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All posts for the month March, 2016

This news story was originally published here: http://www.prog-sphere.com/news/video-john-petrucci-plays-dream-theaters-last-farewell/

Ernie Ball Music Man presents Match the Master with John Petrucci! It’s your chance to win a private master class with John Petrucci, a VIP Dream Theater experience, gear from Ernie Ball Music Man, Mesa Boogie, Fractal Audio Systems, Sterling by Music Man, TC Electronic, Dunlop, DiMarzio and Ernie Ball.

In this video, Petrucci is playing “My Last Farewell,” a track from Dream Theater‘s new album, The Astonishing.

To enter the Match the Master competition, upload a video of yourself attempting to match Petrucci’s playing on one of the 10 provided clips (This is just the seventh one). Petrucci will pick eight weekly winners, AND one winner will go home with the grand prize, which is valued at more than $10,000!

Here’s more info about the competition:

Unsigned guitarists can visit music-man.com/matchthemaster to study exclusive videos of John Petrucci performing 10 signature riffs from the new Dream Theater album, The Astonishing. Contestants can then upload a video submission of their best solo impression.

Each week over a two-month period, one winner will be chosen to receive a weekly prize pack. At the end of the contest, one grand-prize winner will be selected to win the ultimate John Petrucci experience.

Weekly Winners will receive:

• Sterling By Music Man: JP60 JP SBMM Guitar (Approximate Retail Value [ARV]: $649)
• Dunlop: JP95 JP Signature Cry Baby Pedal, 427PJP Players Pack of JP Jazz III Guitar Picks (ARV: $205.62)
• DiMarzio: Two (2) John Petrucci Signature Pickups, One (1) John Petrucci Signature Strap (ARV: $195)
• TC Electronic: Dreamscape Pedal JP Signature Dreamscape Guitar Effects Pedal (ARV: $152.10)
• Fractal: T-Shirt. Winner picks the size (ARV: $19.95)
• Mesa/Boogie: Grid Slammer Pedal Grid Slammer Overdrive Pedal (ARV: $179)
• Ernie Ball Gift Pack (ARV: $123.25)

Total ARV of each Weekly Prize is $1,524.

Grand Prize Winner will receive:

• A trip for two (2) to see Dream Theater live (includes flight, hotel, and ground transportation to see Dream Theater in concert) (ARV: $2,500)
• A Private Master Class with John Petrucci
• Ernie Ball Music Man: John Petrucci Majesty Guitar (ARV: $2,650)
• Fractal: AX8 Guitar Effects Pedal System (ARV: $1,399)
• Mesa/Boogie: Mark V guitar head + 4 x 12″ cabinet (ARV: $3,249)
• Ernie Ball: One (1) Year supply of Ernie Ball strings (24 sets) (ARV: $250)
• TC Electronic: Signed Triple Delay Pedal (signed by Dream Theater) (ARV: $299)
• DiMarzio: Two (2) custom John Petrucci pickup covers (ARV: $398)

Total ARV of the Grand Prize is $10,745.

“As a guitar player, you never stop learning, never stop honing your skills,” Petrucci says. “Even now, I’m still pushing myself to improve, and feel passionate about encouraging others to do the same.

“This program celebrates the hard work musicians put in to following their passion. I’m grateful that as part of the Ernie Ball family, I’m able to connect with my fans in such a meaningful way and hopefully inspire guitar players to up their game!”

“Over the course of the past 15 years the Ball family and John Petrucci have celebrated a partnership that has resulted in some of the best-selling, most forward-thinking guitar designs in the world, as part of the Ernie Ball Music Man JP signature line,” says Ernie Ball CEO Sterling Ball. “His success as a guitarist, songwriter and instrument designer are the truest testament to his stature as one of the most influential guitar players of our time. It’s incredible that John prioritizes programs such as Match the Master that are designed to inspire and encourage young players to push the boundaries of guitar playing. We need guitar heroes. I’m honored John calls Ernie Ball home and am committed to developing opportunities for guitar players across world.”

Get started on your Match the Master entry today. Visit music-man.com/matchthemaster now for your chance to win. The Astonishing is available here.

VIDEO: John Petrucci Plays DREAM THEATER’s “My Last Farewell” is a post from: Prog Sphere – Progressive Rock News, Interviews, Reviews & More

The post VIDEO: John Petrucci Plays DREAM THEATER’s “My Last Farewell” appeared first on Prog Sphere.

This news story was originally published here: http://www.prog-sphere.com/interviews/audiolepsia-interview/

Spanish post/prog rock band Audiolepsia released their debut album “Principio de Incertidumbre” back in 2013, and the band is currently working on its follow-up. Prog Sphere talked with guitarist Brian Jimenez about the band’s mission, debut album, and future.

Define the mission of Audiolepsia.

To escape from usual paths and to create music without borders, allowing the listener to create his own landscape. We base our music in intense and rich atmospheres, trying to balance sheer power and precious melodies

Tell me about the creative process that informed your debut album “Principio de Incertidumbre” and the themes it captures.

The process of creating “Principio de Incertidumbre” started in 2011, when the band went into a creative transformation from alternative metal to instrumental rock after our singer left the band. We spent two years in finding our way in this new style, experimenting and developing new material with an infinite freedom we didn’t have before. Step by step, we polished ideas and wrote new songs, trying our music to captivate the listener even without the explicit message of a voice. At the beginning of 2013, we feel confident and mature to write down all our ideas in an album and we start the recording of “Principio de Incertidumbre”.

This album has not a common thread because we tried to express different feelings and experiences in every single song.

If we talk about our feelings and emotions during its recording, we would use words as fury, euphoria, feeling of loss, nostalgy, fear, love, mistery…

 Principio de Incertidumbre

What is the message you are trying to give with “Principio de Incertidumbre”?

We think the title “Principio de incertidumbre” (Uncertainty Principle) suited very well for the album, because instrumental music was a new landscape to discover for us and we were not sure about how fans would react to it.

In the other hand, we were seduced by the physical concept from Heisenberg, where it is impossible to know everything about the reality that surrounds us, and at the same time we observe it, we change it.

How did you document the music while it was being formulated?

Usually we write the chord progressions of the different parts in a whiteboard and then we start developing them until we have a draft of the song. At the same time, we think about the different dynamics and rhythms. After this first approach, we record our performance digitally and distribute it among the members of the band for a private listening. Every member comes the next day with ideas about the recording and we brainstorm about modifications and try them. This process is iterated until we’re happy with the final result.

Is the dynamic flow of the pieces carefully architected?

Indeed, we pay special attention to the dynamics of our pieces. We try to make them flowing and we work very hard in the transitions between different parts to reflect the sensations that we want to achieve. However, we’re also a band of contrasts and sometimes we love to catch by surprise our listeners.

Audolepsia

Describe the approach to recording the album.

Nowadays, technology is accessible to many musicians and that allows to obtain excellent quality recordings at home studios. One of our men at the guitar, Ángel, has his own home studio (La Buhardilla/The Loft) and we recorded the major part of the album there. It was an incredible amount of work, but we were able to spend the amount of time of care that we thought that the album deserved. After that first step, we decided to get the professional touch of an external mixing and mastering studio and we trust the people of The Room in Barcelona to get it. We have to say that we are delighted with the final result.

How long “Principio de Incertidumbre” was in the making?

Because of being recorded in our home studio, we were able to record it in little pieces during the whole 2013, but the major part of the album was recorded between July and September 2013.

Which bands or artists influenced your work on the release?

Our musical influences are very diverse because the members of Audiolepsia come from different background and musical styles. About instrumental rock, we would say Mogwai, Russian Circles, Pelican, Toundra…Our proggie taste drinks from Tool, Anathema, Porcupine Tree, Oceansize…but ask any other member of the band and he will talk about grunge, post­hardcore, math­rock…

We’re not only influenced by music, but by cinema, comic, series…Blade Runner, Matrix, Ghost in the Shell, Tarantino, V for Vendetta or The Watchmen are some examples. We’re very inspired by them and they walk with us at the time of writing new music.

What is your view on technology in music?

As we said before, it’s an indispensable tool for writing and recording our music. We get more easily (and in a cheapest way!) the sounds we want and then we can record and showing the songs to our fans under our own quality standards. Technology by means of music, but not the opposite.

Do you see your music as serving a purpose beyond music?

We wish our music to captive the listeners for some minutes, to make their mind fly free and move very inside their emotions…To build new stories from that musical base and to enjoy the trip…Anyway, the feelings that music triggers are very personal, so the final purpose and meaning of a song is such an intimate thing.

What are your plans for the future?

Right now, our priority is to finish our second album, which we’d like to be out in the second half of 2016. We’re working very hard for accomplish that goal. In parallel, we’d like to participate in any relevant show or event we consider interesting or challenging. And once the album is ready, start playing it live as soon as possible because we really love to perform live. With this second album we’d like to play in more and better venues, with our friends and with new bands, looking for performing in the rest of Spain and as many other Europe countries we could. We’re confident about our music and we believe that we can build a powerful and solid set­list to take part in any future show or festival.

Follow Audiolepsia on Facebook and Bandcamp.

AUDIOLEPSIA: Discovering Landscapes is a post from: Prog Sphere – Progressive Rock News, Interviews, Reviews & More

The post AUDIOLEPSIA: Discovering Landscapes appeared first on Prog Sphere.

This news story was originally published here: http://www.prog-sphere.com/news/dream-theater-the-astonishing-behindthe-scenes-tour/

A four-minute video which takes you behind the scenes of Dream Theater‘s The Astonishing tour can be seen below. Watch the team at Lucion Media help Dream Theater recreate The Astonishing concept album on stage every night.

The Astonishing was released on January 29 via Roadrunner. The CD was made available in a wide range of distinctive versions, including standard 2-CD set, 4-LP vinyl box set and a limited-edition deluxe box set.

Recorded at Cove City Sound Studios in Glen Cove, New York, with guitarist John Petrucci producing, studio luminary Richard Chycki (Aerosmith, Rush) engineering/mixing and legendary arranger, composer and conductor David Campbell orchestrating, The Astonishing paints a tale of a retro-futurist post-apocalyptic dystopia ruled by medieval style feudalism. It’s a place aching for a Chosen One to rise above the noise and defeat an Empire defined by the endless drone of noise machines and the illusion of safety in bland conformity.

Dream Theater keyboardist Jordan Rudess told La Grosse Radio about The Astonishing: “Well, the story is really about hope and it’s about the power of music for healing and bringing good energy and good spirit to people. It was a story that was written by John Petrucci. He originally thought of it, the seed of the idea, about two and a half years ago. And a little over a year ago, he presented it to the band as an idea to do our concept album, and we were all very excited about it; it seemed really great. So after he presented it to us, then we started to work on all the music for it.

(source Blabbermouth)

Watch This Video of Behind the Scenes of DREAM THEATER’s “The Astonishing” Tour is a post from: Prog Sphere – Progressive Rock News, Interviews, Reviews & More

The post Watch This Video of Behind the Scenes of DREAM THEATER’s “The Astonishing” Tour appeared first on Prog Sphere.

LFPT-New
I’m delighted to announce that the podcast for edition 140 of Live From Progzilla Towers is now available.

In this edition we spoke to Andy Wilson and Peter Jones of Red Bazar and heard the following music:

  1. Depeche Mode – Black Celebration
  2. Spock’s Beard – The Doorway
  3. Shamblemaths – A Failing Ember
  4. Jump – The Wreck Of The St Marie
  5. Red Bazar – Queen Of The Night Part 1
  6. Red Bazar – Almost Over
  7. Red Bazar – Lights Of Home
  8. Red Bazar – Sunset For A New World
  9. Magician’s Whistle – Flight Of The Land Whale
  10. Amorphis – Under The Red Cloud
  11. Franck Carducci – The Quind
  12. Ben Craven – The Remarkable Man
  13. Big Big Train – Uncle Jack

iTunes/iPod users*: Just search for ‘Progzilla’ or subscribe to: http://podcasts.progzilla.com/cliff/podcast.xml

Enjoy!

This news story was originally published here: http://www.dprp.net/wp/?p=12394

Header: Jelly Jam Profit

The Jelly Jam will release their epic new album Profit on 27th May 2016 via Music Theories Recordings.

The Jelly Jam, featuring DREAM THEATER’s John Myung, WINGER/DIXIE DREGS‘ (live) Rod Morgenstein and KING’S X Ty Tabor, will return in 2016 with a new album and their first ever world tour.

Profit is a glorious and affecting cinematic experience; full of suspense, the record follows the heroic yet daunting journey of The Prophet who, inspired by a deep sense of responsibility embarks on a mission to try and save the world, to open the eyes of Those Who Will Not See.

[embedded content]

TY Tabor says the concept of the album is “a fight between progress and jobs at all cost and not thinking about any future payment that are going to have to be made.” He continues:  “Each JELLY JAM album is very different and we are most definitely discovering new ground. The first album was pretty straight ahead in its nature and vibe. The second album was more about the songwriting and had a very different feel. By the time we got to ‘Shall We Descend’, we were all at different musical places. It had more of a darker edge to it, but we finally realized that we had tapped in to something that was unique to us. There really is no JELLY JAM ‘sound’.

“In order to make ‘Profit’ the strongest album, we recorded a lot of excess music and chose songs that work together towards the general story idea. Musically and sonically, we started experimenting a lot further than we had before. It stands on its own as an album beginning to end with a purpose. It’s not just a bunch of songs thrown together. It’s an entire journey through a story.”

Profit’s track list:
01. Care
02. Stain On The Sun
03. Water
04. Stop
05. Perfect Lines (Flyin’)
06. Mr. Man
07. Memphis
08. Ghost Town
09. Heaven
10. Permanent Hold
11. Fallen
12. Strong Belief

This news story was originally published here: http://www.dprp.net/wp/?p=12391

Todd Rundgren’s BOX O’TODD Limited Edition Live Box Set To Be Released

Box O'ToddLos Angeles – Purple Pyramid records will be releasing a special limited edition collector’s box titled BOX O’TODD featuring previously unreleased live in-studio recordings from the early ’70s by legendary guitarist/songwriter/producer, Todd Rundgren! All shows were originally broadcast on the radio at the time.

This unique box features both stripped down solo performances by Rundgren as well as full band recordings with The Hello People, and includes some of Todd’s most well-known songs including “Hello, It’s Me,” “I Saw The Light,” “It Wouldn’t Have Made Any Difference” and many more!

In addition to three full-length CDs, the box set comes with a 20-page booklet featuring a full set of insightful liner notes by Dave Thompson and full color photos plus a signature guitar pick, 3 collectible pins, and a backstage pass!

Track List:

DISC 1 – Live From Philadelphia 1971 with the Hello People (originally broadcast on WMMR-FM)
1. Banter & Soundcheck
2. Believe In Me
3. Lady On The Terrace
4. I Got My Pipe
5. It Wouldn’t Have Made Any Difference
6. Rock All Over Again
7. Everybody In The Congregation
8. Broke Down & Busted
9. Tonight I Wanna Love Me A Stranger
10. Ooh Baby Baby
11. Hold Me Tight (Excerpt)
12. Before I Grow Too Old
13. Be Nice To Me
14. I’m Feelin’ Better
15. The Ballad (Denny & Jean)

DISC 2 – Ultrasonic Studios 1972 with the Hello People (originally broadcast on WLIR-FM)
1. Broke Down & Busted
2. Georgia Swing
3. Outside Love
4. Piss Aaron
5. A Dream Goes On Forever
6. I Saw The Light
7. It Wouldn’t Have Made Any Difference
8. Feels So Good to Be Alive
9. Mad Red Ant Lady
10. Blaze
11. Lady On The Terrace
12. Slut

DISC 3 – Counterpart Studios Cincinnati 1973 with Utopia (originally broadcast on WKRQ-FM)
1. Intro
2. I Saw The Light
3. A Dream Goes On Forever
4. Piss Aaron
5. Lord Chancellor’s Nightmare Song
6. Hello It’s Me
7. Banter
8. Utopia Theme
9. Black Maria
10. Hungry For Love
11. The Ikon (Segments)

This news story was originally published here: http://www.dprp.net/wp/?p=12388

Ben Craven - Last Chance to Hear
Brisbane, Australia – Australian cinematic progressive-rock singer-songwriter Ben Craven is releasing his highly anticipated third album “Last Chance To Hear”. The new release features guest contributions by YES legend Billy Sherwood and iconic actor William Shatner (yes, Capt. Kirk himself!!!). A new single titled “The Remarkable Man” is available for immediate download when pre-ordering the album. It’s an imaginary theme song from a spy thriller movie franchise.

Says Ben, “ ‘Last Chance To Hear’ is loosely inspired by the end of the music industry as we knew it. There’s never been a time when so much new music was being made by so many people and being listened to by so few people. The concept of paying for new music is now alien to a lot of the audience. Digital downloads have made physical media virtually obsolete. Streaming services mean that anybody making new music is now competing with the whole history of recorded music. And the album format is in danger of becoming extinct. There’s never been a time full of more ‘opportunity’ than now. So I made an album about it.

“The new album is a logical progression from my previous album, ‘Great & Terrible Potions’. The arrangements are more confident and more purposeful. But probably the biggest difference is that there are fewer vocals on this new one. ‘Last Chance To Hear’ is more about having the confidence, and presumably the competence, to let the music do the talking.”

The obvious question is how did Ben recruit such iconic artists as William Shatner and Billy Sherwood to guest on his new album? Ben explains, “I was not my first choice to perform the vocals on ‘Spy In The Sky Part 3′. I pored over the melody and the lyrics to get them just right. But when I finally ran through the completed lyrics in my head, I could only imagine a speaking voice.

“Immediately I thought ‘William Shatner!’ and loved the idea. Then reality kicked back in and I got on with the job of singing my own vocals. Except the idea never went away. It kept nagging and eating away at me, like all good ideas do. And here I was willing to give up my own vocal performance on the most dramatic piece of music on the album! So I had to stop ignoring it.

“I reached out to Billy Sherwood who as you know produced William Shatner’s last album, the excellent ‘Ponder The Mystery’. Billy would have been my first and only choice to record the session. I asked him if he thought the concept of having Shatner appear one of my songs would even be possible. Amazingly, everyone agreed, and Billy is the one who actually made it happen.

“Deep down I felt a lingering terror that the music might collapse under the weight of a William Shatner vocal performance. But I suspect Shatner realized the opposite. He played the lead vocalist role perfectly, as boldly and grandly as the music aspired to be. It is an awesome combination and he brought the track up to a new level altogether. I love it.”

This news story was originally published here: http://www.prog-sphere.com/interviews/cartoon-theory-interview/

French electro ambidjent duo Cartoon Theory, comprised of drummer Maxime Lathiere and guitarist Juan Carlos Briceno Sanchez, have recently launched their second album titled Planet Geisha. On the album, the duo collaborated with Plini, David Maxim Micic, Mathieu Ricou, Luke Martin and Zelie Tible. The album was mastered by Acle Kahney (Tesseract), with drum engineering done by Anup Sastry and Travis Orbin, who also play drums on the record. Maxime and Juan Carlos spoke for Prog Sphere about their work.

Define the mission of Cartoon Theory.

Firstly, we wanna say thanks so much to Prog Sphere for the opportunity to make this interview. Well, my name is Maxime Lathière, I come from Limoges, France, and i’m a drummer in Electro Indus Metal band OEstre and I decided to create a collaborative project in 2009, in using lots of MAO and keyboards to compose personal music with help of internet and social network to make collaboration with musicians around the world. Quickly, Juan Carlos Briceno Sanchez who was Chernobyl’s flowers guitarist begun to work with me. I fell in love with his play which corresponded to urban, modern, Asiatic artistic universe with influences as Adrian Belew from King Crimson or Misha Mansoor from Periphery. Both, we compose a demo Cartoon 1.1 Theory which released in 2012. After this first act we wanted to make a real album with lots of collabs. For the album “Planet Geisha”, we had the opportunity to work with Travis Orbin, Plini, David Maxim Micic, Mathieu Ricou, Luke Martin and Zélie.

To resume, the mission of Cartoon Theory is to make modern progressive, groovy and djent music with cartoon-ish, asian vibes and some electronic elements. And the February 10, We released our debut full-length “Planet Geisha”.

Tell me about the creative process that informed your debut album “Planet Geisha.”

The process of production and creation of the album was made in several successive steps. The first was the songwriting. I composed lots of demo on Ableton with some experimentations concerning the sounds, vibes, rhythms. I give all the tracks at Juan Carlos to speak about artistic orientations, tracks structures, and some spots to propose at guests. For the method of work, I propose some spots with the best mix possible to have a certain working comfort but without indication. Each musicians record in his personal studio then I receive tracks and I begin to mix music in its entirety.

Now for the guests, that’s really important to tell that every collaboration was naturally made.  I played with Zélie in a old Rock band Audiopsy and when i wanted to introduce some singing into Cartoon Theory that seemed to me natural to ask to Zélie to sing on the track Hanamachi. She’s got the Kate Bush vocal style that I looked for. Concerning Mathieu Ricou, I came to see very often his band LizZard whose absolute fan I am, we made friends and of course I propose to him a spot. Then, I listened to a lot Periphery in 2007 and Travis Orbin was drummer in this band. Myself drummer, we corresponded enormously and I was admiring of his drumming and personality. I was very surprised when he suggested me playing for Cartoon Theory as session studio drummer in 2010 and I didn’t hesitate one second. For Plini, he played some guitar soli on three tracks (a couple recorded in 2012, and the newest in 2015 with David Maxim Micic on Sacred Geometry). I knew Plini since 2010 on Myspace with his project Halcyon. The same for Luke Martin with his project Versed.

For the technical process, the drum’s recording took place in two phases. First, for Hypnotic Nova’s Dance and Wizardry Mind in 2012 in Anup Sastry studio who’s the drummer of Monuments and in summer 2015 for four tracks in Travis’s studio. You can find Drum audio / video session on Youtube.

Travis Orbin – Second Cartoon Theory Session – “Hypnotic Nova’s Dance” www.youtube.com/watch?v=ulotuk9av_8

Travis Orbin – Second Cartoon Theory Session – “Wizardry Mind” www.youtube.com/watch?v=MooaHSPBwD0

Travis Orbin – Second Cartoon Theory Session – “Sacred Geometry”
www.youtube.com/watch?v=qiPyPsiIHPM

Travis Orbin – Second Cartoon Theory Session – “Maneki Neko”
www.youtube.com/watch?v=SbtLdQSsJm8

Travis Orbin – Second Cartoon Theory Session – “The Art”
www.youtube.com/watch?v=9VyMr-qSD-4

Travis Orbin – Second Cartoon Theory Session – “The Murmuring of Tokyo’s Anthill” www.youtube.com/watch?v=LyYGZldGwis

For the cover and graphic universe, I consider that the picture is also important as the music for this band and I don’t contact Juan Manuel Orozco aka JML2art by chance. Passionate by modern, vectorial and geek art, I watched his creations on Behance website and Facebook and I find his artistic universe absolutely magnificent. The modern, colored style corresponds marvelously to the universe of the band. As for the subject, for the style, the colors, I have an idea rather precise of the criteria. The album being called “Planet Geisha” the subject of the picture will be a Geisha, of course. The main theme is a GEISHA who seems to be a goddess with a third eye. And for the colors, the cover needs black lines and for create contrast needs coloration Fuchsia Fluorescent pink magenta vermeil and between red and pink. After this recommendations, he made an enormous research work and the first sketch was amazing. After he worked on Illustrator and Photoshop.

Maxime Lathiere

What is the message you are trying to give with “Planet Geisha”?

As our music is essentially instrumental, there isn’t necessarily explicit message. We compose simply the music which makes us happy and we hope to give the feelings with the esthetics of this album.

How did you document the music while it was being formulated?

The purpose is always to archive the ideas, the rhythms, the melodies on the computer with Ableton. On the other hand, the ideas can emerge differently, by staying in front of the computer until an idea comes as a pure geek or by playing the drum, when a rhythm pleases me, I write it and I program it on my computer or finally, when I’ve got a nice melody in my head generally line Bass I record it on my phone and program on Ableton.

Is the dynamic flow of the pieces carefully architected?

Which is very interesting in the progressive music, it’s the capacity of certain bands to create the music which is complex and obvious at the same time. The capacity to innovate in term of sound, technicality, artistic codes and what it seems obvious. It’s necessary to cultivate a peculiarity, an originality. To arrive at this originality, it’s necessary to find a balance between a conscious organization of the music but also give way to the accidents, to the unforeseen to give a surprising side. In the album, I’ve got the feeling that the flow alternates between dynamic parts and ambient or contemplative parts.

Describe the approach to recording the album.

The first step was to compose the track on Ableton with the best mix as possible to propose some tracks which tempt to play above with a working comfort.

Every musician recorded in his personal home studio. Travis mixed the drum and I mixed the music in its entirety. And yes, I had a precise idea of sounding production and mixing. we would like to make modern metal djent but with fusion modern jazz and electro mix. Liquid Tension Experiment I and II, 80′s or most recent King Crimson production or Snarky Puppy general sound are big influence to make mix. We love Misha Mansoor production or Acle Kahney from Tesseract too! Acle has mastered the album at 4D Sounds studio.

How long “Planet Geisha” was in the making?

The first note of “Planet Geisha” was composed in 2011 with Hypnotic Nova’s Dance. Five years can seem enormous for 45 minutes of music. but between the composition, the schedule of each musicians and the mixing, mastering, cover, and all these steps require of time and to learn a lot of technical knowledge. It was a big experience and I measure the luck to make the music about which I dream with your favorite musicians! Now, that we made our artistic network, we want to make more music!

Which bands or artists influenced your work on the release?

For this album and maybe for this band in general, we could separated four influences. At my sense, the major influence is progressive and fusion instrumentals bands with lots of keyboards and guitar virtuosity as Liquid Tension Experiment, Planet X, King Crimson, Steve Vai, Plini, David Maxim Micic and maybe Snarky Puppy which is a phenomenal Contemporary jazz band. The second influence is maybe Djent Modern Metal sphere with Animals as Leaders, Periphery, Meshuggah or Kadinja. Movie music too is an important influence for us as Thomas Newman, Eric Serra, Hans Zimmer. Finally, I like Electonic contemplative music / Glitch / Neurostep / Dupstep / Electro Metal / Synthwave / Ambient Post Rock. I like Tycho, Mr Bill, The Algorithm, Jake Bowen Electronic Project, Reso, Kursa, Koloto, Triphonic, Hammock, Carpenter Brut, Heptaedium, Kubbi, Navene K, Nerve.

Obviously, all these styles are permeable between them, and we can include them around the idea that the narrative, modern, groovy and progressive music influence Cartoon Theory.

What is your view on technology in music?

I have an opinion ultra positive of the technology. Cartoon Theory joins definitively in the air of the digital technology. The contribution of the technology joins in two points. The first is that digital technology serves the music with the use of MAO as Ableton and Cubase. With this tools you can compose and mix and with lots of work the result can be fun. The second argument is every bands can use Internet and every social network to promote, to communicate with lots of musicians and construct the base of a collaborative project. It’s definitively a new way to make some music. The first one that I saw this way of working, That was for the album SMPTe from the side project TRANSATLANTIC in 1999. The musicians were not nearby geographical from each other but with Internet, they could exchange some demo and when they arrived in studio for two weeks, the album was already composed. Of course, as a medicine, if the digital technology is badly used that can be the worst poison.

Do you see your music as serving a purpose beyond music?

Make some music is not useful… except to produce a better world more beautiful. Obviously, there was a purpose beyond the music. Making music is an act of resistance to the others and self-surpassing. Especially in France, I’ve got the feeling that the music and the living culture are more and more denigrated. It’s always personally a vector of hedonism, learning of knowledge, social link and the highlight of this that’s when your music serves a cause as Plini and his KO KI song. In 2014, he released a song called “KO KI” in order to fundraise for a volunteering trip to Cambodia led by the wonderful non-profit organisation Raw Impact. At the beginning of 2015, he went to Cambodia, to help construct a community centre for the people of Ko Ki Village. Apparently it was an unforgettable experience for Plini and lots of people in this community. In 2016, he begins again the experience with the track “Every Piece Matters”. I find that magnificent.

Finally I am going to quote David Maxim Micic who says “Music for the sake of music.”

What are your plans for the future?

I work on three elements for future experiences. I work as drummer for Live experience. At the same time, I look for musicians to assume the live with me. Then, I compose at present an EP 5 tracks wich name is “Hachidori” with maybe Travis Orbin on drums and new guests. and i’m going to publish soon a drum video to show that i’m a drummer too and in this continuity, i shall compose some singles where I shall be the drummer studio and with the aim to publish much more music than before the album and grow this project.

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Edition 23 of Steve Blease’s Heavy Elements is now available as a podcast.

Playlist:

  • Queensrÿche – Breaking The Silence
  • Vanden Plas – Rush Of Silence
  • Myrath – Other Side
  • Full Nothing – Forbidden
  • Toxic Smile – I’m Your Saviour

Epic at Eleven:

  • Green Carnation – My Dark Reflections Of Life And Death
  • Visions of Atlantis – The Poem

Album of the Week: Threshold – Critical Mass

  • Phenomenon
  • Fragmentation
  • Critical Mass (parts 1 – 3)
  • Seventh Wonder – Unbreakable