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Reviews“The Prophet’s Dance”

  • Rock It!:“The Prophet’s Dance” is both emotionally moving and profound in terms of content. In short: JOHNWith his current work, ROSE delivers an album that hardly any fan of sophisticated rock music can ignore.

  • Relaxing music with quality and a feel-good guarantee! […] At times I have to think of British prog rock, Tom Petty (RIP!) and the German band Subsignal. The whale artwork by cover artist Thomas Ewerhard fits well with the music and is an absolute eye-catcher, just like the entire CD design.https:

  • Metal Division “The Prophet’s Dance” has a certain snappiness that thrilled me – an extremely good album with lots of melodic guitar lines. “The Prophet's Dance” sounds well-rounded and both the metallic and melodic-rock passages, the modern elements and the heavy grooves as well as the vocals are combined on “The Prophet's Dance” with a powerful production that places particular emphasis on the outstanding guitar work and that existing hit potential of individual songs […].

  • “The Prophet’s Dance” reflects the maturity, depth and development of his music, which has been appreciated by numerous critics and fans alike. […] JOHNROSE's music not only reaches the ears, but also the hearts of his listeners. His approach, current topics with melocombining different sounds makes him one of the most remarkable artists of this time.

  • JOHNROSE’s “The Prophet’s Dance” is a masterful fusion of melodic prog, AOR and art pop. […] Every song is an artfully designed chapter […] The musical maturity and the visual presence through the artwork by Thomas Ewerhard make this album a must-have for lovers of sophisticated rock music. […] The messages and symbolism of the lyrics are deeply touching and reflect JOHNROSE's emotional depth. In “The Prophet’s Dance” the listener loses himself in a sound universe that captures the essence of sophisticated rock music from the last four decades.

  • Rhine newspaper: If Rösgen's twelve songs remind you of big names like Ggenesis, Jethro Tull or Alan Parsoms, you're right. Without simply copying such role models, JOHNROse develops his own musical worlds on this basis. "What Is Going Round" is imaginatively arranged, "Calling For you" lives from intelligently used keyboards, the surprising changes in tempo and, above all, the accentuated drums of Lahnsteiner Gerd Portugall. Thilo Willach's saxophone passages in "Mary" are almost fantastic., then wRösgen also varies his concept with 80s keyboards ("Manner Of Traveling") and songs that sound a bit like Steve Winwood and pop harmonizers a la Keane or Kaiser Chiefs. WBut when JOHNROSE then pulls off the highlight of the album, the title song, that's a great thing in itself: he packs in everything that makes up his musical cosmos between powerful power rock and beautiful melodies. And then there is this extraordinary story about the whale, which, as Johannes Rösgen puts it, becomes a prophet and sees something hidden in us. Top notch!"

  • Hardline:  JOHNROSE is a musician from Koblenz who has refined melodic rock music with singer/songwriter elements. The twelve pieces are all very successful and have sophisticated lyrics.[…] "Hurts" is also a very emotional song with great psychedelic elements, the subtly dramatic title track "The Prophet's Dance" rounds off the versatile and soulful album. JOHNROSE has hired a permanent drummer and guest musicians on a few songs project, so that the compact, melodic and mostly catchy pieces have been orchestrated in a multifaceted manner. All songs have sophisticated lyrics that are mainly shaped by personal experiences, but a few socially critical elements are also included. The twelve pieces are all very well done , the most striking tracks are the rocky opener "Calling For You", which criticizes the authoritarian thinking, "Manner Of Traveling" is also rocky and groovy and deals with the rapidly changing world. "Around The Lake" is the early loss Lyrically processed by John's father, "Hurts" is also a very emotional song with great psychedelic elements, "Lovers Are Strangers" is a beautiful love song, the subtly dramatic title track "The Prophet's Dance" appropriately rounds off the versatile and soulful album.

  • Legacy:With his music, Johannes Rösgen aka JOHNROSE moves at the interface between melodic rock that was commercial in the 1980s (Whitesnake without huge stadium hooks comes to mind) and more progressive tendencies that bring to mind easily accessible Yes or classic Marillion. […] The songs could in principle be played on the radio without exception […]. Rosgen's duet partner Victoria Wydymanski occasionally adds splashes of color, and in general the material is pleasing due to its unobtrusiveness, without giving the impression that it is babbling along shallowly. You actually want to see the whole thing live - and the cool-warm cover by prog specialist Thomas Ewerhard (Enchant, Masterplan, Poverty's No Crime...) fits like a glove.


Reviews Wings

EMPIRE  Issue 138 from 05/2020


Almost two years after his last studio album The Key, the German multi-instrumentalist with the stage name JohnRose presents a new work. When listening to the new songs it quickly becomes clear that Wings is another clear step in the right direction. The songs are very varied, coherent and very well produced. You can skilfully mix short, crisp rock songs like Change! or Pay the Price and melancholic, slightly progressive epics like How could I be so blind. The title track Wings reveals ballad-like singer-songwriter qualities, while songs like “Treasure” or The one I want perfectly summarize the entire range of JohnRose’s art in five minutes. The other songs are also convincing in their own way. Particularly noteworthy are the almost six-minute Toward the sun, a prime example of JohnRose's charismatic music, and the closing ballad This time remains, untypically sung partly in German and partly in English. This gives the song a special flair. A relaxed, beautiful album. Keep it up!


Edition N3 | 130 from 01/2021


JOHNROSE on his new album also has all the requirements it needs to be in one of the liveliest  Navigate scenes of classic rock. On “Wings” he celebrates poppy melodies as well as slightly progged classic rock, works with buttery smooth melodies, creates sophisticated arrangements that don't work the first time, even if the respective chorus sticks immediately. The need for harmony is also huge on the fourth release by the artist, who was actually named Johannes Rösgen, but he doesn't waste it on mainstream pandering or easy-listening fragments, but rather likes to give himself away. willing to experiment, swings between genres and explores new horizons without having to abandon the melodic course too much. The result impresses with great vocal lines, wonderful melodies and a singer who always gives his rather soft performance impulses that turn the tide on the supposed softener character. Whether “Wings” will finally catch onOnly time will tell - as a converter between musical worlds, JOHNROSE deserves the attention he deserves with this record at the latest!

Legacy cover and info:



AOR (abbreviated for “Adult Oriented Rock”) had its heyday in the eighties. Bands like Toto, Boston or artists like Bryan Adams can be cited as defining the style. Characteristics were radio-friendly stadium rock qualities of the songs and a tendency towards power ballads. A man from Germany also brings all of this with him: Under the stage name JohnRose, Johannes Rösgen has been making very professional albums in exactly this style for several years. It's a rock album from Germany that's tasty and you (almost) can't hear it. The song call “Change” by John Rose offers crashing electric guitar and massive organ chords plus hair-pulling strings that make you think you've landed on a melodic or classic rock album from the late 70s, somewhere between REO Speedwagon and  Blue Öyster Cult. “How could I be so blind?” develops from a piano ballad into a symphonic epic like Alan Parsons. Many of the songs also have a fluffier style. So with numbers like “Pay the price” or the title track you tend to follow Tom Petty paths. “Treasure” has something like a soft BJH piece, “The One I Want” is a song for the summer vacation with its Spanish-style guitar.


MUSIC CAMPUS Issue from November 3rd, 2020

JohnRose impresses again with his unusual approach to rock music, which surprises you every time. Last but not least, it is his memorable voice that makes listening to the album a lot of fun. Drawing comparisons is always a problem per se, because they often don't do the artists justice. But the voice reminds me of Liam Gallagher and Robbie Williams. Be that as it may, the album Wings is one that puts you in a really good mood and should definitely be heard.       

Complete review:


Interview in issue 134 of 01/2020 about the album “THE KEY”

Johannes Rösgen (JohnRose) has been musically active for a long time, but in rock and prog circles his work and his works are unfortunately still far too little noticed. Only a few people know his projects Athis, Copyright, Giant For A Day as well as his two solo albums Behind the Gates and the current The Key. Tim Stecher came across The Key and the interesting biography of Johannes Rösgen by chance and uses his intensive, comprehensive conversation to draw attention to this interesting and versatile artist.

Complete interview as PDF file

Reviews “The Key”

MUSIC CAMPUS edition of March 12, 2019


I had no idea what to expect and was surprised in several ways. First of all, it was the musical quality and variety that overwhelmed me like an avalanche. Not for a second was I bored or did I have the feeling that there were useless repetitions. However, it was John Rose's voice that spoke to me most emphatically. His voice is very individual and reigns, the voice sounds young! And his music is just as young and has everything good songs need: variety, melody, harmonies and a memorable voice.

Complete review:




RADAR Issue from February 27, 2019

John Rose with this album sets out to take up fantasy rock in the “Music from the elder” style. He seems to be kissed by the muse or inspired by the rugged, untamed and wild beauties in nature and tries to paint a fairytale story out loud with poetry, melancholy and dramaturgy. In this respect, JohnRose acts as a modern troubadour, exploiting the wealth of possibilities as a storyteller with saxophone-enhanced interludes in "Soil, Air, Sun and Rain", the Mike Oldfield-sounding "Dream on" or the fairy-like "Woman in wintertime" intoned by Victoria Wydymanski. uses high contrast. Melancholic dream sounds and gentleness alternate with heavy riffs and soft tones, so that "The Key" is not a clear heavy or prog rock album, but rather a fantasy symphony rock album, an odyssey through the "sea of life", that it's worth immersing yourself in the diversely decorated soundscape.
Complete review:



JohnRose has apparently found the key and has created a very interesting album with his album The Key. The opener Soil, air, sun and rain already fascinates with a saxophone solo that has not been heard since the good old 1980s. JohnRose scores with Awaiting, an uptempo number or a Sing me to, Raven that is reminiscent of the prog rock of Rush or even Dream Theater. A musical journey from Steven Wilson to Mike Oldfield in today's sound. The potential and future prospects here are excellent.


City guide Rhein Necker in 2019

When it comes to the compositional depth and versatility of the compositions on “The Key”, JohnRose can keep up with the greats. Just listen to “Dream On”, “Woman In Wintertime” or the great “Sing To Me, Raven”. JOHNROSE is probably more of a closed book for progheads in this country. And that's a real shame, because between Steve Wilson and Gazpacho he's exactly where their musicians are: somewhere between prog and art rock. - there is an incredible amount of potential in it.


Cute and dangerous in 2019

It's not easy to describe JohnRose's sound. It hovers somewhere in the 70s and has a lot of Fairport Convention, Winds in the Willow, but also features of modern rock compositions. JohnRose has a journey through the different styles of the Progressive period and he does it very well. What's particularly impressive are the constant surprises that come up in almost every song and give the album a very mature note. Be sure to listen, it's worth it!


Supervised programming
Review from March 28th, 2019


Another new and previously unknown face in the fast-moving prog rock landscape. The term is new to JohnRose, of course, and needs to be put into perspective, as he has already earned a certain reputation locally as a live musician with the rock band Floor 6, among others. Hot rock music, cover versions or powerful ballads are the focus of this formation. The roots of his work can clearly be found in the music of the seventies. With “The Key”, JohnRose will definitely delight fans of the gentle, harmonious melody. “The Key” is an album without hecticness and provocative nuances, true to the motto that life can be different. 15 tracks that invite you to dream and relax.

Complete review:



JohnRose used the time since “Behind the Gates” five years ago to hone his qualities as a songwriter. He still writes smart lyrics (which he could have printed in the CD booklet) and has matured as a singer; 15 pieces would not have been necessary to underline the positive impression made by the key numbers “Dream on” (newer Marillion send their regards), “This is the death for me” (here one thinks of Simple Minds at the beginning of the 1990s) and “ “Riding on a satellite” (Bryan Adams meets Arena).


Jochen König Review from April 12, 2019 

With “The Key” he hires himself out as key master under the alias JOHNROSE. It's warm, friendly melodic rock with a slight prog edge. Vocally, Rose's skillful performance is reminiscent of Yogi Lang, which also seems to be transferred to the music, as there is a lot that is reminiscent of RPWL, or rather its predecessor VIOLET DISTRICT, in the rehearsal room. Quite explicitly in “Non Returning Day” and the title song, at least until folk is skilfully flirted with later on. Here, as with “Woman In Wintertime”, Rose is accompanied vocally by Victoria Wydmanski, which makes the two pieces the highlights of the album. The saxophone in the opener is also good. You can shed a tear during the wistful “Masquerade,” which is carried by the piano and delicate guitar.

Otherwise there are songs in which strings lay a solid foundation (the strong “Desire”), which are reminiscent of the better songs by Paul McCartney (“Part Of Me”) or FOOLS GARDEN, which act as if they were the BEATLES . That always comes across as charming. The bonus track “Meer des Lebens”, the only one with German lyrics, is almost a homage to bands like STERN COMBO MEISSEN (early), LIFT and NOVALIS in well-sorted times. Rose is a master of keyboard instruments, which are often used.
CONCLUSION: JOHNROSE's “new album [is] not for people with a low attention span,” claims the package insert and is right. JOHNROSE's music is soulful, playful and very melodic. In these times of agitation and excitement, why not believe in the good in people?
Complete review:


Progdependent progressive rock radio magazine, Harald Schmidt 
Review from November 16th, 2019
JohnRose made a name for himself in 2011 with his prog concept double album “Ride The Raven”. His 2019 album The Key is certainly a long way from this. But nonetheless it is a tasteful and sophisticated rock album. The mix of classic rock sounds, singer-songwriter folk and a certain penchant for complex arrangements is honest rock music with depth. In its brightness, the singing in individual songs is a little reminiscent of RPWL or even the Pet Shop Boys. If you like listening to Ray Wilson's versatile solo albums in addition to all his progheimers and like handmade, tasteful rock music, you should just give JohnRose and The Key a try.


Music newsletter

A voice that I immediately want to categorize as “art rock” and after 20 seconds I am confirmed. At some point in his youth, JohnRose must have exposed himself to the music of “Marillion”, “Alan Parsons” or “Greg Lake”. Playing tips: “Sing to me, raven”, that  the medieval, cuddly rock “Follow me”, “This is he dead for me” and the hit-worthy, reminiscent of the best classics from “R.E.O. Speedwagon-like “Riding on a satellite”. The German musician saved one of the best pieces for the finale: The (only German-language sung) bonus track “Sea of Life” pleases with beguiling vocals and a strong guitar arrangement.


EMPIRE Issue 133 from 05/2019

JohnRose's music shows an astonishing progression from album to album. Ballads such as Woman in Wintertime or The Key, in which Rösgen shares vocals with Viktoria Wydymanski, are particularly catchy. JohnRose proves to be a gifted multi-instrumentalist and producer who does his many jobs on the album very well. Whether it's a poppy singer-songwriter in Part of me or a heavy rocker in the short Desire, the portfolio presented on the album is wide-ranging. The two balladic compositions that close the album, Non Returning day and Masquerade, are prime examples of JohnRose's feel for emotional melodies and captivating arrangements. Vocally he can always convince on The Key. His voice is very pleasant and variable. The bonus track Meer des Leben shows another facet of the versatile composer, as his haunting songs also work in German. I like surprises, and the discovery of JohnRose was definitely one of the positive new discoveries of 2019 for me. A nice original production that leaves you wanting more.

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