Dear readers, we are pleased to offer you in this article an interview with one of the most interesting bands on the modern music scene. With a mixture of Post-Rock, Krautrock, Space and more, we welcome Torsten Kinsella from the Irish band God Is An Astronaut.
Hi, how are you?
“I’m doing well, thank you. We just wrapped up our last shows of the year, it was great to close things out with
performances at home, including a sold-out show in Dublin.“
The band formed in the early 2000s, how did the project and the choice of the original name God Is An Astronaut come about?
“The idea for God Is an Astronaut emerged in the early 2000s as a natural evolution of our musical journey. After spending the ’90s playing in rock bands, Niels and I were drawn to the limitless potential of electronic music. Combining the raw energy of rock with the hypnotic textures of electronic soundscapes, we discovered a unique direction that became the foundation of God Is an Astronaut.
The name itself was inspired by a late-night viewing of Clive Barker’s Nightbreed in 2001. The line, “God is an astronaut, Oz is over the rainbow,” struck me immediately. It felt vast, mysterious, and resonant, a perfect encapsulation of the infinite and unknowable journey we wanted our music to represent. We shortened it to God Is an Astronaut, it became a mission statement for the sound and exploration we aimed to create.“
Your sound incorporates elements of Post-Rock, Electronic, Kraut, Space and more, how did your passion for these sounds come about?
“Our passion for diverse sounds developed naturally, shaped by our upbringing and musical journey. Growing up in a household where music was ever-present, we were influenced by our father, Thomas Kinsella, a member of the psychedelic rock band The Orange Machine in the late ’60s and early ’70s. His love for experimental and dynamic music shaped our approach to sound, not just in playing instruments but in understanding textures, moods, and the emotional power of music.
We stumbled into post-rock almost by accident. Initially unfamiliar with the genre, we combined elements of electronic music, rock, and shoegaze and our work was often categorized as post-rock. Unlike the longer, more traditional tracks of our peers, our early pieces were shorter and leaned heavily on electronic elements. While we appreciated post-rock’s atmospheric and experimental qualities, we always saw our music as more unique blend of influences shaped by our life experiences. The genre was a framework, but it never defined our music.
We also drew inspiration from the hypnotic rhythms of krautrock and the vast, otherworldly soundscapes of space music. These, combined with our rock roots and the freedom of electronic music, formed the core of our sound.“
Your new album “Embers” was released on September 2024, how would you describe this work?
“Embers is a tribute to our father, who tragically passed away on November 28th, 2023. The album explores the theme of life’s transience, reflecting on how we are like embers, burning brightly for a time, then fading into quiet darkness. Falling Leaves was written on his old Acoustic guitar the day after his passing, capturing the moment I witnessed his departure and the flood of wonderful memories we hold dear. This album is dedicated to his memory and the lasting impact he had on our lives and the band.“
There are some guest appearances on the album, what did they bring to the band’s sound and composition?
“The guest appearances on Embers were instrumental in shaping the album’s sound and emotional depth. Dara O’Brien, one of Ireland’s leading sitar players, introduced rich Eastern influences, fulfilling my father’s suggestion to explore the instrument. This addition gave Embers a distinctive identity. Jo Quail, an extraordinary cellist, contributed to every track, enhancing both the ambient and heavier sections with her expertise, adding depth and resonance.
Sean Coleman amplified the psychedelic and ethnic dimensions of the music, particularly on ‘Falling Leaves,’ with his zither and reverse tape delay effects. My friend Jimmy Scanlan further added to the album with his guitar playing and the classic tones of a vintage 1962 Vox AC 30, perfectly complementing the album’s vibe.
These collaborations brought a unique blend of sounds, reflecting the personal nature of the album and the diverse musical influences that inspired it.“
Long and refined instrumental textures, how does the creative process of your music take place?
“Our creative process starts with the basics: writing the core of each piece, often on acoustic guitar, piano or sometimes bass. From there, we focus on building the depth of the track, selecting sounds that enhance its meaning and bring the music to life.
We experiment with a mix of tools, blending analog and digital synths with software synths to create unique textures. These sounds are shaped using a variety of effects, including unconventional echo and granular plugins, as well as guitar pedals like the Hologram Microcosm, Mg Echo Folks Pedal, and Digitech Space XP Vintage tape echo machines also contribute a nostalgic, analog warmth.
To push boundaries, we manipulate these sounds further, reversing, halving or pitching them to explore new dimensions. Every element is carefully chosen to add emotional resonance and depth, transforming initial ideas into rich, expansive compositions.“
This is your eleventh studio full-length, how has your sound evolved over time?
“Our sound has evolved significantly over the years. When we began with The End of the Beginning, it was primarily an electronic studio project, created by Niels and me before Lloyd joined the band. Using tools like the Akai S3000 sampler and Roland XP80 sequencer keyboard, the album relied on loops and simple arrangements as we explored the foundations of our sound.
As we transitioned to live performances, we moved from drum loops to live drums and incorporated more guitars, which translated better on stage. This shift was evident in our second album, All Is Violent, All Is Bright. Since then, experimentation has been central to our approach, as we refine past techniques and introduce new ideas with every release.
Over time, our musicianship has matured, leading us to embrace alternative tunings, complex time signatures, and intricate grooves. Our compositions have grown more advanced, moving beyond traditional song structures to create unpredictable, narrative-like journeys. We now incorporate dynamic chord changes, tempo shifts and unconventional arrangements that feel more like cinematic arcs than standard tracks. These elements allow our music to evolve organically, evoking a deeper emotional response.
On Embers, for instance, we embraced an eclectic mix of influences, weaving ethnic and traditional elements like sitars, acoustic guitars, slide guitar, and cello into our sound. This added layers of depth and made the album one of our most diverse yet. Blending instrumental and progressive rock with psychedelic, noise rock, shoegaze, ambient, electronic and post-rock elements, Embers also incorporates Eastern and ethnic influences, reflecting our commitment to pushing boundaries.
Each album is a journey through unique soundscapes, drawing from avant-garde, traditional, ethnic, and progressive rock, as well as shoegaze, punk, jazz, electronic ambient, metal, and orchestral music. Our goal is to craft deeply emotive experiences for listeners, making every release a distinct and immersive exploration.
We recently released the news on your first Australia & New Zealand tour, what other plans do you have in the near future?
“Following our much-anticipated debut tour in Australia and New Zealand, we’re excited to announce a host of upcoming shows across various regions. From Scandinavia and the Baltic states to Eastern and Central Europe. Check our tour schedule on our website.
We’re also celebrating the 20th anniversary of All Is Violent, All Is Bright with a special release: the full, unedited version of the title track’s official video, accompanied by a new mix and remastered audio. Stay tuned for more updates, as we’ll be announcing additional dates soon, including shows in China, India and potentially South America. There’s plenty more on the horizon, so keep an eye out!“
How do you think the way of gigging has changed since the ‘90s? What has changed for you?
“Since we began gigging in the ’90s, the live music experience has changed significantly. On the positive side, our shows today are far better attended than in the early days, reflecting the enduring love for live music. However, some shifts in the industry are deeply concerning.
One of the biggest issues is the growing trend of venues taking a cut of merchandise sales. This practice is both wrong and unfair. Merchandising has always been a vital income stream for bands, and taking that away devalues the effort we put into creating our art and connecting with fans.
Rising travel costs, especially post-pandemic, have added another layer of difficulty, making it harder for bands, particularly emerging ones, to tour and reach audiences. Brexit has further complicated things, increasing logistical challenges and costs for European tours. Additionally, the exorbitant cost of US business visas has made touring there financially unfeasible for us, ruling it out entirely for the foreseeable future.
While some aspects of touring have improved, these significant challenges make it harder for bands to sustain themselves on the road. The industry has changed dramatically, and like many others, we’re doing our best to adapt to these new realities.“
Music is constantly evolving, how do you see today’s music scene in your genre?
The music scene, much like fashion, is always evolving in cycles, revisiting past styles with a fresh perspective. Right now, genres like punk, post-punk, shoegaze, and early post-rock are making a comeback. It’s fascinating to see how trends resurface, even as some of our peers from the 2000s experience a decline in Spotify listeners. This is partly due to shifts in the streaming landscape, like Spotify selling editorial playlists to major labels and changing trends that sometimes leave older styles behind.
At the same time, our own plays have been increasing. We’ve never focused on chasing trends. From the start, we made a conscious decision to build a loyal fanbase who truly connects with our music, rather than trying to please trendsetters or influencers. We’ve kept our heads down, focused on the long term and it’s gratifying to see that approach paying off.
It’s interesting how today’s media champions a punk revival as fresh and new while questioning whether post-rock is evolving. In many ways, post-rock has become a genre so diverse that it blends elements of avant-garde, ethnic, progressive rock, shoegaze, punk, jazz, electronic ambient, metal, and orchestral music. Yet, some stillargue that it all sounds the same. We understand that viewpoint, there’s a common thread, especially with the classic post-rock structure of a repetitive line building to a loud crescendo. It’s a powerful formula, but it can feel overdone.
That’s why we try to avoid that formula, opting for unique arrangements with unexpected twists. We want to challenge ourselves as artists and keep our listeners engaged, never quite sure what will come next. Our focus has always been on creating music that feels genuine and resonates deeply, regardless of trends.“
The music market has changed a lot in the last few years, given your experience, what advice would you give to young artists approaching music in a more sophisticated genre like yours?
“In today’s rapidly evolving music market, my advice to young artists, especially those in more sophisticated genres like ours, would be to stay flexible and strategic. The landscape has shifted dramatically, and it’s essential to remain active and relevant, even while developing your unique sound.
Releasing EPs and singles more frequently is a smart strategy. Instead of waiting 2-3 years for an album, try dropping a single each month or every few months. This keeps your music in the public eye and helps grow your streaming numbers. Albums still have value, but they make more sense when you have a dedicated fanbase eager to buy vinyl, CDs and merch. For now, focus on smaller releases and let your audience grow with you. When it comes to live shows, be strategic about where you play. Rather than trying to tour everywhere, build your local presence and promote your gigs well. Reach out to mid-sized bands to see if you can support them. A simple, respectful email can lead to opportunities to share the stage, and while you might not get the spotlight immediately, it’s a great way to network and build industry relationships.
For those who don’t have access to live gigs, focus on building your YouTube channel. Capture live performances, behind-the-scenes footage, or even acoustic versions of your tracks if you don’t have the budget for full music videos. Instead of spending thousands on one polished video, create multiple shorter videos or “shorts” that keep your audience engaged year-round. Consistency is key.
One mistake many artists make is rushing their music release. It’s crucial to live with your material for a while before putting it out. Spend at least six months with your music, this gives you time to gain perspective and catch any blind spots. Taking the time to refine your music will lead to higher-quality songs.
Regarding social media, focus on platforms where your audience is most active. While Facebook is still large, it’s beginning to feel like MySpace before its decline. Instagram and YouTube have worked well for us, though Instagram may follow Facebook’s trend. Don’t obsess over follower count, focus on engagement. Platforms like Bluesky (formerly Twitter) are also useful for visibility and real-time communication. For artists with more pop-focused music, TikTok is crucial, it can significantly expand your reach. However, for more niche genres, it might not be the best fit. Bandsintown is also a great tool to track your favourite artists and find out when they’re playing nearby, helping you stay connected to the live scene.
Lastly, Bandcamp is a great platform for artists to earn more revenue compared to Spotify. While Spotify is essential for visibility, it doesn’t pay well. It’s crucial to diversify your revenue streams. To sum up, young artists should focus on staying active, being strategic with their releases and using multiple platforms to engage with their audience. There’s no one-size-fits-all formula, but consistency and staying true to your sound will help you thrive in today’s music landscape.“
Do you have any other activities or artistic passions outside music?
“I’m drawn to activities outside music that still allow the mind to drift, like watching films, which offer a different kind of exploration. Walking in forests or hiking brings a sense of calm and solitude, which feeds backinto my music. Gardening teaches patience through watching things grow, contrasting with the chaos of music creation. Jogging clears my mind, helping me reset before diving back into work. All these activities bring balance, creating space where music can breathe.“
I thank Torsten for the interview and wish them all the best for the continuation of their artistic career.
Purchase the new album here: https://lnk.to/GIAA-Embers
Lineup:
Torsten Kinsella / Guitar, Piano, Synths, Backing Vocals
Niels Kinsella / Bass
Lloyd Hanney / Drums