Slivovitz – Hubris

Let me start this review simply by letting all of you non-Balkan peoples know that Slivovitz is a plumb brandy. As soon as you taste it you will love it forever, just don’t drink too much!. If you think that this reviewer writes this while drunk on brandy, you’re wrong, and shall be sued for libel. But if you think that this reviewer is under the effects of a Neapolitan band who shares a name with this popular brandy, in that case you are completely right.

Slivovitz is a 7-piece band coming out from Naples, Italy with wide musical influences ranging from Balkan ethno motifs, a mixture of Canterbury and Frank Zappa jazz rock with the addition of John Zorn’s insanity. But it doesn’t stop, there are plenty of musical elements gathered up from all around the world. The originality that permiates every second of this 70 minute long achievement show that the guys in Slivovitz have a great deal of skill.  I feel that Hubris is the type of album that you would never  be able to truly label, which speaks a great deal about its quality. Combining elements of Latin music, Rock Progressivo Italiano, funk, African rhythms, Eastern-European folk, reggae, even pop with the aforementioned jazz-rock-fusion base all make Slivovitz a serious “treat” to the bands/artists which are of the same/similar orientation.

The first thing that comes into sight is the musicianship. You can’t never know which of the Slivovitz band members will take a leading role. All you can do is to express the overloading exaltation to Pietro Santangelo’s saxophon-ing in the opening: Zorn A Surriento, which is an homage to aforementioned John Zorn. Caldo Bagno brings African motives into the game with guest appearance of Giovanni Imparato who has lent his vocal and percussive abilities. Mangiare is the first track on Hubris where you come face to face with Zappaesque-jazz rock, which features Marco Pezzenati’s vibraphones and relaxing saxwork. Errore di Parallasse pushes forth accordion and saxophone, but I must praise the rhythm section on this piece as, in my opinion, they are the most interesting part of the track. The second half of this song is totally dominated by violin soloing a la Jean-Luc Ponty. Ne Carne and Ne Pesce are the only pieces that create the impression of being straight jazz, Ne Carne being totally dominated by saxophone and Ne Pesce by drums. Dammi Un Besh O is a characteristic piece with Balkan-Gypsy folk music, pretty  energetic. It’s one of those that will make you jump and start doing some kind of… well, dancing. If you recall, I wrote above that Hubris also consists of pop moments. Well, there are few of them in CO₂, it’s gained with the acoustic guitar of another guest musician: Ugo Santangelo and saxophone work that goes in that direction. Sono Tranquillo Eppure Spesso Strillo – STRESS brings up a combination of funk and jazz fusion. Last three tracks on the album have been recorded in 2004 and included on their debut called Slivovitz, and been remastered for Hubris. As a liner notes the band has stated:

“100% made in Napoli (with a lot of caffe espresso and a lot of slivovitz!)”

If you would love to “taste” something good, then try Slivovitz. Just it’s upon you which one you are going to check out. My recommendation is that you listen to Hubris while drinking the brandy.

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Persephone’s Dream – Pan: An Urban Pastoral

Beautiful! A strong candidate for album of the year!

Normally I don’t start a review with words like that because I love to create some expectations in the readers, I mean you don’t really know what I am going to say nor the rating I will bring, but with a title like that, you can imagine that I will speak positively about this extraordinary record, and maybe you can guess my final grade.

Also, if you know my writing style then you know that I like the “song by song” mode, but this time it won’t be like that because this album features 19 songs, so describing each one of them would bore the readers, and would take actually a lot of time. So as I said, this album released this year (2010) by American progressive rock band Persephone’s Dream features 19 compositions, the majority of them are actually short ones, but there are some five or six longer ones, including the final three.

So now you better put your headphones and sit, because you will have 68 minutes of great, great music, believe me. Now that I mentioned that there are a lot of short songs and some few long ones, I think it is important to say that no matter their length, all of them work together as a whole, as just one body that would not function if any of its parts does not work, what I’m trying to say is that every single part (track) on this album is essential, and helps enjoying the music better.

What you will find here, is a complex, dynamic, dreamy and powerful progressive rock sound, music that will take you to another world (if you allow it) and music that will create on you diverse images, stories and feelings. But well, there is something I would like to mention because it is important, I concur with previous reviewers who said that It takes time to appreciate this album, so please give it at least three listens if you want to receive all its messages and sounds.

The album will tell you a story: “Pan: An Urban Pastoral” so by the title you can imagine a little by what is it about, and what kind of music you will listen. Well, the first moment that caught my attention and made me say wow was the third track entitled “Pan’s Labyrinth” which is a seven-minute instrumental song that offers quality, complexity and beauty in all its extent. Then, in “Those Who Remember” and “Sidewalk Soliloquy” you will listen for the first time both, male and female vocals, each one playing a different role, Ashley Peer represents the voice of the Maenads; Jim Waugaman the voice of the Urban Youth; and Dale Mossburg the voice of Pan.

The short instrumental tracks work together as a chain, all of them create different atmospheres that the listener can appreciate, so one can also create his own story and images in his mind. The work of the piano and keyboards is something that caught my attention since the first listens; I believe the different nuances and textures that they give help the music being more enjoyable and lovable to the people who are experiencing it.

Another thing I really like, is that when you think you are listening (by example) the fifth track, you actually are on track seven, I mean as the music runs you are so involved that in moments you don’t notice where a track finishes and a brand new one appears, I mean, there are moments where you just listen to the music as a whole, you don’t matter if there are 19 tracks on the album, you appreciate it as one.

“The Seduction of Daphnis” is another piece I really liked, because it gathers all the elements that can make you love the album: lyrics, music and all what together create. So I believe it is a pretty strong point of this album. And well, the last three tracks are the longest ones, almost half an hour of great music in only three songs, but the great thing is that there you will LOVE everything, I cannot help but praising this last part of the album, because it really provokes several thing on me, besides enjoying just the music. “Selene Rising” (short) and “The Tears of Selene” (long) comprehend together my favorite part of the album.

But well, please take the time to listen to this gem, buy it , you won’t regret. I am really happy with this record, I truly enjoy it every single time I listen to it, and believe me there have been several before writing this review. Though at first I thought about a four-star rating, to be terribly honest what “Pan: An Urban Pastoral” causes on me, is worth rating with five stars.

Enjoy it!

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Mar de Robles

Nick: Would you mind introducing us to Mar de Robles? How did your story begin? Tell us about yourself and the rest of the members.

Cristián: Well, we began as a group of friends, we were all fans of progressive rock and Jazz rock. We used to get together to play guitar after school and like all teens at that age, we had a lot of free time. We thoroughly reviewed albums from bands like King Crimson, U.K., or Gentle Giant, just to mention a few. We listened each song paying a full attention to all sort of details. Our story started with Rodrigo Moris and myself (Cristián Larrondo). We met after receiving an invitation to play guitar in a Hardcore band. This band did not last much, but soon after we formed a tribute band to Pink Floyd. Here we refined our musical execution and we established the basis to start composing our songs. In those years, our idea was to create a band of truly progressive rock. It is then when we met Julio Tobar, who added vocals and flute. My brother, Ignacio Larrondo in percussion, Rodrigo as leading guitar and me on a bass guitar. At that time, drums were played by Luis Lopez who started with us in the tribute band to Pink Floyd. Together we made enough material to organize a couple of concerts in Rancagua (our native city) and other locations in Chile. At the beginning of 1998 Luis left the band and Victor Munoz comes to the scene. He was an excellent drum student with the desire and motivation to help us start things rolling for Mar de Robles.

Nick: Mar de Robles has released two albums so far, are you willing to share with us what the recording processes of these releases were like and also comment on their musical qualities, your ideas, etc?

Cristián: Each record had very different processes. 4 years passed between both records. I think the only constant was that the recording studio for both was Robledal. MdR was a conceptual work that contained themes composed from 1997 to 2003. Based on that work, we started building up the story of a being called Tantic, who begin a trip through time and the Chilean geography. This Tantic’s journey is a result of the prevalent involution observed in our society. Tantic is searching indications or signs that would have influenced the inversion of the process of evolution. It took about a month to record this album and we had a great time doing it, besides playing the instruments, making the vocals, sounds and creating the different ambiances that were part of the story. MdR was a self-produced record and released by Mylodon Records.

Indigena was a more innovative and fresh album. There were changes inside Mar de Robles that unquestionably made this new work different to our previous record. Victor Munoz left Mar de Robles after recording MdR and in his replacement entered Cristian Silva for only a couple of months. Finally, Jesus Parada became our current and definitive drummer. He returned to Mar de Robles the necessary vitality to confront the new ideas. In addition, I added to our instruments the Chapman Stick that, we all agreed, gave us a new musical vision. This is a really incredible instrument that gives you an infinity of possibilities both in sound as in composition. Most of the album was recent work, but we wanted to add a couple of old themes that needed to be registered. That is how the concept of the new album was born, like the roots of our music, unpolished music, created like we felt since our formation, like natives or indigenas in spanish. The majority of the album was instrumental, we work a lot on the acoustic details, arrangements and dynamics. Without a doubt is a much more aggressive and intense album. We finished recording Indigena the last week of February in 2007. In March of the same year, with recently released CDs (again by Mylodon Records), we went to Mexico to play at the Baja Prog. We gave 3 concerts, one in Mexico city, other in Toluca and the last one in Mexicali, Baja California where the Baja Prog takes place. We sold almost all the discs that we took from Chile.

Nick: How would you compare your selftitled album with its follower Indígena? Where do they compare in your opinion? If you ask me, the first thing that is obvious on Indígena in comparison with Mar de Robles is that the former is much heavier.

Cristián: Like we were saying before and in agreement with you, Indigena is a much heavier album than MdR. We do not think that it was intentional though, the music was flowing like that and it transformed into a native or Indigena from head to toe. A wild, fierce and ferocious savage or aboriginal warrior. MdR is a more explorative and introspective album. We think that the main similarity is in the configuration of the band, although we added the Chapman Stick, we continue to use percussions, traverse flute, tenor saxophone, fretless bass, and electric guitar. All these factors plus our way to compose give us an identity that people can recognize. It does not matter if it is heavier or softer music, faster or slower, 3/4 or 7/8, I think we always sound like Mar de Robles.

Nick: Maybe it’s because of the Chucaro track, which is by the way one of the best instrumentals I’ve heard in the last few years. So why is this? You impart into your music a variety of instruments that give you a very eclectic feeling. Is it hard to arrange and structure all the instruments in a song? Describe the creation process of a Mar de Robles track.

Cristián: Truly it is not hard to arrange and structure the song based on our instruments. It is the most entertaining aspect of the composition process. Generally, the ideas are born from improvisations with a guitar, bass or stick. Then, we start working those instruments as a group, adding drums, winds and percussion. Most of the times we go by steps, working in detail beat by beat until each instrument sounds the way we like. Another less common way of working this arrangements is through written music in a computer. This process is a little more individual, but effective. Then, we e-mail each other ideas and finally we work them during a session of practice.

We strongly believe in the idea that the majority of our songs have life and they are part of the experience of seeing Mar de Robles live. After a while though, they start a mutation or transformation.

Nick: The title of your website says you are Avant Prog Rock. Do you find this genre label to be correct? I think that you surely do not have any limitations in your music, as there can be heard a lot of latin music, fusion jazz, folk, progressive too, heavy metal, the list goes on. However, I can’t say I agree that your music is very avant-garde. Would you mind defending the label?

Cristián: Well, the term avant-garde is related to innovation, renovation, exploration and a constant artistic re-invention and its relationship with life. Perhaps is a more personal definition, since we are fans of the music in this category both classic as rock. We like Bartok, Stravinsky, Present, Universe Zero, Magma and others. It is clear that our music is not so close to them in form. However, we believe that they are similar in the vision that they have for music, and in the way they were confronting the music. That is why we see Mar de Robles as an avant prog rock. It’s a label that is not limiting us in anything.

Nick: One of the differences between your two albums is that your second one is entirely instrumental. Why did you decide to “remove” vocals? I would say that both approaches work very well. Is it just temporary or will your next albums will be fully instrumental too?

Cristián: It is not something definitive. The fact that Indigena is a more instrumental album (not totally though, since Chileneos has some vocals) lies in the simple aspect that the lyrics were not coming to us. We did not wanted to force them either, so the majority of the composition process of this album was created just like that. If the lyrics are not at the level of the music, the best thing is not to use them. Now, if in a future we can work well those lyrics, it is probable that we can go back and use them. From my music perspective, instrumentals work as well as songs with lyrics. All has to do with the sensations and the way to communicate ideas. Songs with lyrics are more explicits, on the other hand, instrumentals give you the option to think and imagine, it’s like reading a book or watching a movie.

Nick: Speaking of lyrics, what is discussed on Mar de Robles albums? Do you think that the music you serve is enough to present all you want to express to non-Spanish speakers?

Cristián: The subjects are related to our perception of the society we are in, the music in our lives and the beautiful geography of our country and finally to the endless quest of cultural roots that empower the vision of humankind in the present and future. As said before, the lyrics are very explicit, therefore it would be easier for non Spanish speakers to have access to them in their language; maybe it could be a good idea to include translations of them in the albums artbook, but we will continue to sing in Spanish: it’s part of Mar de Robles’ identity. As an example, in my opinion, Premiata Forneria Marconi’s albums lose very much when they began to been singed in English, they are undoubtedly good, but the ones singed in Italian are incredible.

Nick: I have to ask you about the track called Ubuntu, precisely about its title. It’s an ancient African word that roughly means “humanity to others”, though there is also the Linux operating system that takes the same name. Do you guys like and use Linux operating systems or do you like the original word because of its meaning?

Cristián: I met Ubuntu by the operating system which I don’t really use but tried, and I think it is great. It’s remarkable the way a community with no profit between programmers and designers could deliver something that complete such as an operating system besides being esthetically and functionally excellent; I think Ubuntu and every open source softwares are the future. In general, internet and computing should be equal to everyone; it’s irrational there’s people that can’t access to something so basic because they can’t afford it. On the other hand, the concept Ubuntu carry along with our ideas for the native (Indígena), it nailed it. Native (Indígena) doesn’t refer only to Mapuches or Selknam, it has to do with everything native, with the roots, with what we are above all.

Nick: Many critics recognize through your music the influences of King Crimson and some other bands, but KC is cited more than others. It might have to do with the fact that both you and Tony Levin both play Chapman Sticks, haha. How much of Mar de Robles would you say is influenced by King Crimson? I can hear a little of it from Thrak and Discipline, but let’s see what you have to say. Feel free to mention other bands that were a big influence on you guys as well.

Cristián: I’ve noted that reference too and it’s quite accurate, we do have “something” of them but I don’t think it’s exclusively cause the chapman stick. The reference was already there since the MdR album. As an anecdote, in the year 1998 we were participating on a kind of “introduction” to the Craft Guitar, with guitarist Christian de Santis from Gauchos Alemanes and Jorge Salinas, both Fripp disciples. Craft Guitar is about experiment, but the experience was unforgettable and very enriching. We have very different tastes, but there’re bands that we all agree, among them is obviously King Crimson, Ozric Tentacles, Rush, Gentle Giant, Genesis, Tribal Tech and Chilean bands such as Congreso, Fulano, Inti Illimani and Tryo. For us musicians it’s impossible not to have influences, the thing is that you have to know how to separate them from what we really want at the time of writing.

Nick: How is your music being accepted in Chile and South America? And what about the rest of the world? I come from Serbia, which is in Europe, and surely the music you play would be received well if you guys were more well-known.

Cristián: Inside the progressive and it’s variants circle we are OK, even between metal fans, but we are very far of having the acceptance level of popular bands. In Chile and the rest of South America, this is cataloged as “underground music” even elitist. We’d love the audience to take time to listen different kinds of music to the ones that sounds on everyday-radio. And there we are, working on it. Making our small contribution in our city and the rest of Chile as well as other countries, where we have received very good vibes. Our only tangible experience was in Mexico. The albums and concerts sale was quite good but the reception of the Mexican people was excellent. We have received very good critics from Europe too through our website (www.marderobles.cl) and MySpace, which leaves us very happy with what we’re doing. I think that if we can concrete one trip to European lands we could have a little audience willing to hear us.

Nick: Would you recommend us some Chilean music that you like? We always look for new bands that will blow our minds. I know a few bands such as Aguaturbia, Barocco Andino, Embrujo, Cometa, Entrama etc. And, I’m in generally in love with south American music, especially if it’s a mixture of progressive rock and folky/jazzy motifs.

Cristián: There’re a lot so I will name only the ones I like the most. From the oldies, Congreso; master of all with many many albums, “Pájaros de Arcilla” and “Viaje por la Cresta del Mundo” are my favourites. Fulano is one of the most avant-garde Chilean bands and are an undisputed referent to many musicians. Inti Illimani, it isn’t rock, but their music is beautiful and without match. More contemporary are Araukania Kuintet, with some members of Fulano and other Cuban musicians. They are mostly Violeta Parra and Victor Jara jazz rock arrangements. To complete the list, MediaBanda, Tryo, Exsimio, Akinetón Retard, Autómata, Junios, Octopus…

Nick: What have you been listening to recently? If you’re in psychedelic/space rock mood, maybe you should check out My Brother The Wind’s Twilight in the Crystal Cabinet. It’s a fantastic album.

Cristián: Within the last I’ve listened is the “Tattoo” album by Rory Gallagher and “Heroes Symphony” by Philip Glass, but there’s isn’t a day in which I don’t listen to Present, One Shot, Magma or Univers Zero. Plenty of Rock in Opposition, also a lot of Astor Piazzolla. The truth is that there’s always something worth listening. I will give a shot to the band you mentioned, Space Rock is always welcomed.

Nick: What comes next? Should we expect something new from Mar de Robles in the near future?

Cristián: We’re recently back to stages after a year of recess. We performed on a “Fonda Rock” the past September 18^th in Rancagua, our independence day and this year the celebration of Chile’s Bicentenary. We’re currently preparing for a concert in November and focusing specially on working on some new ideas. On the other hand, we are readying a Live Album, recorded at our 10^th anniversary celebration on October 25^th of 2008. It may include a DVD of the concert. As soon as we get it ready, we’ll let you know.

Nick: I’m practically out of questions, would you like to add something that I didn’t ask?

Cristián: I think we talked about almost everything, I just thank you for taking the time to make this interview and I hope we can visit Serbia in a not too distant future. All the best to everyone there.

Alejandro Matos – Freak

Abnormal, Normal, o Freak?

Alejandro Matos, as some of you know, is a very talented musician from Argentina whose first album was released in 2000. However, his musical skills have been improving ever since. With “Persona” we can find a very interesting album that shows Matos intelligence at the moment of composing the music and writing the lyrics. His style is particular and reflexive. Now, with the release of his latest album entitled “Freak” in 2009, we can find a more mature Alejandro Matos, with (in my opinion) a more interesting proposal and overall a better album. I thank Alejandro, for his music and his kindness.

“Freak” consists of eleven compositions divided in two (or three) parts. The first part has the name of “Normal” and features the first five songs. The sixth piece is an 18-minute epic entitled “El infierno de los Buenos”, which is also divided in five passages. And the last part, from song seven to eleven takes the title of “Normal”.

So the album opens with “Falso Primogénito” which starts with acoustic guitar and Alejandro’s voice, later keyboards and guitars appear and produce a strong symphonic sound. The song makes some minor changes through the minutes; sometimes it slows down with some choral vocals keyboard effect. After minute four there is like an interlude where only the keyboard and soft drums sound, and later it opens the door to an excellent guitar solo.

The second song has some percussion which adds a different flavor to Matos’ music; it is entitled “El más allá” and it is a soft composition that besides that percussion features some nice acoustic guitar, soft synth sound and vocals. After minute three it makes a little change and creates an interesting atmosphere.

“Agujero de Sueños” starts with some ambient synth which later will be accompanied by nice bass lines, drums, guitars and vocals. Later a heavier yet emotional sound appears due to those electric guitars. Here the atmosphere has tension on it, so the listener can feel trapped under the music and will take part of the song itself. This is a very interesting composition actually.

“Verde por Dentro” is a wonderful composition, the lyrics are pretty good, and the atmosphere is excellent, I really like the way he uses the synth and creates different nuances while the song is passing. He adds some figures and puts different elements on it, which makes it really interesting and of course, enjoyable. Another wonderful thing, is that he also added the sound of a violin in the last minutes, and the result is a heartrending but beautiful sound.

“Veneno Ilustrado” is a quite different track from the previous one, the keyboard sound actually reminds me a bit to the first song of the album due to the symphonic sound created. This song has a stronger flavor, actually it is one of those tracks that suggests movement, I mean the atmosphere and emotions created do something on me. It has also some mood and a rhythm change, the end is soft but intriguing. With this song, we have reached the end of the first part.

Now, “El Infierno de los Buenos” is one excellent track, an epic one which shows Alejandro Matos talent and skills as a composer, it is not easy for a one-man-band to create an eighteen-minute song. It starts with voice and piano, making a soft and tranquil sound until minute two where guitar appears and though the rhythm might be the same, we can clearly notice that little by little the song is progressing. There are some funeral drums which give another perspective to the music, however it lasts some seconds only and the “normal” drums appear. Before minute five there is a short stop, where bass and synth sound for some twenty seconds or so, later vocals reappear along with guitars and drums. The structure is actually really interesting. Later a guitar solo enters and makes its contribution to the piece, all the instruments play a leading role, the thing is that in moments is the bass what takes most of my attention, sometimes guitars, and sometimes keyboards, this is why the song is so strong.

At half the song, there is a moment of tension and nervousness, where one don’t know what is going to happen next, I mean the music creates an ambient where the listener enters deep into its realm and becomes part of the music itself, and maybe of the story. The guitars play actually a very important role here because besides the keyboards, they help to create that dark and nervous sound. Later there is a wonderful passage where the music and lyrics really interplay and produce something on the listener. The last minutes are pretty interesting and entertaining, the music is still wonderful and the atmosphere created amazing. One excellent song, without a doubt.

Now we have reached the last part of the album, whose first two songs are named “La Pasión Según el Caníbal (parts 1 and 2). Nice bass lines and keyboards accompanying the vocals, the structure is pretty good, and the lyrics better. There is again a guitar solo after the half of the track, later some new guitar and keyboard figures appear. Soft piano and raw guitars for some seconds, in order to give pass to the last part of the song, which is fading out. Then, where new bass lines appear is the sign that the second part of La Pasión has started. And this part is great, the rhythm might be the same but this time the music flows naturally and creates a wonderful atmosphere. This time vocals do not appear, for the first time in the album, and it is a nice decision.

“Invernadero de Preguntas” is a short two-minute track, with odd noises that make me thing of a city of emptiness and desolation; I don’t really know what the purpose of this short piece was.

“El resto” returns to that interesting and symphonic like feel due to the keyboards sound. There are some short passages where the music sounds soft and calm, but in moments it becomes heavier, faster and intriguing. There is a moment after minute two where the guitar solo is evident, but when it appears it is really enjoyable.

“Sombras sin Filo” is the last track. Another short piece that since the very first seconds sounds like a goodbye due to that acoustic guitar sound. Actually this song is only Alejandro with his guitar, showing their relationship and intimacy. The last words are “lo que te espera es mejor” a nice way to end this great álbum.

Freak is a most complete album, its sound shows how Alejandro has improved with the years, and also shows a more mature sound. If you know Persona and Freak, you will clearly notice the difference between them, however, all is a matter of subjectivity, you may like better Persona than Freak, or the other way around.

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Roine Stolt

Nick: Hello, Roine. How are you doing? Transatlantic tour is almost done, there’s still a concert on High Voltage Festival in July, but I guess it would be all. Are you satisfied how this tour turned to be? Do you have in plan releasing a DVD?

Roine: Tour has been fantastic – audiences everywhere have been beyond amazing – band get along and we had boatloads of fun – what more can you ask for.

Nick: I am sure that now after having The Whirlwind and of course previous two albums, it was difficult and tedious for you guys to do more than 3 hours gigs. Has Daniel maybe cursed you for making all those epics, as he’s the one who probably is not accustomed to that, hehe? I have to say that I admire to all of you to making this out.

Roine: Being the oldest member of the band I’m proud to say that I was probably the one that stood the test – I felt very relaxed and did not feel exhausted at all – it was an easy ride and I’d be glad to play even 25 more shows. 3 hours is a bit long – not exhausting really – cause we had a break of 15 min. but I think maybe a bit too much music and maybe a bit loud – but fans seemed to love it – and Daniel did good.

Nick: I wanted to ask you how did you get in touch with Neal and Mike back then when you formed Transatlantic? You were pretty much active then with The Flower Kings. Guess that Mike and Neal has knew each other before, but I’m interested to know how did you get to know them and do you feel any kind of pressure by knowing that people label you as a super group?

Roine: I did know Neal a bit before because we met briefly in Los Angels around 1997 – and Mike emailed me and asked if I wanted to join them for an album. I didn’t feel any pressure really.

Nick: It has been 6 years or so since you’ve last time toured with TA and many people probably thought, as me though, that there are no chances for Transatlantic’s new material, but you didn’t think that way. Was that Neal who has initiated TA’s return? I wonder how did you see your status after that tour back in 2003, have you been formally disbanded or everything was just put “on hold”?

Roine: The halt was a bit abrupt and I think no one really understood what went down – cause we were successful and did get along pretty well back then too, but looking back now it really doesn’t matter – we’re here and we are enjoying it and are more successful than ever.

Nick: Would you try to compare The Whirlwind with SMPT:e and Bridge Across Forever? In your opinion, where does it stand? I look on Transatlantic albums as they are given to be listened for years, if anyone wants to get to its core. Do you agree?

Roine: For me personally “The Whirlwind” is a more complete album and more experimental but yet accessible – so I guess in a few years it will be looked at as a prog classic and Transatlantic’s best.

Nick: I feel some kind of burden about asking that question, but I cannot avoid it. Thus, do you know for sure there is going to be another TA album in the future? Probably, you don’t think about that and you’d say “Whaaat?! We just gave you that big gulp called The Whirlwind and you ask for more!” But, you know, I just can’t control my curiosity, hehe.

Roine: I think chances are big for a new album within next few years. We have a great team and a winning formula and so much fun doing it so I cannot see why we shouldn’t.

Nick: I hope that you will not complain for asking too much questions about TA, but since I got green light for making this interview out, I knew that it will be divided in 3 parts with additional subquestions aside, and as this tour with TA is most recent thing happened to you, it seemed logical for me to start from there. So, which venue was most fun to play? Where that was the hardest? Tell us about something interesting that happened to you or the other guys? I could see some of the photos from Madrid where you were, well not literary, in stampede of FC Atletico Madrid fans.

Roine: I enjoyed just about every show – but a few favourites were Luxembourg, Milano, Paris, London, Tilburg, Madrid, Barcelona, New York, San Francisco, and also the High Voltage Festival in London Victoria Park.

Nick: The other interesting thing for all of us, I bet, was in Milano if I’m not wrong, when you’ve decided to do a short homage to Ronnie James Dio, who sadly passed away. Was that Mike who proposed this jamming? You kept your position, but was interesting to see Mike on bass, Pete on keys and Neal on drums. Fans do not have so many chances to see you in such situation(s).

Roine: Yes we just try to put in a bit of insanity and silly fun – as most of the set is quite serious – so we don’t plan much – what happens is just improvised and depending on each specific venue or crowd.

Nick: I mentioned Dio’s death, and I have to mention Bo Hansson, who also passed away a month ago or so. Not that I have any specific question about this, but how do you feel about that? Do you find Bosse’s work influential for you and if so, what do you have to say on his albums?

Roine: I like his work mostly with “Hansson& Karlsson” that was a psychedelic organ jazz group from around late 60’s.

Nick: I’m coming to an end of these series of Transatlantic questions and I wanted to ask you what are your opinions on other guys bands/projects? What are your favorite albums of Dream Theater, Neal Morse, Marillion and Pain of Salvation, as Daniel is practically a member of TA live line-up?

Roine : Dream Theater: “Scenes From A Memory”, Neal Morse: “Questionmark”, Marillion: don’t know… They’re all good but I much prefer the Hogarth era. Pain Of Salvation: “Be”.

Nick: That was Mr. Stolt of Transatlantic, now we are here with Mr. Stolt of The Flower Kings. So, what’s going on with TFK? Long time  no hear & see. Is there any chance you guys record something new at some point in the future? You’ve been doing on Agents of Mercy, about which we’ll talk a bit later, Hasse works on his own project, other guys are also involved in other projects and I’m just trying to find place for something new coming from TFK.

Roine: It is definitely most likely a new Flowerkings album coming within next few years – who knows maybe already 2011.

Nick: Your last activity with TFK was playing live back in 2008 on Ecco Prog Fest. Do you miss playing live with TFK, honestly? I guess there is some sense of nostalgia and it seems like it’s been ages since The Sum of No Evil has been released.

Roine: I don’t miss it so much – but I’m sure it will be fun. If or when we do it again – I think a break was a very good move. In fact we plan a release beginning of next year of a DVD from the 2007 tour we did in Europe – with Pat Mastelotto.

Nick: Let’s go back in the past, back in 70’s. After your departure from Kaipa in 1979, the same year you’ve been recorded “Fantasia”, and this album is kind of logical continuation of your previous works with Kaipa. Why did you leave Kaipa? What has been happening with you then?

Roine: I was just fed up with the situation and felt outside the band – where I wanted to move on and most of the band were not that serious about new developments and more concerned about partying.

Nick: In the recent interview with Lalle Larsson, I asked him did he have clear vision of his music, his career and I’m gonna ask you the same question. So, as a solo artist in the end of 70’s, did you know in which direction your music will go?

Roine: No I don’t think I knew at the time – I just wanted to play with serious musicians and try to better my music.

Nick: Before forming The Flower Kings in 1994, you’ve released 4 solo albums, including “The Flower King” which practically has announced the beginning of TFK. Did you want to start something that would be a band in the real meaning of the word where would the others contribute with their ideas? Although, you released later two more albums under the name of Roine Stolt, Hydrophonia and Wallstreet Voodoo.

Roine: I think I definitely saw the possibility of forming a band around the music of “The Flower Kings” – I just felt it was time to play prog rock again. Hydrophonia and WallStreet Voodoo were more works of a “side project” type – because I had written so much new material.

Nick: Speaking of Wallstreet Voodoo, that album showed you in pretty much different issue than your previous works, as you perform blues this time, what tells that you have really eclectic taste when it comes to music. Would you tell us a bit more about this record? Neal Morse has contributed on that one playing Hammond and singing, but there are some musicians which are hiding behind pseudonyms.

Roine: I view myself really as a blues guitarist that happened to start writing more prog rock things – but I started as a teenager playing blues and were influenced by people like Peter Green, Robin Trower and Duane Allman.

Nick: It’s well known that you are a big fan of Genesis, you’ve been covered them as live, as on studio releases. What’s your favorite album of them? How did you see Peter Gabriel’s replacement by Phil Collins then?

Roine: My favourite albums are definitely the Gabriel era albums – in particular Nursery Cryme – Foxtrot – Selling England – Lamb Lies Down. Phil Collins is a great drummer and I like his singing too but he did never capture the magic and enigma of Peter Gabriel.

Nick: Flower Power has brought nearly 60-minutes long piece called “Garden of Dreams”. Was that your intention to produce such a long track and surpass yourself and certainly others, or you just let the imagination does the thing?

Roine: We just kept writing and this is what came out – the idea being NO restrictions – just go with whatever good idea comes up.

Nick: I’m trying to avoid generic questions as much as it’s possible, but I have to ask you what’s your favorite TFK album? Which was the most fun making and which one toughest? TFK music itself is very complex, but which song is the most difficult for you to play live? Guess that there’s no song that hard for you to play, hehe.

Roine: My favorites are probably “Stardust We Are” and “Unfold The Future” – but “Sum Of No Evil” is great too and was really fun doing. The most difficult songs to play live were “Devils Playground” and “One More Time”.

Nick: Adam & Eve is probably one of your most diverse albums released under TFK name. It brought different approach in some particular elements, such arrangements and vocals and this album is one of my favorites besides The Rainmaker and Unfold the Sorrow. The use of Gildenlow’s vocals on this record is perfect. What are your notes on this album?

Roine: I like it quite a bit – I think if the last half would be as good as the first half it would be a top TFK album. However it did divide our audience – some newer fans loved it while the older fans saw it as a not so good album.

Nick: Besides involvement in Transatlantic with the arrival of new millennium, you’ve joined Hans Lundin in rebirth of Kaipa. How were you feeling to start up again the band which I guess was important for your musical maturation and development back in 70’s?

Roine: Well I tried to make the best as always – and I think “Keyholder” is a good album but all in all Kaipa felt too much restricted for me and I felt sad that Hans Lundin refused to play the music live – as I felt it was almost a dream team with Morgan Ågren, Jonas Reingold, Patrick etc. It could have been killer – but the fact is the band didn’t even meet recording – so all parts recorded separate – it too much of sequencer and too little living music.

Nick: The way new Kaipa has traced with Notes from the Past is more similar to your work with TFK and TA in comparison with stuff you’ve been doing in 70’s. How do you see that new direction of Kaipa and have you checked new album “In the Wake of Evolution”?

Roine: I also wanted to take the band back more to the 70’s style – but that never happened – so I left. I have heard In The Wake and it sounds well produced but still lack the real band vibe – it’s a bit clinical to my ears – but a few new nice folky melodies so all is not lost. I hope he (Hans) follow that line more and let the band play the music live next time.

Nick: The next in the row is your involvement with The Tangent, what makes me think that you own shares in more than 70% of today’s progressive rock scene, haha. How has it been to work with Mr. Tillison and how do you see that albums now? Also, have you listened “Down and Out in Paris and London”? If so, what’s your opinion about it?

Roine: The Tangent was a project I was asked to play on and I did so for 2 studio albums and a live record – but I never planned to be in that band and I guess my idea of music is a bit too far away from Andy’s – so I left – again – don’t get me wrong – the music is ok and Andy is a nice bloke and very serious about what he does – but it’s not my style.

Nick: The last, but not least is the project you started with Nad Sylvan, which has become now as a full time band by its structure. I had an opportunity to talk with Nad about upcoming album, but I’m interested to know more from Agents of Mercy mainman. What can we expect with new album and how’s it in comparison with The Fading Ghosts of Twilight?

Roine: Being in the middle of it I probably cannot see it clearly – but my guess is that it’s a more direct progrock – classic rock/pop album – but also with more upbeat and rocking numbers – a bit more aggressive I guess and some darker themes coming up too. The album is produced more as if it was 1972 and it’s because we love that vinyl era and are not so happy with much of the prog that is released today as it sounds “too perfect” and to edited and “produced” – we wanted it to sound more like a live band. But of course there are overdubs here and there – but more as if it was Abbey Road, Relayer or Selling England By The Pound.

Nick: You’ve had a tour with Karmakanic and AoM, so called The Power of Two venture, and there’s a live album which is great, by the way. Are there any plans for doing something like that again at some point in the future? You’re going to have new album and Jonas works on new Karmakanic record, so maybe next year there might be organized tour like that. What are you saying?

Roine: We’re going out already for a few “try out” shows” in October starting October 3rd. But yes, we plan a longer tour or at least many more shows beginning of 2011.

Nick: Nad told me that it was you who has chosen that Nixon-Mao picture for the art cover of The Power of Two. What does it symbolize? I see it as the connection of two big forces, in this case we have Karmakanic and AoM and you do handshake. Am I on a good way?

Roine: I just found it interesting and symbolic for what a handshake can do – that people can build bridges if they work together and shape the future. So I painted that picture from a classic photo – I just felt it was a bit bizarre and that kind of weirdness give me a kick.

Nick: Together with Jonas Reingold and Lalle Larsson you’ve done a project 3rd World Electric, playing fusion jazz. There’s an album called “Kilimanjaro Secret Brew”, would you tell us about this record? What has been inspired you to start this one and who has taken a role of being main composer?

Roine: I just found that I had a few songs that were too jazzy to fit into any other band i was in – and also that Jonas had a sleeping Jaco Pastorious in him so I offered to help start a new project and 3rd World Electric is the result. I really hope we can take it to the stage some day.

Nick: There’s a feeling of Afro jazz approach on KSB album, right? Which are your fusion jazz favorite artists/albums? Weather Report or Return to Forever? What’s your opinion on Mahavishnu Orchestra?

Roine: That’s part of my history and this album was kind of my homage to the late great Joe Zawinul. I like the early Return To Forever albums and Mahavishnu – Inner Mounting Flame was a great kick for me in 1970 just as it inspired many musicians around the planet – I dare say that Yes – Close to the Edge wouldn’t sound the same without the Inner Mounting Flame.

Nick: Have you been thinking about making another 3rd World Electric Album? By knowing you, especially your potential and skills, I’m sure that you will start some other project in some time in the future. Am I right?

Roine: Definitely – and we’ve talked about making it raw and funky this time so maybe less sophisticated and more grind and meat, more Hendrix guitar etc.

Nick: What’s your opinion on today’s progressive rock scene, bands, and market in general? Do you think we live through hyperproductive era of music? Also what’s your opinion on Canterbury scene, do you have favorite bands/albums and which are they?

Roine: I did enjoy Hatfield & The North a bit and Soft Machine – mostly Bundles with Allan Holdsworth – but don’t listen much to bands like Egg or National Health these days – but enjoy it if it’s played.

Nick: Do you think there is something like Svensk Prog? My colleague Dan considers there is such “label”, and as representatives he mentions Samla Mammas Manna, Beardfish, as Klotet. What are you saying? By the way, do you know Klotet? They are one of my recent revelations and they are great.

Roine: Samla Mannas Manna were great – very unique – I saw them many many times live and it was mesmerizing – one of the greatest Swedish bands. Bands like Änglagård didn’t work that well for me – they played great but were sadly lacking in composition- felt like “prog for progs sake”. Bands I like are Ritual, Anekdoten on a good day, Mats & Morgan.

Nick: Sweden’s got very strong and very organized music scene and I’ve made a joke recently by saying that there’s amount of bands which exceed whole country population. People say that in Brazil parents give a football to their newborns and I guess that in Sweden parents give instruments, haha. What’s the secret?

Roine: No – but we have pretty good music schools and the economy is good.

Nick: As far as I am concerned you have two sons. Do they show any interest in making music?

Roine: Every now and then they play – in fact today my oldest son Sebastian asked to borrow my amp to play a bit of bass, and Gabriel practice guitar and try learn songs by himself, by ear.

Nick: Do you have time for listening to new music besides all of your work? What have you been listening to recently?

Roine: Enjoy the Paul McCartney live at Citifields CD/DVD – also latest Porcupine tree -Incident and I am still floored by the beauty of Vangelis – Mythodea. And I really like Pat Metheny – Orchestion album. Then I go back to Beatles remasters and just about any Joni Mitchell album.

Nick: We mentioned Transatlantic being a supergroup and I guess that you already know that Mike Portnoy is involved in project with Steve Wilson of Porcupine Tree and Mikael Akerfeldt of Opeth. What do you think about that and do you have any expectations? Also, I wondered what’s your opinion on Opeth? Do you have favorite album? Mikael is an amazing musician, extremely talented.

Roine: I like Opeth quite a bit – I like the latest album – yes, Michael is very talented and they are all great musicians – I like the sound. About the project I have no Idea – don’t know if it will ever happen – we will see.

Nick: The mentality of Swedish people is often being considered somehow eccentric and cold, somehow egoistic. Why’s that?

Roine: Have no Idea – I know a lot of great people here – so I guess I’m lucky.

Nick: What are your next plans?

Roine: To start rehearsing the new Agents Of Mercy material – for live shows – really looking forward to that – it’s fabulous album.

Nick: Is there anything you would like to add, as I’m out of questions?

Roine: Don’t think so – I’m happy.

Tohpati Ethnomission – Save the Planet

Tohpati Ethnomision is a project of Indonesian guitarist named Tohpati, a name that is very well-known in the Indonesian jazz (fusion) scene (he also works with simakDialog, another jazz fusion act hailing from Jakarta). In this album there are many elements that characterize the “modern” jazz fusion style. Ethnic motifs from all around the world can also be heard, balanced well with precise guitar work, helped by a “Swiss clock” rhythm section supported by traditional Indonesian percussion instruments (kendang, gong and kenong) with the addition of a rebana and kempluk, as well as a Sundanese flute. The names of these instruments may not mean a thing to you, but however, the music is the only thing that matters and the music is more than good.

Consisting of 11 tracks, and with a total duration of 67 minutes, “Save the Planet” reaches the musical complexity this genre carries with its half-century long tradition. Conceptually this album is of course about the planet, and this is shown with a symbolic piece of artwork that features an image of the planet Earth constructed by human beings as a reminder that we must take the responsibility of saving it with our own hands. The musicians, the music, the production – every segment of this album deserves the highest ratings and it surely receives them. To sum up I shall simply say this: Tohpati Ethnomission accomplished. (Note from the Editor: Oh god, what a terrible pun >_<)

Tracklist:

01. Selamatkan Bumi (Save the Planet)

02. Bedhaya Ketawang (Sacred Dance)

03. Drama

04. Ethno Funk

05. Gegunungan (Gateway of Life)

06. Hutan Hujan (Rain Forest)

07. Biarkan Burung Bernyanyi (Let the Birds Sing)

08. Inspirasi Baru (New Inspiration)

09. Perang Tanding (Battle Between Good & Beast)

10. Pesta Rakyat (Festive People)

11. Amarah (Anger)

Line-up:

* Tohpati – electric guitar, midi synth guitar

* Indro Hardjodikoro – bass guitar

* Endang Ramdan – Indonesian percussion (kendang, gong, kenong)

* Demas Narawangsa – drums & Indonesian percussion (rebana, kempluk)

* Niki Suwarjiki – suling (Sundanese flute), soundscapes

Links:

www.tohpatimusic.com

www.myspace.com/tohpatiethnomission

Ron Jarzombek of Blotted Science

Nick: Hey Ron! Let’s start the interview by discussing one of your latest releases, a brand new album of music by Watchtower called Mathematics. In April you released The Size of Matter, are the first bits of music since your 1989 album Control and Resistance. How do you feel about it and the band in general, considering you’ve announced that you’re in need of a new vocalist?

Ron: Yeah, too bad we ran into the vocalist issue this time. Seems like whenever we try to complete Mathematics, we hit a snag, roadblock, or wall. We reworked the material for the third time now (2000, 2004, and now 2010), and I’m just tired of talking about it. It’s REALLY getting old. We need to get the damn thing done sometime, somehow, some way. But we have over an hour of good material sitting around waiting to be recorded and released. If we can just get this vocalist situation worked out, we should be fine.

Nick: WatchTower’s Control and Resistance was your first album with the band, after which the band went on an eleven year hiatus, although you reunited in 2000 to play few concerts. What was it like joining them and what happened after the release of Control and Resistance?

Ron: The main issue was my hand problems, which started during the recording of ‘Control And Resistance’. Alan soon realized that we wouldn’t be doing anything anytime soon without a guitarist, so he moved back to New York. We kept writing while my hand was wasted, but we got lost with our musical direction. When I did start playing again 3 years later, I was in a different musical place than Doug and Rick, so I started Spastic Ink with my brother. WatchTower did continue writing, but without a vocalist, and without a sense of where we were headed musically (plus I couldn’t play much of anything). When we got back together in 2000, that’s when most of the writing for what is currently on Mathematics happened. Then in 2004 the same musical direction continued. As far as the live European festival dates go, it’s always good to get back onstage with those guys.

Nick: Would you mind telling us about your musical background and beginnings? As far as I know you S.A Slayer way back in the day, with whom you

recorded an album called “Go for the Throat”. What can you tell us about it?

Ron: Yes, my first real live/recording band was S. A. Slayer (from San Antonio). We used to play around Texas with WatchTower and Helstar quite a bit. It was more of a straight ahead metal kind of thing. I wore black spandex and a leather vest (which was actually made out of vinyl LOL) and I always felt a bit out of place, but went along with it because it was a cool gig. The other guys in the band were listening to Motorhead and Iron Maiden while I was into Rush. It all was working pretty well until Don and Dave decided that they wanted to form a band with Mark Reale from Riot, which fell apart almost as soon as it started. S.A. Slayer was then over and I was I in WatchTower shortly after, which was just fine with me, although I had a bitch of a time trying to fill Billy’s shoes.

Nick: In 1993, you joined forces with Bobby on drums and Pete Perez on bass to form Spastic Ink, which is one of my favorite projects of yours and one of my favorites from the 90’s in general. Why would you say it took so long to release the first album?

Ron: I had that hand problem from ’90 to ’93 or so. Spastic Ink started in ‘94 and we wrote and recorded the material in a little over a year, I think. We had the stuff sitting around for a while and didn’t know how to release it. We had some cassette tapes floating around but this was before the internet and we didn’t have any contacts at all. Finally, over 2 years later, Ole Bergfleth came around and printed up the copies on his label Dream Circle.

Nick: Spastic Ink in general is probably your most experimental project out to date. Do you agree? What inspired you to create such “mad” music?

Ron: I guess 3 years of being unable to really play sparked something. Bobby, Pete and I came up with some real cool timing things to do as a band, and unlike WatchTower, I had the total freedom to be as goofy and humorous as I wanted. I was always writing and recording solo stuff while in WatchTower, and I think Spastic Ink just evolved from those solo ideas, but was a full band. When Spastic Ink was over, my solo ideas then went into ‘Solitarily Speaking…’ which is my favorite CD to date.

Nick: Spastic Ink’s second album “Ink Compatible”, released in 2004, brought a bit different approach I would say. There were several musicians that contributed to the creation process of the album. It seems like it was a pretty stressful period for you, concerning the creating process of the album itself, right? What can you tell us about it?

Ron: That album should have been a Ron Jarzombek solo album. I wrote everything on it, got all the players myself, and it was my first adventure into the real self-release world where I nearly all the production and run everything. And yeah, it was pretty stressful. There are so many guests on that CD that it’s totally obvious it’s not a cohesive unit. I did my best to make the CD appear as Spastic Ink because I wanted to hang on to it. By that time Bobby and Pete were heavily involved with other bands and I pretty much had to hound them to get them to participate. But trying to round up all those other players sucked. I made a few enemies in the process too. So many people were bailing on me, sending me crappy tracks, and I got fed up with it. That’s when I did ‘Solitarily Speaking…’. About a year after I gave up, I finally found two drummers to record the last 3 songs, and then it was completed.

Nick: How would you describe Spastic Ink’s musical style? Surely there are elements of fusion, which is complex by itself, but I may say that you multiply its complexity by adding your own touch.

Ron: Fusion? Hm, not sure. I just write what I write. I used to be part of “progressive metal”, but that has been so distorted by cheesy Dream Theater clone “keyboard metal” bands who don’t even know what a measure of 7/4 is. I think I fit in a bit better with what they now call “technical metal” or “tech metal”, which is fine with me. Sometimes my music is described as jazz, which I do not hear at all. I’m not a fan of jazz and actually whenever I try to work with heavily influenced jazz guys, I have problems. If a musician isn’t grounded in rock or metal and they have a bunch of jazz wanker guys listed as their influences, a bright red flag goes up for me. Don’t get me wrong, I totally respect and admire players like Larry Carlton, Allan Holdsworth, Al DiMeola, Frank Gambale, etc… but I don’t want to write/play with drummers and bass players who don’t have clue what they are supposed to be playing in a rock/metal context. Figure out all your widdling going nowhere crap on your own time, then when you figure out what you’re going to play, THEN hit the record button. LOL To me, there is a HUGE difference between being “technical” and “jazz”. Both have a lot of notes going on, but one has notes hit in specific places at specific times for a purpose, the other is just play whatever you want, whenever you want, and pray that it all comes together somehow for whatever reason you can think of at the time. Man, I better stop now… LOL

Nick: “Solitarily Speaking Of Theoretical Confinement” is an album that we could say brings together all of the elements that come together to form your

guitar style. What’s the secret behind establishing such a great connection between technique and feelings? You managed to do very well, especially on this record. It’s like you made a robot with emotions!

Ron: I think that CD came out as well as it did because that was the happiest I’ve ever been in my musical life. I was so tired of farting around with trying to get players for ‘Ink Compatible’, and I had such a cool, specific concept in mind, followed it up ‘til the very end and totally nailed what I was going for. When I found out that Rush did the morse code bit with ‘YYZ’, from then on I was always trying to find patterns to base tunes on, got more into music theory, and I wanted to do a whole CD of working with word phrases and incorporating them into music. For the people who don’t have an actual copy of the CD with the liner notes explaining what is going on with the music, you are missing the entire point of the CD. Sure, if you want to think the music and playing is good, that’s fine, but there so much more to it that that.

Nick: How did you get in touch with Marty Friedman for the “Music for Speeding” tour and what is it like to have such a situation? Most people probably think that you guys mostly talk about guitar techniques, pedals and so on, but is it really like that?

Ron: My manager found out that Marty was looking for 2^nd guitarist for a tour, so I got in touch with Marty and sent him mp3s of me playing a few of his songs. I guess I did OK because I got the gig. It was great playing alongside Marty, but there were lots of things I didn’t care for. I’m used to running things and this was a situation where I was just a hired guy and didn’t have much input on anything. What works best for me is a “band” situation where everybody has input. I can tolerate where I run things, but after a while that takes its toll.

There was one time where the Marty band was supposed to do a rap/hiphop version of a song for the Japanese DVD and I was making up stupid excuses why I couldn’t do it that way. LOL. Luckily, that didn’t happen, and we just played the song as it was on ‘Loudspeaker’. If I would have had a say I would have shot that down IMMEDIATELY. We didn’t really talk much about guitars and stuff. There were lots of teen magazines on the tour bus though with Hillary Duff and Britney Spears. So we mostly talked about hot chicks… I was hoping that the Marty situation would evolve into a Friedman/Becker type of thing, but it never went anywhere near that. The closest it came was I played on Marty’s live DVD and CD, and he played a solo on Spastic Ink’s ‘Ink Compatible’.

Nick: 2005 brought another project initiated by you, Blotted Science, this time presenting an instrumental form of extreme tech metal, together with Alex Webster and Charlie Zeleny, whose names speak for themselves. How did it all begin? You’ve recorded an album “The Machinations of Dementia”, so please tell us something more about its creation process.

Ron: I wanted to do something other than this super techy metal where I’m supposed to “outtech” the other guy. I’m mean seriously, how many tech CDs am I supposed to do?! I wanted to do a full band with two guitars, bass, drums and vocals. Alex and Chris (Adler, original drummer) wanted to keep it instrumental, so I went along and started writing with Alex. One tech guy, a death metal guy, and an extreme metal guy. Let’s see what we can come up with… For me it was a chance to get into different types of music/playing, and it turned out GREAT. Chris couldn’t complete the project because of Lamb Of God’s schedule, so Charlie came on board and totally ruled. Our drummer now is Hannes Grossman (Obscura, Necrophagist), who we feel is the absolute perfect match for us. Blotted Science released ‘The Machinations Of Dementia’ in Sept ’07, which does bring in lots of tech, but also has quite a bit of death metal mixed in, and lots of other music that I don’t quite know how to describe. The fact that we’re tuning down to low A opened up even more doors for writing. We incorporated the Circle Of 12 Tones writing system that Alex and I we are still using, and actually have a pretty interesting thing going. On the upcoming EP we have a VERY cool concept of what we are writing music to, and to be quite honest I don’t think any band has done it before. I’ve dabbled in it before with Spastic Ink , but this is EXTREME! and I’m sure this will knock people’s socks off. It’s a little too involved to do a whole album, so we’re going to see how all goes with this EP.

Nick: Heh, I almost forgot your involvement with Gordian Knot. It seems like I should write all of your projects and involvements as a reminder to myself! You contributed to the selftitled album back in 1998, would you share some thoughts about this remarkable record with us?

Ron: Eh, I did a few solos on the CD, and Sean played a bit on Ink Compatible. That’s about it. I think I was supposed to play on the 2^nd GK CD, but Sean and I had a bit of a falling out.

Nick: Since you DO have so many projects, would you like to mention more I might have left out?

Ron: I’ve been working on 3 gtr instructional DVDs for a few years now, but keep pushing them aside whenever a band/project is my main focus. I’ve been dying to get back to them and will as soon as the Blotted Science EP is done. The 1^st DVD will be on common scale use and abuse, the 2^nd on timing, and the 3^rd on 12 tone uses. The material on the DVDs will be taken from the Blotted Science CD, Spastic Ink CDs, and my solo CDs. There is a preview up at

http://www.ronjarzombek.com/RonJarzombek_OscillationCycles.wmv

Nick: I have to ask you for the PHHHP! and PHHHP! Plus demo collections, are they named after PHP programming language? I know that you’re into the IT world, which is why I ask.

Ron: No, it explains that on the liner notes… “For best results, close your mouth real tight, tuck lips in, puff cheeks slightly, then blow out…” See there, I’m not all tech!

Nick: I think I’m out of questions, is there anything you would like to add?

Ron: Nope, but many thanks for the great questions. I love an interview where the interviewer knows his stuff and does his homework.

Morild – Time to Rest

Morild is a relatively new name in the Norwegian progressive rock scene. They have been around since 2007 and “Time to Rest” is their first double CD album. As these 4 men stated in the press info of the album, their music blends elements of melancholy, the spirit of Nordic folk, and British progressive rock. All of this is true; throughout this record there is surely an omnipresent feeling of melancholy, which is mostly carried by the vocal harmonies and a variety of keyboards-related stuff.

As I mentioned above, this album is 2 disc edition divided into 11 songs with a total duration of over 100 minutes, which is what amazes me about the release.Why? Well to put it simply, most bands don’t put so much on their very first album.

The main instrument on this record is the hammond organ, played by Odd-Roar Bakken, who also holds all guitar duties. It’s evident that he’s influenced by Rick Wakeman, Ken Hensley and Peter Bardens, who have all certainly influenced the sound of this record. The guitars are actually my biggest complaint about this album, however. The sound of them are kinda poor and messy, and I have to admit that I thought drums will be problematic, concerning the fact the album has been recorded in home studio, “in the smallest of all small rooms, beneath the garage floor.” Thankfully, my fears were unfounded. The term “virtuosity” has been a synonym for progressive rock for a while, but this release is mostly calm and I would label it as a “melancholic virtuosity”.

To conclude, these guys from Trondheim show through this album that they have the knowledge and potential to make something good. At least, “Time to Rest” is far from able to be categorized as a “hobby album”, it surely needs to be listened and is not one of those “skip-over” releases. Give this album a chance and let the music speak to your heart, rather than your brain!

Tracklist:

Disc One
1. All I Wanted (The Whale Song)
2. When The Night Turns To Morning
3. Time To Rest
4. Blackbird’s Lullaby
5. Circus
6. Early This Morning

Disc Two
1. Apus Apus
2. Two Glasses
3. The Slave Ship- Part 1: Zong: Searching For Prey
4. Part 2: Harbour Lights
5. Part 3: Mercy

Line-up:

* John Anders Troset – vocals
* Nils Larsen – bass
* Alexander Salgado Rodriguez – drums
* Odd-Roar Bakken – guitar & keyboards
* Mari Haug Lund – flute

Guest musician:
* Hans Kristoffersen – guitar

Links:

www.myspace.com/morildprog