Progressive metal guitarist and composer Pete Shier Bailey recently released his full-length instrumental album Living Chemistry, blending genres and pushing boundaries. For Bailey, this album wasn’t about following a specific musical direction—it was about creating something deeply personal, a piece of art he would be proud of for years to come. He drew inspiration from various moments, whether jamming on his guitar, taking walks, or stitching ideas together in a digital audio workstation (DAW). His approach to recording was simple: guitar, interface, and Logic Pro X, with minimal moving parts to allow the music to flow naturally.
The album’s instrumental nature holds a special meaning for Bailey. He has always been fascinated by the ability of instrumental music—like movie scores or classical pieces—to convey profound emotion without lyrics. For him, the power of sound to evoke feeling is akin to the raw forces of nature.
One of the standout tracks from Living Chemistry is “Valkyrie,” which also features on Prog Sphere’s Progotronics XLV compilation. Bailey considers “Valkyrie” a quintessential example of his musical style—catchy, polished, and technically impressive. “It’s pop music for instrumental guitar fans,” he says, emphasizing that while the track is accessible, it also showcases his unique sound and skill.
Can you share insights into the recording and production process of Living Chemistry?
I recorded everything in my home studio over the past two to three years. It was a simple setup—just my guitar, an interface, and a laptop running Logic Pro X. I took my time to ensure every take felt and sounded right. I handled all the programming, editing, and comping myself, but my friend Brandon Scully co-mixed the record. Having a second set of ears helped refresh the sound. Jamie King did the mastering, and it felt natural to work with him again after our collaboration on my previous release, Omnisphere.
How does Living Chemistry differ from your previous EP, Omnisphere?
It’s a big leap forward. Omnisphere feels like my rookie year, where you can hear the potential but the pieces aren’t fully there yet. With Living Chemistry, I aimed to create something that felt like an arrival—something undeniable. I wanted people to either love it or hate it, but I wanted it to be clear that it was made with passion and care.
What influences shaped the tracks on Living Chemistry?
I draw a lot from pop music. I like simple song structures that are easy to follow, even for non-musicians. The technical elements are there, but the foundation is digestible. I sometimes joke that my music is what you’d get if Britney Spears and shred guitarists like Jason Richardson or Tosin Abasi had a baby.
Can you elaborate on your “progressive fusion” style?
For me, “progressive” means experimental. “Fusion” is about blending elements of different genres—pop, rock, metal, jazz. I’m not referring to the traditional “fusion” genre of artists like John Scofield or Allan Holdsworth, though I admire their work. My music is more of a literal fusion of the sounds I enjoy listening to.
What challenges did you face while creating this album, and how did you overcome them?
Intonation was tricky, especially with the chordal work using open strings and complex intervals. Another challenge was getting the guitar tones right. Musicians often chase perfection, but you have to know when to stop and trust that the vibe is right. Perfection in music doesn’t exist, but capturing the right soul and texture does.
How has the reception been so far?
The feedback has been amazing, both from fans and my family. A standout moment for me was when my dad told me he had one of my songs stuck in his head. The final track, The Eternal Optimist, was written for his brother who passed away, so hearing that from my dad meant the world to me.
What’s next after Living Chemistry?
I’m working on a follow-up release that acts as an epilogue to Living Chemistry. It’s a direct sequel with a similar art direction and sonic approach. I had 15-20 songs when I started this album, so there’s plenty left to refine and expand upon. Some of the upcoming material includes heavier riffs and more experimental elements.
Do you plan to perform this material live or focus on being a studio musician?
I definitely want to bring it to the stage. For now, I’m focused on building my online presence, but I’m relearning the parts and planning to transcribe them for a live setting. Once I find the right people who are excited to play the material, I’ll move forward with live performances.
What advice would you give to aspiring musicians exploring progressive fusion or instrumental music?
The most important thing is to have fun. Whether you’re learning a new technique or discovering new sounds, enjoy the process. Make music that you love, and if other people love it too, that’s just a bonus.
