Creating an ear grabbing proposal forged in the fires and technical styling of hard rock and heavy metal, Italian guitarist Albert Marshall has just released a debut solo album in the magnetic shape of Speakeasy. It is an eight track collection of instrumental adventures, though a couple also feature the guest vocals of Mark Boals (Y.J.Malmsteen, U.J.Roth, Ring of Fire), which highlight but do not boastfully self-congratulate the undoubted prowess of Marshall whilst making for one rather enjoyable adventure.
Picking up his first guitar aged 16 and self-teaching with Deep Purple records, Marshall subsequently embraced and explored the broader expanses and styles of metal and rock alongside flavours such as blues and funk. Graduating from the Modern Music Institute while already gaining experiences in various tribute and original music making bands he proceeded to become part of metallers Altair, playing on their Sleazy Rider Records released album Descending. Now the Padova hailing musician has ventured forth with his own solo work and first full-length with Speakeasy seeing bassist Simon Dredo (L.a.Rox, Alex De Rosso, Adam Bomb) and drummer Roberto Gualdi (Pfm, Vecchioni, Glenn Hughes) playing alongside.
Inspired by the styles and sounds of Steve Vai, Joe Satriani, Paul Gilbert, and Jason Becker, Speakeasy immediately reveals its voice and Marshall’s magnetic prowess through opener Butler’s Revenge. From start to finish, his strings vibrate like suggestive vocal chords in ears and imagination. Alongside Dredo is no lightweight either, the pulsating resonance of his bass equally captivating and appetite ensnaring as Gualdi provides a manipulative frame for the pair to conjure upon.
The superb track sets the tone for the release in style, though each subsequent piece brings its own open individuality and technical dexterity with next up Badlands aligning an enticing hue of restraint to the same eager energy and charge of its predecessor whilst weaving its own picturesque landscape of melodic metal. Wiry grooves vine the darker muscular trespass of the track, their melodic tendrils intoxication within just as potent rhythmic shadows while its successor, Fallen Angel encases the senses in a web of heavy metal endeavour. The first of two tracks featuring Boals, it is a more unsurprising slice of heavy metal yet revels in the individual and united prowess of its creators if without catching fire in our imagination as the tracks around it.
Captivation and enjoyment is only reinforced through the melodic metal waltz of Re Marzapane and the alluring sonic lattice of Dreamlover, the former carrying a glaze to its grooves which is almost punk like against the track’s progressive nature while its successor creates a tapestry of sonic hinting rich with cosmopolitan suggestion and sophistication. Both tracks enthral without deviation before Tristam Fireland re-ignites the album’s heavy metal heart with Boals back involved.
The blues stroll of Ramshackle Blues had personal juices, which faltered a touch with its predecessor, flowing again, its enterprise bound saunter a rousing spark to body and spirit. The brief closing piece of Eclipse (White Horse) equally seduced; its melodic ballad mesmeric, descriptive, and thoroughly beguiling.
And that pretty much sums up Speakeasy and the craft of Albert Marshall, a release and ability which is pretty much spellbinding.
Speakeasy is out now via Red Cat Records across most stores.
The new EP from Italian progressive metallers Virtual Symmetry, X-Gate is quite simply a theatre of sound, craft, and creative storytelling which keeps ears and imagination greedily engaged from start to finish. Simplicity though is not a feature of the release with every song a kaleidoscope of flavours and styles, each encounter a lure into surreal realms and adventures woven with individual and united craft which alone grabs attention.
Founded by guitarist/ multi-instrumentalist Valerio Æsir Villa, Lugano hailing Virtual Symmetry potently build on the creative landscape and progression of their well-received debut album Message from Eternity of 2016 with X-Gate, creating a web of enterprise and imagination which ensures fascination is an equally lively reaction. There are moments when things settle into a calm temptation, a low key seduction and other times when the EP ignites a real zeal for its dramatic body of sound and invention but always attention is firmly hooked.
X-Gate opens up its exploration of man and its evolutionary possibility, which starts with its artwork, with Eyes of Salvation. Instantly guitars coax the listener with a fiery glaze to their lures before a portentous calm is accompanied by poetic strains of piano from Mark Bravi. Swiftly his additional keys flame up as the rest of the band unites their essences in a rising tide of sound and suggestion. Vocalist Marco Pastorino walks alongside the piano in another mellow passage, his potent voice matched by others within the outfit, before that fire erupts once again with the rhythmic rapacity of bassist Alessandro Poppale and drummer Davide Perpignano driving things. From its first breath, the track is a web of enterprise and thought, a myriad of textures and layers explored better over subsequent listens though its infection loaded chorus is a swift recruitment of ears and involvement. Across its seven plus minutes, the song continues to tease and tempt whilst weaving a fluid collage of styles and theatrical imagination.
It is a great start which has ears and appetite hooked for that to follow starting with the epic flight of Alchymera. For almost a quarter of an hour, the song is a magnet for the senses and thoughts; its celestial and emotional journey especially blessed with keys carrying a definite Bill Nelson vibe whilst the guitars give Steve Vai like scents to their endeavour. An eighties new wave/synth pop essence also simmers within the track, seductively caressing its more irritable traits while Villa alone brings an emotional drama and moodiness to the track which is absorbed and emulated in the atmospheric climate spreading across the mercurially alluring and skilfully woven landscape.
Elevate completes the release, the track notable alone for the union of Pastorino with the radiant voice of Diane Lee from Swiss melodic progressive metallers Lost Journey. The pair is surrounded by a serenade of sound with volatility in its nature as potent as the emotional drama and invention loaded imagination baring their qualities. The song almost swarms the senses with its charms and fiery heart, breaking into more tempestuous moments throughout to only increase its pull.
It is fair to say that though its strong first showing, X-Gate simply escalates in depth and persuasion over time. Virtual Symmetry is a richly intriguing and tempting proposition from the outskirts of the progressive metal landscape but a prospect increasingly coming to the fore with each offering they make and though the EP might not end up on the year’s best lists come the New Year, but could for many, as one of the most enjoyably fascinating propositions X-Gate is right up there.
Hailing from Exeter in the UK, The Dreamer Within is a band beginning to lure very potent attention with their compelling metalcore bred sound. Young as an outfit, they have already shown themselves a fresh presence and roar on the British metal scene with a stage presence that has audiences swinging s evidence by acclaimed shows with the likes of I Divide, Glamour of the Kill, Skindred, and Palisades. Recently the quintet unveiled a new video for the song Purge for another big poke at broad attention. It had us wanting to know more, so with thanks to the guys we explored the beginnings of The Dreamer Within, their new video, an impending EP, and more besides…
Hello and many thanks for taking time to talk with us.
That’s kewl 😀
Can you first introduce the band and give us some background to how it all started?
Alex and Charlie started writing stuff when they were at Uni many years ago…like 7 years ago (they’re both well old). They both knew each other played guitar from school but Charlie didn’t like Alex because he had better hair and knew how to play more Metallica solos than him. However they ended up jamming together in a covers band and started writing their own stuff just for fun. They’d send each other random riffs and ideas and eventually ended up putting drums to some stuff so things sounded a bit more legit. One day though, Alex decided to put some synth over one of the riffs for a joke, however there was actually no laughing matter – it sounded genius. Well actually it sounded terrible but it started to influence some other things they wrote and eventually synth became a must for any song ideas. To cut a longer story shorter: they eventually got in touch with some people who they thought might be interested in actually playing some stuff live, including Alex’s dear cousin Josh who loves to play a bit of bass. After a few years of practice, writing and re-writing everything and a couple of line-up changes we eventually managed to play a show in July 2014. Ultimately, our love of metalcore probably brought us together, plus we all really like wearing vests. We all have pretty similar music tastes though, ranging from more straight up metal to trance/EDM so going down the contemporary metalcore route was a pretty natural thing for us.
What sparked the decision to form the band and the direction it was to take?
It’s always been quite a natural development, we all love our music heavy and full of synth! As mentioned above, the original conception of the band happened years ago (you can probably still find the original version of Recovery on the internet without having to look too hard) and the direction of the band really just came from a culmination of the things we love about music, minus Taylor Swift’s voice though unfortunately.
Is there any specific meaning behind the name?
Choosing our name was a stressful time. We all had terrible ideas and it got pretty frustrating as all the super cool names were taken according to numerous Google searches. We agonized over so many until one day at practice, Charlie lost it and said “right, I’m going to my car to get my mountain dew and packet of cashews, I want a name by the time I return…” and sure enough, Eliott came up with The Dreamer Within. It probably reminds us most of Charlie being furious and eating cashew nuts, although on a more serious note, we liked it as it vibed well with our style as a lot of our lyrics relate to recognising what’s important within oneself and looking at the world outside the box if you catch our drift. At the core of it, the name refers to the part of yourself that is dormant inside that aspires for greater experiences.
Tell us about your early days as a band; the unforeseen surprises and difficulties which you came up against that maybe musicians do not expect or realise will show themselves.
It’s still pretty early days really! I think one thing we never really considered was just how much effort (and equipment) has to go into creating the kind of sound that we have to manipulate live. I’d say one of the biggest surprises was probably when we played our first show after releasing our debut single Heart of Mine as originally we just wanted to release some music and play a live gig to say that we’d done it; the feedback was so overwhelming that we decided to keep going and never really looked back. In hindsight we could have probably done a far better job at getting ourselves shows at the start – we ended up waiting to be asked by other bands a lot which was awesome when it happened but it did mean we struggled to keep ourselves booked up. Ultimately, we realised that everyone in the local Exeter scene was super nice and talking to people/other bands was the best way to get about. Typically, no one ever has any batteries and we use A LOT of batteries for all the wireless stuff etc. The amount of times we’ve had to do an emergency battery run before a show is ridiculous – we never learn! Josh is the worst for this and also equipment in general. One show we played in Plymouth had him kneeling on the floor playing after his strap broke mid set. Obviously he didn’t have any sort of backup plan so the drummer from The Core of IO had to duct-tape it up for him while he was playing…we looked really awesome…
As you say, it has been a relatively short time that The Dreamer Within has been around; how would you say your sound has evolved in that time?
To be honest not that much – the first two songs we released in 2014: Heart of Mine and Recovery 2.0 are songs that were written alongside a few others that we actually had in mind for our up and coming EP so we’re still very much influenced by our original ideas. We guess that people can probably expect a far heavier EDM presence in some of our more recent compositions but essentially we want to get better at what we started doing rather than change our sound loads of times before people really get to know us.
Do you write and create as a unit?
Alex and Charlie often lay down the primary structure for most of the tunes as they’re both guitarists. They also have the responsibility of recording, mixing and mastering everything so it makes sense for them to take the lead on that side of things. However overall the songs come together from everyone’s ideas as Eliott is a keen synth composer and Matt handles pretty much all the lyrical side of things. As much as we make fun of him, Josh is a sick bass player and he rarely has to be taught anything and is happy to write his own bass parts rather than mimic the guitars…All pretty harmonious really.
You recently released the video for new track Purge. Tell us about the song’s theme first of all.
Purge is primarily about recognising agents of deception and control in everyday life and “Purging” the feeling that you need to conform to believing what’s force fed to you or allow yourself to be easily influenced by common sources of information. Essentially the message is ‘don’t believe everything you read/see, don’t just sit there letting the world carry you along, get out there and find your own truth.’ We hope we don’t sound too cliché and political!
The press release with its announcement suggested that your new tracks, as well as being more creatively imposing and inventive, have “a darker lyrical tone.” Can you elaborate upon that and does Purge epitomise that evolution or are there further dark depths to be discovered?
We think the darker elements come from the overall feel of the songs themselves rather than the lyrics. We find it impossible to write anything in a major key! However regardless of what the song is about, lyrically we always try and put a positive spin on things to inspire a more uplifting feel.
What kind of things most inspires the band’s lyrical side?
We like writing about mankind’s place in the Universe, why we’re all here, what we should be doing while we are here etc. We are all really into space and all that cool stuff so we’d like to think our songs have a really big epic feel to them. We also like writing about some supernatural/potentially supernatural stuff as we think that a lot of potential answers to the world’s great mysteries could lie in thinking a bit more radically than the norm. Our first single, Heart of Mine is actually about Final Fantasy 7 which is one of our favourite video games. Video games are a theme we’d like to explore more in the future. All of us are also massive Star Wars fans so you can probably expect to hear a song in the future that mentions about how Rey from the new film is the greatest female ever.
Back to the video; who did you film it with?
An ace gent who goes by the name of Ben Lumber; the frontman of Acres who are currently killing it in Europe.
Did you, as a band, have a particular idea for it in mind or left it to the director etc. to come up with the basis for what is certainly an eye catching, ear pleasing proposal.
We scouted out what we thought was a pretty cool location for a first video. To be perfectly honest we took a lot of influence from videos that came out in the golden 2008 – 2012 metalcore/(dare we say it) crabcore era. It’s not a big surprise to hear that we love all that stuff. Because it was all performance based, it was up to us to choreograph our moves and group shots. We tried to throw in as much energy from our live shows as possible so what you see in the video is pretty close to what we pull off live, although that can be dependent on the size of the venue! Ben had some great ideas for angles and solo shots etc. but we had a lot of input in the visual side of things and Ben was great at listening to our ideas and working with us.
I believe the band is working on a new EP? Can you give us some insight and spoilers to that?
Cheeky 😉 I think we can probably let slip that the EP is going to be called This Is Not Our Home and will be out at the end of May. It will be made up of 5 tracks including Purge and another new song we’re doing a video for very soon. After listening all the way through, you should end up feeling like you’ve just danced with the Incredible Hulk at a rave until 6am.
Apart from the EP, what is in store for The Dreamer Within fans from hereon in across 2016?
We’ve got some really cool festival announcements coming up over the next few months including Massacre Fest in Gloucester. We also have our first tour booked from June 1st to 5th with High Rise, Follow the Wolf, and Last Hounds which we’re stupidly excited for. It will be our first time playing most of the venues on the schedule including dates in Leeds, Leamington Spa, and London so we’re really looking forward to seeing how we go down in places that aren’t near the South West.
Many thanks again for chatting with us. Anything you would like to add?
Thanks for having us! And to those of you coming to our hometown show of the tour on June 2nd – keep your eyes open for a ripped and kewl announcement about that 😉
And finally, give us an insight into the records and artists which could be claimed to have most inspired your own life and creativity.
We’re inspired by a lot of the bands that people wouldn’t be surprised by like Asking Alexandria, Abandon All Ships and Enter Shikari etc. Although collectively, it’s not unusual to see us listening to artists/bands like Steve Vai, Joe Satriani, Yngwie Malmsteen, Bullet for my Valentine, Trivium, Black Sabbath, Whitesnake, Erra, Funeral for a Friend, Paramore, and The Lonely Island to name a few.
2016 received one of its early treats just a few weeks back with the release of the self-titled Sahona album. It was the debut release from the new melodic rock project of vocalist/guitarist/keyboardist Charly Sahona of progressive metallers Venturia. It is a release which is, in our own words “a rousing drama of sound and imagination.” Offered the chance to find out more with Charly, we grabbed a hefty chunk of his time to explore the creation of the band and its first album, and simply the creative heart of the man…
Hi Charly, many thanks for sharing time with us. How are things in the Sahona area of the world?
Hello, thanks for the invitation. Well, things are fine here. The album is out and so far, reviews have been very positive about it . We’re about to release a new music video and shoot a new one. I’m working like crazy in order to perform these songs live as soon as possible . So, I can say I have a good life .
Before we look at your excellent debut album, would you tell us about the first days of Sahona. It was originally meant as a solo project for you?
Oh thanks, I’m glad you like it !!! Sure, you’re right , at first, the album was meant to be a solo project and more precisely, the follow-up of Naked thoughts from a silent chaos released in 2010 but the songs are quite different and so are the musical arrangements and the line-up. So, the first days of Sahona as a full band are recent but the writing of the songs began in 2013. Oh It actually took a lot of time before we recorded and released it .
What sparked the creation of the project; what was it you wanted to explore different to your music in progressive metallers Venturia?
I really wanted to do something different with this one. I like my musical-making to be in a constant motion. At the same time It’s necessary to stand back with the last thing you released and start something new with fresh ideas and enthusiasm. For this project, I wanted to write something without any heavy riff played on a 7-string and focus on different musical textures, guitar sounds and new grooves.
You touched on it earlier, so you had a collection of ideas and songs already in the works before you invited fellow musicians to help out?
Yes, after I finished the first 4 demo-songs, things were clear in my mind and I knew who I wanted to work with. I like to make music with talented people of course but it’s always better when you do it with your friends. So I first asked drummer Stéphane Cavanez to join me , I’ve known him for a long time, he’s a brilliant musician, very enthusiastic about things. After hearing the demo version of On this winter night , he said he would agree to play on all the songs . Same thing with my long-time friends Fabien Paraillac and Cédric Artaxet; I don’t remember exactly if I sent them the first four demos before asking them to join me but anyway, both of them agreed. I was very glad and happy they all said yes to join me for this project. I knew they would sound great together and that my songs would have been transcended thanks to them .
So what was the catalyst to changing the idea of guest musicians to a full band?
It was something I had in mind for a while , as the songs have a different sound compared to the things I did before. As we were recording, there was an obvious musical chemistry going on and it reinforced me to think about having a band name for this project. So I talked about it with Chris from Dooweet agency and to my buddies. We all thought that the idea of the band was obvious and as the name Sahona sounds cool for a band too, the choice was done, easy to make and I didn’t have to scratch my head during days in order to find a new name . The other thing is: as the musicians are my friends, the idea of having a band together was something natural. More, I really like to immortalize music with talented friends.
Was it an easy to decision to ‘share’ your songs with I am guessing musicians with their own adventurous ideas when creating music?
Sure, it was very easy as we’re all professional musicians . There was no ego thing that could have been hard to deal with . I wanted a more organic sound and a sophisticated modern rock approach and I knew what my band mates were able to do .
For example, the drums I programmed were done in a prog-metal style and Stéphane brought a more refined rock groove, I let him do his stuff as everything was matching .
As I’m the lead singer and as there are many guitar layers on these songs it was obvious to ask for help and some back-up . I couldn’t imagine another guy than Fabien to play the guitar with me on this album. We have the same guitar approach but he’s more rock than me.
We recorded a lot of different guitar takes and during the mix, we chose what was best for the song no matter if it was him or me playing….
He did an amazing job on the mix too. Just like his guitar sound, all the songs sound powerful and organic.
Regarding the bass, there was a couple of things I asked Cédric to play the exact same way I did on the demos. But as my bass programming was voluntary basic most of the time, he added his own personality and groove that matched perfectly Stéphane’s drumming . He even changed some root notes that at first surprised me, and the more I listened to it, the more I liked it.
In the end, everything felt easy and natural.
Did their input mean your songs changed or evolved from their original characters once the band was a full involvement of all?
No, not really but I guess things will evolve when we’ll perform live. It’s a natural process and it’s important for us to make slightly different things when we play the same songs over and over.
When writing songs, do you come at them from different angles or have a general way of bringing them to life from idea to sound?
I usually have a precise idea of how the album or a song will sound like even though the root of all songs is based on a guitar or keyboard chords progression and a simple hummed melody . Then, I’ll program a midi file of what I just did. If the melody sounds good with a bad flute midi sound and a midi bass line, I keep the idea and will have a clearer vision of how it will sound like with all the instruments. Then I’m thinking about what kind of drum beat, bass line, guitar riff, and keyboards texture would fit with the idea of the song and at this moment, the creative process is growing fast. Or, not that fast actually because getting the right keyboard sounds or guitar effects takes me a while very often. When I’m programming , I have in mind how my band mates would play it and that’s the reason why I’m never really surprised (although I’m always amazed) when they bring the songs to life with their style and their sound. It sounds obvious to my ears and at the same time I’m so excited to hear what they bring to a song and to discover how it takes the song to a higher level.
Tell us about the lyrical themes behind the album.
Sure ! I decided to do something I never really done in the past. I wrote about the most widely expected subject in the world: Love !!! But not the way girls like it though (no offence intended girls, I’m just kidding !!!) .
Reading and writing romantic and soppy stuff are not my thing at all as I’m a cynical and rational guy . So the majority of these lyrics are about love and its frustrations and turbulences . It’s way more interesting, true and realistic in my opinion. But when I say “love”, It doesn’t only mean the feelings you have for your girlfriend or your boyfriend, I use it for the passion you have for your art or whatever that excites you too, it can be painting, sport, your beliefs and then we’re slightly get into the spiritual aspect and themes I like to write about as well.
Most of my lyrics are not explicit, this way people can identify with them and make their own story.
I usually prefer to describe impressions than reality.
What about the recording of your self-titled debut? How long was it in the making?
It’s funny because it took a long time to finish it (something like two years !!!) but the writing and the recording were actually very fast and easy to do. As we’re used to record in studio, we know how it works and we’re getting more and more efficient and good at it. But as we didn’t have any deadline or expectations, we took our time to record it. The rule was to get together when we were able to do it only. It was: job, touring with cover bands, tasks and family priorities first. This way, we were in a very relaxed state of mind and every time we forgathered, it was for fun.
Ok, the album was supposed to be released in late 2015 but for commercial and administrative reasons it got more delayed .
Did you approach its recording differently to creating releases with your other projects?
Yes and no … As it’s the 5th album I’m producing , I’ve learned through the years with amazing people and I’ve also learned from my mistakes. Today, I know the importance for everybody of being prepared and how to record the best way possible taking into consideration the people you work with as every musician has his own preferences and personality. And that’s how a recording session can be different from the ones you experienced in the past: it depends on your line-up as well. So I asked my band mates about the way they wanted to record and I just let them do it their way as it’s extremely important for artists to work the more relaxed and efficient way possible.
But the thing that changed a lot for me was to share the guitar parts with Fabien but it was so exciting to hear him play with a different strumming and sound than mine and then mixing our guitar tracks together. I really enjoyed it .
Oh, and there was another great thing : My vocal takes were recorded home with a very cool equipment a friend of mine lend me.
This way, I took my time…I was recording one full song a day and the day after, if something was not exactly the way I wanted to be, I just had to press the « rec » button again and it was done. I don’t like the feeling of recording in a studio with time passing, all the money you know you’ll have to spend, the people around you even if it’s your friends. I did it many times in the past and I can tell you how relieved I am to work and to record alone at home, it gives me so more freedom and offers you more possibilities.
Have you found there has been an instinctive urge to do things with Sahona and the album differently to your other ventures elsewhere, just out of the want to try different things?
Yes, as I told you, I wanted to have a different musical approach, a different sound, a different line-up. But on the top of that I really wanted to express myself to another level, and the best way possible as a singer and I’ve been working hard to achieve that. Maybe, being the singer of your own songs reinforces the introspection aspect of the creation. This is not to say that this album sounds more like “me” than the previous ones I did with another lead singer, it’s just different . But as you give more of yourself as a performer, it makes the thing more introspective and maybe more intense and that’s what I wanted to achieve too.
I always imagine a debut album breeds new ideas and opportunities to try and explore further in its successors. Elements not imagined and expected when composing that first encounter. Were there any which arose for you in the making of Sahona’s debut?
I’m always excited to explore new territories, new sounds, new chords progression, new ways of making music. Having a more or less precise idea will always push you to go further in order to create something new and interesting. Listening to different music, going to the theatres, reading books, talking with people, playing with musicians…All this things are inspiring and maybe it if it’s not always a conscious thing, it will incite you to evolve as a human being and inexorably in your art and in your life indeed. This is something I like to be aware of and thankful to.
What comes next for Sahona and its individuals?
We have to play live as soon as possible and we have to work hard for that. We intend to begin a tour in our country in September. Then we will focus on the next album as we’re all really happy about this debut one.
My thanks again Charly for talking with us; Anything you would like to add?
Thanks for having me !!! Congrats to the readers for reading this interview so far and thank you Pete for spreading the word about the music you like whether it’s mainstream or underground .
And finally, give us an insight into the records and artists which could be claimed to have most inspired your own life and creativity.
Oh my god, they are so many . But let’s try to do it fast. I’ve always been a fan of classical music but the one from the early 1900 with composers like Ravel, Bartok, Debussy, Prokofiev, Rachmaninoff. As a guitar player I’m a huge fan of guitar heroes like Steve Vaï, Ron “Bumblefoot” Thal, John Petrucci. I’ve always been into progressive music with bands like Genesis, Rush, Yes, Dream Theater, Frost, Opeth and I’m really into their contemporaries with the young prog underground scene like Destiny Potato, Disperse and especially with the metal djent scenes with bands like Periphery, Tesseract, Monuments who took progressive music to a new level. I like rock and pop music too with bands like Muse, Radiohead, Keane, Dead Letter Circus.
All these bands and musicians have inspired me in many ways indeed.
Great Instrumental music is the playground for the imagination and emotions, a suggestive toy for the senses and thoughts to sculpt their own adventures to, and that is exactly the success that Prohibition from Belgian band Squidhead achieves. Its five tracks cast a captivating web of technical vivacity and sonic expression which has the listener physically and mentally involved with little fuss and accomplished ease, and though you can openly pick out the influences to artist and music it only adds to the intrigue of the encounter.
Squidhead is the solo project of Pierre “Pish” Minet, a guitarist providing all the additional bass, electronics, and drum programming turning Prohibition into a rigorously and increasingly addictive proposition. There is little we can tell you about the man behind the project, the Squidhead bio on the website dummy text, but seemingly the EP is Minet’s debut release whilst inspirations come from the likes of Meshuggah, Devin Townsend, Steve Vai, Morbid Angel, Fear Factory and many more. The music within the release is sculpted with 8 string guitars and forges modern death metal riffs and melodic licks, a description which does not quite do the whole adventure of the encounter justice.
For us any metal instrumental proposal comes with the fear of over indulgence and excessive showing off by the aural sculptor, hopes that there is not the creative fiddling which goes nowhere as it shows what a ‘clever boy’ the artist is. Though Minet is not slow in coming forward with his technical prowess and in the face shredding, it never really defuses the fluency of the songs, slipping into their narratives as any other aspect. Nor does it disturb the theatre sparked in the imagination, so our personal wants in instrumental explorations are provided for whilst those with a hankering for a fiddle or two will also be more than satisfied.
Opener Riding The Octopus dangles a sonic lure before ears right away; a tempting swiftly reinforced by aggressive riffs and agitated rhythms. It is an immediate heavyweight proposal which relaxes a little for the magnetic fret work of Minet, though it still retains a seriously predacious air. All the while though there is a dramatic intimidation which constantly prowls the track, even as mystique kissed melodies and acidic grooves show their spicy proposals, a skilled blending of extremes within a track which already has thoughts lost in a realm of fantasy figures and occultist bred minatory escapades.
The following Edge Of Consciousness is bred from the same dark shadows as its predecessor, riffs snarling and menacing as rhythms descend with hostile tenacity. Across both songs you can hear those Meshuggah/ Devin Townsend like essences whilst Minet veins and lights the portentous canvas of the track with sizzling sonic flames which as inventive and impressive as they are, never stay too long in one design to feed expectations or temper the unpredictability flavouring the tracks.
The strong start to the EP is taken to stronger persuasion by the outstanding title track. A sinister devilry comes with the opening dark throated bass coaxing and percussive shuffle, expanding as bestial riffs align to the flamboyant tones of guitar. It is the swing behind the song though which steals the passions, a contagious swagger which spines the whole piece of music. From this all the other enthralling additives hang and dance, whilst imagination wise both track and thoughts collude in a dark seduction full of salacious temptresses and demonic flirtation; well that is what emerged in our fantasy and that is another beauty of the release, each track inspires visually potent exotic emprises.
The EP’s best track makes way for the more ethereal atmosphere of Coded Dreams, the song exploring a post rock/progressive landscape regaled with melodic blooms and sonic elegance. The rhythmic side of the track is an unsettling and threatening provocateur but remains in the shadows as the brief but mesmeric track warms ears and air.
Prohibition closes with The Ritual, a devilish fusion of rabid riffs and unrelenting beats within a maelstrom of guitar enterprise and at times espionage as with relish it twists and turns to take ears and imagination on a spiral of fascination and danger. It is an impressive end to a thoroughly enjoyable release. The EP could be said to be offering little new but when ears and pleasure are only wanting more it is a quibble to easily dismiss.
The world of Squidhead is a mysterious adventure and sound-tracked by a rather enjoyable debut. Anticipation for its successor starts here.
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Taking the listener on a compelling and expansive journey through soundscapes which evoke and provoke thought and imagination, Ascension the new album from The Inner Road, is a vibrant and classy adventure which incites personal invention and interpretation to its narrative whilst equally creatively directing thoughts into a proposed direction. It is an enveloping kaleidoscope of instrumental progressive rock with each movement and moment drenched in a full blaze of sonic colour and inspirational craft from its creators for the deepest pleasure.
The Inner Road is a project founded by keyboardist/multi-instrumentalist/ songwriter/producer Steve Gresswell as an outlet for
Steve Gresswell
his more symphonic style of instrumental progressive rock, sounds and ideas which do not find a place within the creativity of his other band Coalition. The Inner Road also finds Gresswell collaborating with other musicians who bring something special to fit the need of the music. 2011 saw the release of debut album Visions, a record made with renowned guitarist Phil Braithwaite which was met with strong acclaim, and here for Ascension the musician has teamed up with one of the UK’s finest guitarists and rock songwriters to emerge in recent years, Jay Parmar. Fresh from the release of his own stunning album Circle of Fire via Steve Vai’s Digital Nations label, Parmar brings a style to the new album which sets tracks on fire with passion and evocative invention, his striking style drawing out the same hunger as inspired by his previous solo work for this album As well as his own releases and Ascension, the guitarist is also recording the new album from Exorcism featuring Csaba Zvekan and Joop De Rooij (both also in Ravenlord) as well as again joining up with Zvekan in new band D.O. Messiah, showing the appeal and impressive reputation Parmar has earned over recent years, which will only grow further when, after being invited by Gresswell, he joins Coalition who record their new album later this year.
Ascension wastes no second of its inventive presence to light up the senses and thoughts with full and extensive atmospheres, their embrace consistently fuelled by the sonic skill and grace of Parmar’s melodic incisions and alchemy; sounds and imagination which comes more often than not with a breath and caress of eastern influences and suggestion within an almost exhausting creative temptation. Set alongside the equally captivating and warmly invasive keyboard enterprise and ingenuity of Gresswell the union makes for a release which leaves visual and emotional alchemy in its enthralling wake.
Jay Parmar
The title track opens up the adventure, a piano aiding a sun of melodic enticing to introduce the first steps on the departure into the vast realms of the album. Its company comes from crunchy riffs slowly bringing their voice to the brewing unveiling of this beckoning expansive landscape. With the sounds of both musicians coming together to sculpt the view there is a sense of depth and long passage ahead in the exploration of the immediately majestic world. The song appears as a travelogue of textures and sonic exhilaration instantly in league with the wonderful orchestral seduction at work , and their unity finding itself in tandem with the melodic weaves and wash already igniting the passions. As in all songs the music is like a ‘travel guide’, a provocateur to beauteous scenery and imagination whether visual or reflectively emotive, an investigation which is enjoyed physically and imaginatively.
From the immense opener the album takes flight through The Steel Sky; sinewy almost cold riffs from guitar and bass guiding the listener through shadowed clouds and imposing structures to find the sonic rays of light and melodic coating of sun brought from the keys and the stunning persuasive guitar commentary. It is then followed by the equally powerful Two Worlds Two Tomorrows, the track seemingly the sister to its predecessor as deeper in to the heart of the emotive terrain we go. Every song within the album feels connected to what came before and follows, for a fulfilling and ear widening melodic peregrination.
The smouldering and sizzling sonic traverse of Altered Reality and the provocative Troubled Memories step forward next to raise the temperature further. The first has fire to its intensity and creative sonic discharge whilst ensuring a continually evolving surprise in its presence with a compelling regal mid-section with potent and sirenesque strings, their orchestral embrace stepping in to temper the heated insistence of Parmar and set celestial cascades of melodic glory falling upon the ear, whilst the second is a dazzling candescent of melodic and harmonic craft leaving again only rising emotion towards its enthrallment
The biggest highlights of the thrilling album come with the final three tracks starting with A Fleeting Dream, a piece which triggers an unbridled flood of thoughts and ideas with furnace bright melodies and descriptive paint box rich sonic colouring. Parmar wrings out every emotive drop of incitement with his playing whilst the keys of Gresswell especially when he flows through a stunning sea of floral melodic expression which reminds of Dave Greenfield at his best, inciting the fullest ardour for what is the best track on the album. The outstanding and riveting The Awakening has its say on the final choice of top dog though with its initial colonial call moving aside for another poetic and provocative voyage of shifting gait and imagination whilst the closing Flight through Eternity simply lures the last of any passion still sheltering out with its strongest Eastern sultriness and inflamed closing sunset.
Ascension is an excellent and continually giving album, a release which just gets better and more potent with each travel of its ambient hot pilgrimage. The Inner Road has produced a release which is not only progressive/ instrumental rock at its best but melodic enterprise of any description.
Afterthoughts is one of those albums which needs numerous plays to explore its many diverse corners of sound as well as the thoughts and emotions it incites during its engagement. The release from rock guitarist Derek Buddemeyer unveils a little something more within its expanse of instrumental pieces with each encounter whilst lighting different imagery each time too and though it is not always as consistently successful, it is a rewarding and enjoyable engagement which is easy to return to and often.
Originally from Kansas City, Missouri, the musician moved to San Jose, California at an early age and found musical influences which included The Beach Boys, Hall & Oats, and Barbara Streisand. As a young teen, Buddemeyer then discovered the likes of Van Halen, Def Leppard, and Stryper, inspirations which led him to buying a guitar at 15. Another move this time to Southern California drew him to the sounds and skills of George Lynch, Steve Vai, Warrant, Scorpions, Skid Row, Metallica, Megadeth, Testament, Anthrax, and many more. Taken by the heavier and rawer sound, as well as the melodic imagination borne from such artists, he evolved his own blend of melodic hard rock with sinewy veins and pop metal warmth. Debut album Afterthoughts, which is released through the Jerry Dixon and Erik Turner of Warrant owned Down Boys Records, is the vibrant result of his inventive ideas and honed craft, a release which breathes with enterprise and rich and full sounds.
The album starts with a storm of a track in the mighty Wicked Little Sister. The track immediately fires up the heart with flesh grazing riffs, insatiable energy, and a melodic teasing which smoulders with skill and sonic manipulation. It is an adrenaline soaked piece which is unrelenting in its purpose and inspiring in the open invention driving its course. Amongst the ten tracks which make up the release there are a trio which stepped to the fore instantly upon first listen, the opener heading that impressive first thrill.
The album is a varied little pleasure which investigates and ventures into numerous premises and soundscapes of sound. From the metal rush of the first song the album strolls into the progressive and metal expression of Breathing In The New, the powerful guitar adventure an invigorating and expressive heat supported by electro showers of sound. Then the title track takes over, it another of the great pinnacles within Afterthoughts. It is a symphonic wrap with emotive keys and a brewing epic atmosphere which surges thoughts and senses through a striking escapade of melodic elegance and lush imagination. Whereas the previous songs were guitar driven this song is a delicious weave of keys and sonic beauty which leaves one basking full of content in a flush of strings and dramatic grace.
As the likes of the magnetic New Groove with its gentle and sunny coaxing of the ear, the classy and refined Morning After, and the fiery Lift Off with its burning temptations, reveal their creative and distinctly individual gaits, the album is a continuing captivation. Occasionally as with the brief presence of the last of these three songs, it feels like a track is written with the thought of soundtracking a cinematic moment so often depart without a defined climax but it only adds to the imagery incited during their usual dramatic breaths.
The third of the previously mentioned greatest heights attained by the release closes the album up. Sandstorms is an immense piece of writing which seduces the senses with its Eastern promise and intrigue setting imagination. Completed with coarse riffs and snarling guitar rubs shadowing the majestic melodic whispers, the track is an evocative delight.
For personal tastes and no other reason, there are moments on Afterthoughts which do not quite rise up to spark the same enthused ardour as at other times, like the mechanical rhythms and shallow electro drizzles in some places, but it is a minor niggle in the overall quality of the album and does not deter from offering the recommendation to check the album if you are looking thoughtful and inventive instrumental melodic rock.
Let us open with the admittance that guitar virtuosity has never been high on requirements for our tastes at The RR, the infernal indulgences and flamboyant intricacies no substitute to our preferences for riotous passion and inciteful riffing. That said there are a few artists which have emerged recently to show over blown excesses are not necessarily needed to create impressive and expressive guitar driven music. One such artist is UK guitarist Jay Parmar and now there is Pittsburgh musician Xander Demos. Both bring a more stable and balanced approach for these tastes and though Demos especially does walk the line of excess at times it has a restraint which leaves us enjoying it more. Of course this is just personal and easily Guitarcadia, the new album from Xander Demos, is more than a vibrant feast for guitar lovers to purr over.
Demos is an artist who seemingly likes to keep busy as not only does he have his own solo band who back him on the album, he also plays in Into The Arena, the top cover band in his home city which he formed in 2006, and has recently joined the new East Coast chapter of the Sabbath Judas Sabbath project. With his own band, Demos has shared stages with the likes of Neil Zaza, UFO, The Dio Deciples, Lizzy Borden and Kip Winger over the past year or so and with the release of Guitarcadia through Rock N Growl Records, he is set to find his name open to international awareness.
Backed by bassist Matt Williams, drummer Chris Batten (with Dean Minerva and Mike Stover appearing on some tracks),
Art by OneTwoTree Designs
and Adam Heuesy on keyboards, Demos ignites the air which what is impressively inventive and intelligent artistry. It may not always trigger our deepest responses but there is no denying his craft and heart which drips off every note. The album opens with Right Angles, a track with an eighties rock feel which flavours the wash of sonic skill which coats the ear from first note to last. The song reaches out to caress with scorched melodies and enticing harmonic mastery whilst the drums form a powerful frame to hold it all in place. In his bio the influences of Shawn Lane, Eric Johnson, Steve Vai, and Vinnie Moore are listed amongst the main inspirations, and their essences can easily be heard in his inventiveness on the song alone.
The following Nothing Major again reaps essences from early guitar rock especially with the keys adding their own nostalgic embrace. It is a piece of music which feels like the soundtrack to a larger than life TV show or movie, it does not quite work for us but again Demos shows he is a manipulating wizard with fingers to make any girl sigh.
Many of the tracks for us have the same result, their impressive songwriting and play obvious and easy to applaud but they do not ignite any real sparks, the likes of Chase The Sun, Metagalactic, and Lady In Red, heated pleasures at the time without firing up any real passions. With our unfortunate for him different preferences we brought in a couple of independent opinions who love guitar playing extravaganzas to give a balance, and both found the songs and album an impressive and inspiring treat.
There were some notable moments on the album though which also had us licking our lips, firstly the first of two songs out of the ten which had vocals. Under A Darkened Sky is a melodic rock gem which is still eighties based but has a classic metal energy and presence to captivate fully as well as further show the eclectic breath of the album. The second vocal track is a cover of Boys Of Summer by Don Henley. Sadly it does not work and is the only unsatisfying track on the album. Musically it is imaginative as Demos energises it into a speedy metallic surge but the vocals are weak in comparison and the production even worse, there is a lack of clarity overall whilst the layers of sound do not blend so everything sounds clumsy and unrelated.
As said it is an exception and with the further consecutive highlights of the excellent White Knuckle Driving , Guitarcadia, and Woodshed Sonata of such stature and compulsive quality is a mere blip. The first of the three is a feisty storm of incendiary melodic enterprise which dazzles consistently. It is the best song on the album though closely rivalled by the other pair, the title track a guitar player’s wet dream and the latter a piece of music which is as mischievous as it is muscular and absorbing.
Obviously Guitarcadia is not really the type of music which is best served by our personal likes but we can say if artistic invention and eye watering guitar skills lights your fires you should have a raging inferno inside over the new album from Xander Demos.
Recently The Ringmaster Review was directed and connected to guitarist Jay Parmar and his deeply impressive new album Circle Of Fire by a mutual friend. Though not a favoured style of music we were blown away from the creativity and inspired sounds within its twelve excellent rock fuelled tracks. With a collection of deeply talented musicians and a legend also contribution to the release alongside the mastery of Parmar the album is an essential and irresistible rock album for all and a master class for all budding guitarists. We had the pleasure to talk to Jay to find out more about him, his music and the album.
Hi Jay, thank you for talking to us here at The RingMaster Review.
You’re very welcome.
First question has to be can you tell us about Jay Parmar?
Sure. I guess Jay Parmar is a professional guitarist, runs a recording studio in East Sussex (Sacred Sound), and teaches guitar. I’m just a free spirit wandering through this world expressing myself through my music.
When did you first find a heart for music and then start playing the guitar?
My interest in music started when I was quite young. I remember being at junior school and going to see the music teacher about playing an instrument. The only thing available at the time was a saxophone, which I passed on otherwise we might be talking to my jazz alter ego. That interest kept up and in high school I tinkered with various musical instruments. I tried out keyboard, drums, tabla, guitar and played trumpet for a few years. My dad had actually bought me a guitar probably around 1986-87, a used Telecaster copy made by Maya Guitars, but I played for a little while and then it stayed in its case for a couple of years as being a kid I wanted something with humbuckers and a Floyd Rose vibrato and skulls on the body! My passion for guitar was ignited when I first started to listen to Iron Maiden in about 1988 though and I uncased the Tele and started playing a year later, 1989. I didn’t appreciate the Tele at the time and eventually took it apart and stripped the body of its paint. I now know it was a beautiful guitar so am putting it back together right now and customising it. It will be reborn as the ‘Snake Charmer’.
Why the guitar, and who were the influences initially that inspired you and have since?
I couldn’t see myself running around a stage with a grand piano strapped around my neck, so I had to settle for guitar. It was the sound and presence that the guitar had. I fell in love with the overdrive sound. My first influences were Dave Murray and Adrian Smith in Iron Maiden. A friend of mine had lent me the ‘Seventh Son’ album and I was totally captivated with the way these guys were playing. That album was really powerful and probably their heaviest and I was hooked. I then bought the ‘Live After Death’ album and that was on constant rotation for months. I learnt pretty much all the songs. From there I discovered Jake E. Lee, during his Ozzy days, Steve Vai, Yngwie Malmsteen, Marty Friedman and then George Lynch entered the picture and took over as my main influence.
Was your family background musical?
No, not really. My dad had a nylon string acoustic guitar and had played at some point when I was a baby, but I don’t recall him playing. My sister took it up for a few years when she was in junior school and when I got into guitar and started playing, she showed me my first three chords, an E, A and D.
As you mentioned George Lynch (Lynch Mob/Souls of We/Dokken) has had the biggest impact on your music, what is it about his playing that makes him so influential to you?
There were so many great guitars players kinda battling for top mantel during the 80s. I was listening to guys like Malmsteen, and Vai and Jake E Lee, then Satriani. Eddie Van Halen came a little later for me, but he was part of that crowd as well. George just stood out from the whole scene. His playing was smooth, but had this aggressive edge and what really did it for me was his pinch harmonics! He has the best squeals man! Also, I realised very early on that George’s playing was always so mesmerising because there was always a progression in his playing and songwriting. He kept moving forward with each song. His sound would change for each album. George’s solos would have the essence of his playing on each new album, but there would be new licks to listen to and learn. And he rarely uses repeating/rotating licks which he plays over and over during a song. There is a lot of movement in his solos and his playing always compliment the songs rather than take them over. I was actually really into Yngwie Malmsteen when I first really noticed George. I had heard one Dokken song previously; ‘The Prisoner’ from ‘Back For The Attack’, but it hadn’t made that much of an impression at the time. I’d discovered Malmsteen’s live album ‘Trial By Fire – Live In Leningrad’ and the speed and accuracy of his playing was astounding. A friend had made a cassette tape copy of ‘Odyssey’ for me and there was little space at the end so he’d put Dokken’s ‘Kiss of Death’ on as a gap filler. I’d just listened to this fabulous Malmsteen album and then the intro riff for ‘Kiss of Death’ starts playing and that was the moment when George Lynch became my favourite guitar player. I was blown away by the song, the sound, playing, everything. It is still like that for me now when I listen to new albums by George. There is so much forward movement and inspiration in his playing. He’s constantly evolving and adding to his playing.
George plays upon a track from your impressive new album Circle Of Fire. You must have been stoked about that and how did that come to be?
Thank you. I’m really glad you liked the album. Yes, George being on the album was one of my musical dreams come to fruition. George and I have been friends for almost 10 years now. I met him when I was working on the tribute album that I played on and produced in 2002-2003 and we’ve kept in touch since. So, when I started out getting this album together I asked him if he’d play a solo on the album and he said he would. The album became my never ending project and it took longer then I envisaged to finish, but once the song ‘When Angels Cry’ was done, we met up a couple of times and I spoke with him and we figured it out. He recorded the solo in LA and the files were sent to me. And there I was one morning, in my studio listening to George playing an incredible emotive, beautiful solo over a song that I’d written, recorded, and the first song that I had sang on. It was a really special moment. I then learnt the whole solo!
Tell us about the album itself.
‘Circle of Fire’ has 12 tracks, most of which I wrote and recorded over the last couple of years. The ideas and inspiration for the songs came from many different directions and sources. Because of the passage of time, there is also a progression and evolution that people will hear in my playing and writing style, which was influenced by what I was listening to, if I was touring, the book that I was reading, and many other factors. So, each track is capturing that unique moment, but still strung together with my sound and playing, which brings it all together. I have a wonderful collection of singers and musicians as well, and they all added their own uniqueness to ‘Circle of Fire’, and I think that keeps the whole album really interesting to listen to. The 12 tracks are the best of the tracks that were written. I think I had about 20 songs done by the time I’d finished the album but some of them didn’t fit the album, or my playing had moved on since they were written, so they were cut. There are two or three more finished songs that I have, which will be released on the CD version of the album in a couple of months.
How does it differ in direction and creation to your previous albums Will Play For Lynch– A George Lynch Tribute and the instrumental solo release Strange Day, apart from in the obvious differences.
The direction is different from both of those albums primarily because I’m always evolving as a musician. The guitarist that I was when I started recording the songs, a couple of which I wrote 5 or 6 years ago, is a different person to whom I am now. So, there was a natural progression that occurred in my writing and playing. The type of songs that I would have written 5 years ago are very different to those that I write now. I’m no longer just trying to write new Dokken songs! (laughs). The creative process was similar in that I have always recorded relatively quickly. I don’t really ‘demo’ songs and then go back and re-record, unless I need to redo the guitar sound with a different amp, or the quality needs improving. A lot of the takes on ‘Circle of Fire’ are first, second, or third takes. I re-recorded some of the rhythm guitars this time, which was different from the previous albums, because I had my studio, I could mic up my Randall amp and turn it up all the way and play with mic placement. There was a lot more thought that went into the songs as well because I wasn’t just creating backdrops to solo over and self indulge, so I was considering how vocals would flow over the music. Even with the solos, I waited until the vocals were laid down so that I could be inspired by and play off them; hence everything works together really beautifully. The production was very, very different because of my studio, which I built in 2008. I also went back to basics, re-learnt all of the production skills that I needed, and then started applying them to the work from scratch. I even changed the monitors in the studio to make sure that the sound quality was the very best that I could possibly achieve.
This may sound a silly question but is there a lot of you in the songs? Is it a personal release as well as a fine collection of inventive ideas?
Not a silly question at all. Yes, all of the music is 100% the essence of who I am. The lyrics that I wrote are as well, and I think that’s the same for everybody who contributed to the album. I’m just doing what happens naturally. I’m just being and allowing. I’m just the means to the music becoming a format that we can listen to. The ideas and inspiration come from a much higher place. It’s not something that happens in my mind because when I do that, the songs always end up in the archives as sound ‘written’ and I can hear and feel the difference in the music. There’s something missing, whether you call it soul, or spirit or whatever else it may be labelled as. Instead, I just allow the creative energy to flow and let it all happen as naturally as possible.
Is there a further connecting theme or emotion to the music on the album?
I guess just the essence of who I was at the time that I recorded the music. And I can also hear that in the vocal takes, which is why on all but two of the songs I asked the singers to write the lyrics. That way each singer injected their own experience, emotions and personality into the words and performance. It is personal to them so they embedded their own essence into the songs. For me, that is what makes the album special. I can feel the emotion behind the words and music.
How long has it been in the making? With the array of talent who have added to the wealth of skill on Circle Of Fire one imagines it was time consuming in a good way.
The process started about 6 years ago, but realistically the album as you hear it now was done in the last two, two and a half years. I’d found everybody except Pete Newdeck probably four years ago, but there were other events that took place which delayed my finishing the album – I moved house and build my studio, Sacred Sound, I went on tour with Eden’s Curse, I was involved in lots of side projects which took up my attention and time. Eventually I decided to drop everything and just focus on finishing the album. The album was completed when it was supposed to be though. If it had been finished even a year earlier then it wouldn’t have been nearly as good as it turned out. Everything synchronised when it was meant to.
People you recruited to help out included the likes of Pete Newdeck, Carsten Schultz, Andreas Novak, Tim Wallace, and Mike Rotella. Other than Newdeck Eden’s Curse, were these particular people you already knew and why did you wish these great musicians to add their skill to your music?
I was introduced to Carsten and Andreas when I was working with Eden’s Curse bassist, Paul Logue. He’d heard some of my tracks and wrote the lyrics and he recommended Carsten for the vocals on a couple of them. I’d been listening to Evidence One for about a year before and was really into them so I jumped at the chance to have Carsten sing. He has that perfect growling rock voice! Andreas I met through working with Paul as well. Andreas was singing on the project that I was recording guitars for. He has such an incredible and emotive voice. I love listening to his singing. The project didn’t come to fruition, but I kept in touch with Andreas and I asked him if he would sing on another project that I was doing with Mike Rotella. Andreas said that he would, but as his schedule was very busy and progress was slow, I decided that it would be better to drop that and just focus on ‘Circle of Fire’. We’d already been working on the song ‘Test of Time’ so I decided to put that one in the album. ‘Hell Is The Place’ was another song that was part of that endeavour with Andreas and Mike and I really wanted the opportunity to work with Mike so I asked him to do the solo on ‘Hell Is The Place’. Mike and I have known each other for many years now. We met as a result of our mutual admiration for George Lynch. He’s an amazing guitar player. His solo is actually just the scratch ideas that he sent me to check he was on the right track! I was like, are you kidding dude? This solo fits perfectly! Tim and I have been friends for a long time also. He has a really punchy and ballsy delivery. Again, I wanted to work with him for a long time and this was the perfect opportunity so I asked him if he wanted to write some lyrics, and ‘Harm’s Length’ is what he came up with. Just in yer face bang! It is beautiful! And I asked him to sing on ‘The Dragon’, which I wrote the lyrics to.
Going back to George Lynch and the song When Angels Cry he plays on, the track seems a natural palate for him to explore did you write it with him in mind from the start?
I didn’t have George in mind when I wrote it. That one just happened. I was playing around with a new guitar that Vengeance Guitars had built for me. It has a heavy maple body and the neck is wrapped in carbon fibre, and it has this really edgy sound and crisp delivery. I’d been playing with some keyboard sounds and had written and laid down the piano part in the song and then I was just noodling on the guitar and came up with the main riff, which sounded great. Different from what I usually write. That’s one of the first songs that I penned the lyrics to as well. Once it was done though and I was thinking about which song to send to George, that one just seemed perfect. He would have sounded great on any of the others but that one was different and knowing George I realised that ‘When Angels Cry’ would be the one that he’d really enjoy working on. He’s done the whole hard rock and metal thing for years, and I know he still loves doing that, but the really special stuff comes out when he’s playing to something a little off reservation, and that is what happened with this song.
The song reminds of bands like Motherjane, can you tell us about its emotion and inspiration?
You know, before you mentioned them I didn’t know who they were but I’ve just checked them out and wow! Amazing band! I understand where you’re coming from. I think it’s probably down to the shared Indian roots. Although I don’t listen to Indian music, my parents did while I was growing up, and I do have a fascination with exotic and eastern sounds, so the soul of that sound and style filtered into my playing and is there in the background. It’s a little more prevalent in ‘When Angels Cry’. The meaning and emotion, I won’t give too much away as I like people to have a blank canvas to work from so that they can come up with their own meaning. The song is all about what we take with us and what we leave behind when we die. The lyrics are quite dark and they felt right at the time because of my understanding of life, death and what comes after. I was thinking about past experience when I was writing the lyrics, but have a very different view and outlook about the whole subject now. It is interesting listening to the song though as it is a really vivid snapshot of a past feeling. The inspiration for the lyrics came from two places. First was a line at the end of ‘Blade Runner’, and the other was something that was said on Ya’el’s DVD ‘The Love Project’ – which is an amazing DVD.
Circle Of Fire is released on Digital Nations the label of Steve Vai, how did you come to the attention of he and his label?
One of my students in the US, whom I teach via webcam, put me in touch with Tony Macalpine’s manager and he introduced me to the label. I didn’t even know of the connection with Steve Vai when I met him and we were talking for about a year and he gave me some really good pointers and constructive feedback about the album. From the outset I had in mind that that’s where I wanted the album to go. It is the right place for me as they handle a lot of solo artists. It is wonderful to be on board and I feel very honoured to be part of their artist list.
As previously mentioned you worked with Pete Newdeck ,when you toured with Eden’s Curse as second guitarist in 2009. How did that experience and the opportunity to share stages with the likes of Firewind, Stratovarius, Alestorm and The Rotted impact on your own music and ideas?
Impacted me greatly. Working with Eden’s Curse really tightened up my playing. The music demanded it and before the tours, Thorsten Koehne and I hooked up on Skype once a week for a month or two and went through the parts and worked to backing tracks. So, by the time we got to the first rehearsal, which was the first time we were all in a room together playing the music, we were 90% there. We just needed to figure out endings, which we did over the next couple of days and we were all set. I recall a couple of people talking to me after the warm up gig, the first ever Eden’s Curse gig, and saying that they had heard that we’d only met up a few days earlier and that couldn’t be true as Thorsten and I played together like we’d been in the studio together for 6 months, and I said well, actually it’s true! Firewind were an influence for sure – seeing the energy and also because I knew and liked the band. ‘Walking In Circles’ was inspired by Firewind. That whole metal approach and also the intro guitar parts were written a couple of days after I got back from the finishing the first tour. Eden’s Curse were an influence in terms of the some of the guitar parts, for example the harmony parts during the bridge in ‘Walking in Circles’ and the rhythm for ‘Stop Laughing’. The other bands had an impact as well in terms of their musicianship as well. Really had a great time on the road.
On Circle Of Fire Pete not only drummed but was the vocalist on some songs, whose idea was that and was it something he was eager to do from the off?
That is a funny story actually. Pete had been laying down some vocals for some songs he’d written, which became songs for his band Tainted Nation, so I was aware that he had started to work on his singing. When (we) he came on board as drummer on ‘Circle of Fire’ I started to send him the audio files so that he could take them into the studio and record the drums for me, which he did. But most of the songs would come back with lyrics, vocals and some arrangement tweaks as well! Very unexpected but a very pleasant surprise. The songs he wrote were great and he asked who I’d ask to sing them and whether I wanted to keep his vocals and we decided that his vocals sounded fabulous so we kept them. I had him come over to the studio to re-record the vocals for ‘Walking In Circles’ and it was the funniest time. Between recording lines he’d be looking back and pulling faces, dancing around in the vocal booth, arms in the air. It was hilarious. I captured some of it on video and it is on Youtube – http://www.youtube.com/watch?v=eJ-k5TvzrsU.
One of the reasons we loved the album was the lack of indulgence which seems to litter guitar led albums very often, is this a natural restraint you have, and the ability to display your immense skills without showing off just instinctive or something you have to keep an ear on?
It is something that has become instinctive over time. One of the lessons that I picked up from George was to always think about the song, rather than use it as a background to show off guitar skills. There is a place for everything in a song and over indulging just takes the emphasis away from the big picture. I always trust that the guitars will come through loud and clear anyway, so I just hang back and let the vocals take over until it’s time to play some solos or something. Playing every guitar lick that you know on one song is like playing poker and bursting out in song and dance when you land a royal flush. You give it all away. Besides, there is plenty of time on songs for solos. I find the spaces in which to play them and if I do play over vocals then it has to be something that works with the vocals. I always try to compliment what the singer is doing with the vocal melody so that the feel is consistent throughout. My instrumental album allowed me to go crazy with the solos, for this album I wanted the songs to have space and to breathe. That space is so important. Not playing sometimes has more impact sometime then playing. ‘Harm’s Length’ is a perfect example of this because during the second verse everything stops except the drums and vocals. When the guitar solos do come in, they have that extra ‘zing’ and presence.
What are your favoured guitars, and those that graced the album mostly?
I mainly use ESP guitars and I have a signature guitar by Vengeance Guitars as well, which was used on a couple of the songs. I used all of the ESP that I have on this album. My Skull’n’Snakes and Serpent were the mainstays for the rhythm work. I have a custom orange guitar which I used in dropped tuning for the heavier songs like ‘Walking In Circles’ and ‘Circle of Fire’. 95% of the solos were done with my ESP GL56 Snake – which started life as a regular ESP LTD GL256 before I decided to cover it in rattlesnake and python skin. That is a stunning guitar. The tone is just so beautiful. I actually had it in the studio because I was changing out the pickups for Tim Wallace, who is a great guitar player himself, but once I started playing it I just fell in love with it and asked him if I could hang onto it to record with. Anyways, it never made it back to him! (laughs). I bought it from him, it had to stay!
You mentioned earlier you teach guitar too? How can people get in touch regarding learning from you?
They can drop me a line at studio@jayparmar.com or call the studio on 01273 252 441 and check out my website as well http://www.jayparmar.com/gtr.html for details. Teaching guitar is something that I’m really passionate about. I always take my students on their own personal guitar journeys. Everybody’s journey is a little different and unique to them.
What is next up for you? Any live dates coming up to support the album?
I’ll have some shows coming up later in the year. I’m putting a band together to tour this album. It needs to be heard live so that is all in the works. Also, I will have a CD version of the album out in a month or two with some bonus tracks as well.
Thanks so much for taking time out to talk with us Jay. Good luck with Circle Of Fire.
Thanks. It is a pleasure speaking with you.
Could you leave us with one song that any aspiring guitarist can only benefit from studying?
George Lynch’s ‘Mr. Scary’. Learn it like George plays it and then all the variations that he throws in when he plays live! Trust me that will teach you everything you need to know and keep you busy for the rest of your life!
With an artistry and drive that is never less than absorbing the new album from talented guitarist Jay Parmar gives a pleasure as immense and deep as the sounds and ability which pours from it. Circle Of Fire brings a fresh and eager breath to classic metal and hard rock without the need for indulgences and spurious tricks and charms. The album is honest, well crafted and a feast for any rock favoured ear. From every corner of its expressive might the release fires up the heart with instinctive creativity and mouth watering melodies. If a guitar gets you all riled up then the impressive invention of Parmar will have you drooling like a sex starved teenager.
To be honest generally the genre of music which Parmar confidently walks has a hard time gaining favour with these ears but then most releases are not as gloriously captivating and dazzling yet restrained as Circle Of Fire. Whereas many bring every trick they have out to window dress and show off their songs, here the music is simply veracious rock n roll created with thought and a surety which needs no over blown musical theatrics. It is a release that exudes charm and explosive sounds to throw any music fan into a frenzy.
Having been playing the guitar for over twenty years Parmar shows a flare and understanding of limits and owns a control that is refreshing and smart. Inspired by the likes of Iron Maiden, Joe Satriani, Jimi Hendrix, and Steve Vai, whose label Digital Nations Circle Of Fire is released upon, Parmar has infused these distinct influences into his own unique style to become a musician who is rounded and imaginative. Circle Of Fire follows his previous releases Will Play For Lynch– A George Lynch Tribute (2003) and solo instrumental album Strange Day (2005)as well as his work with Eden’s Curse live and in the studio, and is in his own words “… a change of direction and sounds awesome!”, something it is impossible to argue with. From the skill and ingenuity of Parmar alone the album would be an essential listen but with the added flavoursome skills of an array of excellent artists Circle Of Fire is all your Birthdays rolled into one.
The album includes the likes of Pete Newdeck (Eden’s Curse/Tainted Nations) who not only played drums but stepped into the vocalist spot on some songs, guest vocals from Carsten Schultz (Evidence One), Andreas Novak (House of Shakira/Mind’s Eye), and Tim Wallace, and solos from Mike Rotella plus the extra treat on the CD version of George Lynch (Lynch Mob/Souls of We/Dokken). Lynch was a major love and influence for Parmar and one can only imagine the buzz his contribution to the song When Angels Cry gave. The song is pure quality and worthy of being more than a bonus track, its Motherjane sound oozing class and mesmeric grace.
From start to finish the album is highly consistent, throwing out compulsive riffs and dazzling melodic play like confetti but with a certainly, thought, and perfection that makes randomness a non starter and as mentioned the craft involved is beyond question and inspiring. If there can be highlights on an album this good, personally they are songs like Walking In Circles and Lost In You. Both flow and explore the senses upon a pulsating riff which are unrelenting in their desire to stir up their recipients. The first of the two has a metal riff that is harsh and intimidating contrasting the great surrounding harmonies and incisive melodies whilst the latter offers a riff that grinds and niggles away at the ear with a persistence which will not be denied.
Adding the majestic power of Now You’re Gone where Newdeck shows we need to hear more of his emotive and great vocals, and the expressive beauty of Test Of Time, the album has everything a true rock fan could wish for. There is not one song that does not offer something different and is as equally vital and glorious as those mentioned, all combining to form an album that takes the heart into its own.
Circle Of Fire is a beacon in what generally feels like a wealth of over played and self centred similar styled albums. With Jay Parmar you only get honesty and organic heartfelt music, oh and wonderful sounds that light up each and every day.
RingMaster 15/03/2012
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Inspired by the styles and sounds of Steve Vai, Joe Satriani, Paul Gilbert, and Jason Becker, Speakeasy immediately reveals its voice and Marshall’s magnetic prowess through opener Butler’s Revenge. From start to finish, his strings vibrate like suggestive vocal chords in ears and imagination. Alongside Dredo is no lightweight either, the pulsating resonance of his bass equally captivating and appetite ensnaring as Gualdi provides a manipulative frame for the pair to conjure upon.
It is a great start which has ears and appetite hooked for that to follow starting with the epic flight of Alchymera. For almost a quarter of an hour, the song is a magnet for the senses and thoughts; its celestial and emotional journey especially blessed with keys carrying a definite Bill Nelson vibe whilst the guitars give Steve Vai like scents to their endeavour. An eighties new wave/synth pop essence also simmers within the track, seductively caressing its more irritable traits while Villa alone brings an emotional drama and moodiness to the track which is absorbed and emulated in the atmospheric climate spreading across the mercurially alluring and skilfully woven landscape.
Is there any specific meaning behind the name?
does Purge epitomise that evolution or are there further dark depths to be discovered?
So what was the catalyst to changing the idea of guest musicians to a full band?
Have you found there has been an instinctive urge to do things with Sahona and the album differently to your other ventures elsewhere, just out of the want to try different things?
which relaxes a little for the magnetic fret work of Minet, though it still retains a seriously predacious air. All the while though there is a dramatic intimidation which constantly prowls the track, even as mystique kissed melodies and acidic grooves show their spicy proposals, a skilled blending of extremes within a track which already has thoughts lost in a realm of fantasy figures and occultist bred minatory escapades.
