them.
How would you describe the evolution of your voice and style from your first solo album to “Monumentata”?
I’ve always had elements of soul and funk woven into my music, no matter what genre I was exploring — and over time, that’s become something of a trademark, even within the world of progressive rock. My singing has matured immensely through the years, and my voice has deepened, yet I can still reach those incredibly high notes, which honestly baffles me. At sixty-six, I would’ve thought that wouldn’t be possible! Singing is an art form you can never fully master — and that, to me, is the beauty of it. It keeps me curious, always wanting to discover more.
What is the main message you hope listeners take away from “Monumentata”?
That you see me — and accept me — for who I truly am. Like everyone else, I have a story to tell. This time it’s about my own life, my friends, my lovers, and my family — experiences we can all relate to in one way or
another. To truly touch someone’s heart, you have to be real, not a product shaped by someone else’s idea of who you should be. As I often say: style is your own — fashion is someone else’s style. And that distinction is important.
My personal thanks to Nad Sylvan for taking the time to share insights into his art and career. “Monumentata” is a journey through memory, technique, and emotion, brought to life by his unique voice and collaborations with some of the most talented musicians in contemporary Progressive Rock.
Purchase “Monumentata” on bandcamp: https://insideoutmusic.bandcamp.com/album/monumentata-bonus-track-edition-24-bit-hd-audio
Read our review of “Monumentata” here: https://progrockjournal.com/review-nad-sylvan-monumentata/