Archive for December, 2012

Digging Deeper, Vol. 1: Ava Inferi, Diablo Swing Orchestra, Dol Ammad, and Scott Walker

Posted in Digging Deeper with tags , , , , , , on December 26, 2012 by Héctor Rodríguez

Welcome to the first installment of  Digging Deeper.  In my constant and voracious search for unique and powerful music, I sometimes come across artists whom I wish received wider exposure. Alas, the airwaves are clogged with vapid irrelevance. That being the case, this could serve as a little oasis of discovery for folks who, like me, are utterly dissatisfied with the vast majority of (dare I say all) the artists riding the top of the popularity charts.

Without further ado, here are some interesting artists you may or may not have heard of.

Ava Inferi name

This band hails from Portugal, and has been around since 2006. They classify themselves as Gothic Doom Metal, which I can’t disagree with. So far, they’ve released four full-length albums. Their music often incorporates a clean guitar playing nice chords or little figures over distorted riffs, giving the music a really unique atmosphere and texture. The vocals by Carmen Susana Simões are, of course, a highlight. But this band is much more than simply another “chick-fronted” outfit. The music is extremely well-crafted.

The band features the guitar and songwriting talents of Rune Eriksen of Mayhem. Which is quite interesting considering the rather marked differences between the music of Mayhem and Ava Inferi.

Ava Inferi live 2

 

dso name

This orchestra formed in 2003 in Sweden.  Well, they formed originally in 1501, if you consult their Facebook page. While the story is cute, the music is the real treat.

How do you describe their sound? Imagine Mr. Bungle mixed with Squirrel Nut Zippers, add a female operatic singer, and you’re in the ballpark. They have so far released three full-length albums and an EP.

DSO

Dol Ammad name

Masterminded by Greek keyboardist Thanasis Lightbridge, this group utilizes a choir in lieu of a lead singer, which makes them very unique. I don’t claim to know every band in existence, but as far as I can tell, only Therion could be said to have utilized this concept before them. But, even Therion utilizes individual (“lead”) singers, while Dol Ammad focuses solely on the choir.

They categorize themselves as “electronic art metal.” I believe that’s an apt descriptor. In my humble opinion, Mr. Lightbridge has truly hit upon a magnificent formula, which yields music that’s both sublimely beautiful, and aggressively powerful. Truly a marvelous combination of elements.

 Dol Ammad

Scott Walker name

And last but not least, a true oddity. I became aware of Scott Walker just a few days ago. I had been scouring the internet, listening to one artist after another, and being unimpressed, as usual. Then, I clicked on this:

My goodness! How magnificently odd and dark! At first, I’ll admit, I was a bit put off by the vocals. But, the music itself is so deliciously weird, that I now truly get it.

A multi-instrumentalist, Mr. Walker actually was a pop icon in the 1960’s.  His work became increasingly experimental, to the point where his last three albums are often described with terms such as cathartic, terrifying, and difficult listening. At 69 years of age, Walker’s music has the fire and hunger of a mad creative genius at the peak of his powers.

Scott Walker

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 I hope that you’ve at least found one of these artists interesting. It certainly took a lot of digging during several months to find just four artists that made me jump out of my chair. So, as you can see, it’s not a frequent occurrence.

Happy listening!

More Than a Bass Wizard: The Restless Creativity of Oz.

Posted in Bass players, Interviews with tags , , , on December 15, 2012 by Héctor Rodríguez

Overwhelming. Terrifying. Exhilarating. Mind-bending.  If you had to verbally describe a live performance by extreme metal band Prophecy Z14,  it’s almost certain that you’d use some of those words, or some of their synonyms.  Formed in 2008 under the initial moniker of Algorithm in Melbourne, Florida, the band plays music that’s as furious as it is complex. Seven-string guitarists Tommy Marshall and Dan Cannon (who also handles lead vocals) deliver heavily distorted,  pounding riffs that both mesmerize you with their complexity, and pummel you silly with their utter savagery. Drummer Damien Elder’s dexterous yet hard-hitting attack behind the drumkit is like a freight train gone off the rails, brutally carving its own path, but still able to  retain almost-metronomic precision. And underneath it all, the truly astounding 7-string bass virtuosity of a man known simply as Oz.

Their show at the Brass Mug in Tampa was nothing short of stellar. I went right up to the front of the stage, literally inches from Mr. Oz, and I just could not believe what I was witnessing. He was masterfully employing a vast array of techniques, many of them still unorthodox in the death metal realm. If you’re a bass player, his speed, dexterity, and sheer stamina might either make you want to practice more, or quit playing altogether.

Oz is a true connoisseur of music, and appears to be a huge bass geek.  He dropped so many names I had to edit a few out just to avoid feeling like you’re reading a directory of bass greats, instead of an interview.  He’s got so many favorite bass players, I stopped counting!

Some of his musings on metal,  his apparent indecision regarding how many strings his bass should have, his love of both extremely complex and extremely simple music and his struggle to express both in his playing might make him look like a conflicted person. This is not a negative, by any means, but rather the sign of a restlessly creative soul which seeks total freedom of expression. The creative mind itself has no such limits. Those limits are inherent qualities of the physical and conceptual vehicles used to deliver what an artist’s creativity conceives. Musical genres and the number of strings on a bass guitar are simply elements to contend with in the journey toward self-expression.

And, as the saying goes, the greatest art comes from conflict.

Oz

What does the “Z14” in Prophecy Z14 stand for?

It’s [Bible chapter] Zacharias 14. Either Damian and/or Justin came up with that name. It’s based off of that, but they’re not religious whatsoever. Everybody in the band is atheist, except for me.  I’m a deist, and I’m a Freemason and Esotericist.

Are Dan and Damien the only original members of Prophecy Z14?

Damien [current drummer] and a guitarist by the name of Justin, who’s with the Marines, were the founding members.  He’s not in the band anymore, Tommy Marshall replaced him. I met him once, he wrote some of the material, and I wrote bass lines for it.  He’s an awesome guy.

How did you join the band?

I came from California. I lived in Las Vegas for about 4 years. After that I moved to San Diego for about 2 years. I played in a band there called In Perfect Agony. It was more thrash-based.  Before that, I was playing more jazz-type stuff. I was playing in a rock band called Stocklan in Boston. I’ve played all kinds of styles.

When I came here [to FL], it was just to visit my parents. I was going to go back to Vegas. But my parents had some health issues, and issues with their house,  and I decided to help them. So, I decided to stay in Florida. I looked on craigslist, and I saw a death metal band with 7-string guitar players looking for a bass player. So, I thought, “Hey, I play 7-string bass.” So, I called Dan Cannon, the singer.

I sent him some of my own recordings, which are more jazz-oriented, and some solo stuff. He liked it. So, they asked me to come down. I ended up joining and writing bass lines for their songs.

Is there a main songwriter in the band, or is it a completely democratic process?

It’s very democratic. At first, the main songwriter was Justin. Even though he’s no longer in the band, he wrote a good portion of the material we still play. Dan wrote some of the songs, too. My job is similar to Obscura’s bass player. They wanted something a little different. Counterpoint, using more of a Bach-type thing. I play a lot of chords, which you saw me play tonight. Jeff Hughell from Brain Drill [now with Six Feet Under] and Dan Hauser from Veil of Maya play 7-string basses, they’re both amazing players.  But, there aren’t really that many 7-string players in metal.

 Oz live2

What inspired you to become a musician?

My father’s a piano player. I grew up listening to Bach, Vivaldi, Rachmaninoff and such.  Mostly piano music. My dad wanted me to play piano, but I didn’t want to. I wanted to play electric guitar. Then my uncle brought me a bass. I went, “What’s this?  I don’t want a bass, I want a guitar.” My father basically slapped me upside the head and told me, “You take what you’re given. It’s a gift.” So, that’s how I started playing bass.

My biggest inspiration on bass is Sting. That’s why I started playing bass. Him and Paul McCartney.

Sting’s style is extremely simple compared to the music you play.

Yes, but he’s an amazing musician. He’s a real bass player, because he plays upright, and is jazz-trained. He’s a real musician.

You can do all this flashy stuff on the bass, but a real musician can do the vocals, and do everything. It’s the whole package. That’s what makes Sting and McCartney so incredible, and among the best bass players in the world.

What led you to the 7-string bass guitar?

My first bass instructor was Beaver Felton, who inspired me big time. He was the one that inspired me to get into chordal theory and the tapping stuff. I don’t do much tapping anymore, because it seems everybody’s doing it. So, I try to do more chords. I try to take the Jeff Berlin approach. He’s probably my favorite bass player, even though he probably wouldn’t be into what I do, because he doesn’t like multi-string basses  from what I’ve seen. But yeah, Beaver Felton, and Wally Voss were huge inspirations on my approach.

So, it was basically your desire to explore more chordal possibilities that led you down the extended range path.

Yeah. The whole chordal stuff started with the piano. So, I wanted that spectrum of being able to do more chords.

I practiced certain Czerny and Hannon piano exercises with each finger for speed and agility.

Did you play on all the songs that are currently posted on the band’s websites?

Yes, I played on all that stuff.

Tommy Marshall (guitar) is the Guitar Pro genius. He tabs everything out. So, when it comes to working on the music, I sit down with him.

Can you give me a rundown of all the techniques you use?

I use Matthew Garrison’s and Gary Willis’ style. I use my thumb, index and middle finger for the chordal stuff, sometimes throwing in the ring finger. If I’m playing hypersonic, super-fast chordal picking style, kind of like Béla Fleck, I use a banjo technique – the forward roll/backward roll, which was taught to me by a banjo player who I used to work for. I’m very grateful to him for that. I use it on the song “Fragments.”

I also use the Alex Webster/John Myung/Steve DiGiorgio technique of plucking with three fingers. On the super-fast stuff I throw in the fourth finger, similar to Stephan [Fimmers] from Necrophagist. I don’t use the four-finger technique very much. When I solo, I use two fingers, very similar to Stanley Clarke. On the song “Diplomatic Breakdown,” which is really fast, I use that technique, in which I angle my hand over the strings, like Stanley, to pick really fast. I can hit 280bpm with two fingers. I try to use all my fingers, I don’t play with a pick.  Nothing against that, though.

I saw you using a technique in which you basically rotate your wrist back and forth really fast, and it looks like you’re hitting the string as it moves in either direction: with your thumb, and with the side of your third or fourth finger.

I do a weird slap, similar to the Victor Wooten double-thumping. On the song “Letting Go” I’m using that technique to play sliding double-stops. I’m using the thumb to hit the lowest strings, and my third and fourth fingers to hit the chords above. I’m just trying to be original.

When creating your bass lines, how do you decide when to add something “extra,” and when to stick to following the guitar riff as is?

It depends on the song, and what the drummer’s doing. I’m trying to follow the drums more, and hold back a little bit. Death metal is getting to the point where you have to have the separation between the guitars and the bass. I double the guitars on certain parts, but I chord over a lot of stuff. I have to do a lot of muting, it’s pretty hard. And, a lot of extended-range bassists have a scrunchie over the headstock, but I don’t use that. So, I use a lot of left hand muting with the tips of my fingers. People complain that I don’t move around much onstage, I’m like, “Dude, I’m trying to focus! It’s very hard, man!”  When I first got the 7-string, I almost sent it back, it was so intimidating. And yet, I’m thinking of getting an 8-string, like the bass player from Borknagar, who plays an 8-string fretless.

Prophecy band

Do you think going lower (in pitch) is always heavier? Or do you think it’s possible to play brutally heavy and complex music on a 4-string using standard tuning?

Yes, it is. It would take a lot of creativity. Billy Sheehan plays a four, and he could play circles around most death metal bass players, because he’s the master! Sheehan to me is the bible of death metal bass.

Even though he’s never played death metal, to my knowledge.

Well, he could definitely play death metal. He might have to do some gear adjustments and such, but he definitely could.

Here’s something that really bothers me, as a bass player myself: When I go to rock or metal  live shows – big or small – I often can’t hear the bass very well, if at all. Even tonight, I was standing inches from you, your rig was directly ahead of me, and I had trouble hearing you most of the time. The guitars and drums were drowning you out almost entirely.  Thoughts?

This is a major point of contention I have with metal, and one of the major reasons I didn’t want to play metal. One of the reasons I didn’t play metal for years was because the bass is drowned out. On the CD you can year it very well, though. I love the Brass Mug, and I don’t mean to say anything bad about them. But, there’s other venues I’ve played at in which my bass cuts right through.

I could easily turn my bass rig up. I have 1,800 watts of power. I could turn it up to 4 and it would blow up the room. I did turn up a little a bit later in the show, because people were telling me to, they said they couldn’t hear me. I don’t really like to do that, though.

When you’re playing metal, you’re dealing with a lot of distortion, usually two guitars, so the bass gets left behind. Unless you really, really fight for your frequencies. I did with this band. I told them I wouldn’t join unless my bass is heard.

I have a love/hate relationship with metal. I love it, but then it becomes just drums and guitar.

Describe your gear.

If you hear my bass, there’s a lot of midrange frequencies. The gear I use is SWR. I use 2 SM 900 watt heads and two 4×10 goliath speakers. I also use a Sonic Maximizer, a Boss rackmount stereo chorus unit, and a Rockman stereo chorus unit, as well as a Dunlop switchless wah pedal for solos, and a specially modified by Analog Man, Ibanez TS9 Tube Screamer.

My bass was designed by Fred Bolton, who owns Bee Basses. I was playing Modulus Quantum 6-strings. I love the graphite necks. So, I called Fred. He mentioned a bassist by the name of Edo Castro. He’s an amazing bass player who was playing the original prototype which became the basis for my bass. I talked to Edo, and he was really nice, and he recommended the bass. Mine has a different wood configuration. I went with a bloodwood top and fretboard. It’s a very heavy bass. It has Delano pickups, with an 18-volt preamp.

I use D’Addario Pro Steels strings, I have a partial endorsement with them. I hope D’Addario reads this, because I’m upset with them. Please make a wound .20 (high F) string! That’s what I use, but I have to get that one string from S.I.T.  So, I buy a 6-string set from D’Addario, and then have to buy that extra string from S.I.T.

PROPHECY Z14

What is the most non-metal music in your collection?

That would probably be [flamenco/world music acoustic guitar duo] Strunz & Farah.

What are Prophecy Z14’s short- and long-term goals?

Our goal is to get a big following in Europe and South America. Those seem to be the big markets for death metal. America right now seems to be kind of bleh. Unless you’re playing Ozzfest and all that.

If I ever stopped playing death metal, I’d probably go back to playing Latin Jazz. Hopefully, that doesn’t happen. Or, I might end up playing country…it pays well.

You won’t need your 7-string to play country music, I think.

Listen to this: I had a big audition at the Bellagio a while back.  I brought a 6-string bass to the audition. There were about 10 other bass players, all four-stringers. I did some bass solo stuff, because they asked me to show them what I could do. The guitarist and drummer loved me, but the singer did not, so I didn’t get the gig. The lesson is this: If you really want a gig, do NOT bring your extended-range bass.

I love the technical stuff, but I also want to capture the dynamics, the beauty in a simple piece of music. It’s like I have to live in two worlds, man.

I think, eventually, I’ll probably end up going back to the four string bass. I’m a very spiritual person, and since I like Afro-Cuban and Bossa Nova music so much…

I want to say this, though. A lot of guys tell me how I’m such an amazing bass player, how I shine,  etc. But, if I do shine, it’s because of the musicians I play with. Dan, Tommy, and Damien are probably the best, most technical musicians I’ve ever played with. All three of them are extremely talented.

Prophecy Z14 band pages:

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-Héctor Rodz for Eclectic Listener

Josh Lamkin: Electrifying Both On and Off The Stage

Posted in Guitarists, Interviews, Singing Guitarists with tags , , on December 8, 2012 by Héctor Rodríguez

Josh Lamkin is a powerhouse performer.  He’s a 24 year old guitarist, singer, and songwriter that’s been delighting audiences in Florida since his high school years.  I caught up with him at a venue called Ukulele Brand’s. He was playing there with his band, Automatic Heat, which is a trio.  But tonight, the trio became a quartet, adding special guest Rob Stoney on keyboards.  The set was electrifying, as usual.  Mr. Lamkin cued the band masterfully to soaring heights,  quiet whispers, and that sweet terrain in between.

Josh 3

Lamkin is a bundle of energy outside of the stage as well. This makes it clear that his onstage presence is very far from being a put-on.  He’s the real deal.  Sometimes he spoke so fast that my Hispanic ears didn’t have time to decipher every single word he said.  Luckily, the conversation was recorded…

The first time I met you, I saw you waltzing into the venue in your snazzy outfit. Almost everyone went to you, it was like they were idolizing you. My first thought was, “What’s with this guy? He seems pretty arrogant.”  Moments later I was introduced to you, and two minutes into our conversation I felt like a complete idiot for ever thinking that. Then I saw you killing it on stage, and I thought, “Yikes. He’s got every right to feel cocky, yet he’s humble as pie.”  Thoughts?

No, man, it’s just sometimes you walk into a jam like that, dude, there’s a lot of hacks in there. I’m not going to name any names or say anything bad about people, but people have attitude with me sometimes. So, I go in there with the attitude of, “Yo, I’m here to play.”  And I was hosting that night, and there’s people you may or may not wanna play with. So, they’d get up, and I’d just go, “Alright, man, let’s get it on, let’s jam.”

How did you get so good on the guitar? Did you have any formal lessons?

I had a couple of formal lessons between when I was 11 to 15.  I wasn’t really going every week. I’d just take a lesson, and I’d work on it. I started playing when I was six. My dad kinda showed me how to play. He raised me on all that country stuff, and he kinda introduced me to the blues. He took me to see Johnny Winter…I forget how old I was. And I saw him, and I thought, “This is what I wanna do.” And I went from there. I started playing gigs when I was in high school. I had a band, I think all through high school. Trying to get gigs and get out as much as I can. Took me about eight years to meet Matt and Sam – the people I made the record with. I’d been in the studio a couple of times, and I went, “Man, I’m not ready.” I recorded it, but it does not sound good, you know? I had to work on it. But, I finally got something I could be proud of.  It was a  good thing for me to finally get a record out.

 

Do you consider Elmore James, Johnny Winter and Ry Cooder to be your major influences, as indicated in your bio? Who else has influenced you?

Aw, man! I listened to a lot of Roy Buchanan, Danny Gatton – the Telecaster masters! That stuff’s cool, man. The Band and Little Feat, bro – that’s…uh! We did [Little Feat’s] “Sailin’ Shoes” on our record.  We had some extra time [in the studio], so I was just like, “Dude, let’s just run through it.”  It’s one of my favorite songs on the record. It just came out great.

How would you describe your guitar style?

Man, I don’t know!  These are hard questions!!  [laughs]

Well, I like to hit hard.

[Laughs] How would I describe it?  I’d like to think that…a lot of people in blues bands spend a lot of time listening to Freddie King. Stuff like that. Freddie King, Albert King.  All those people, like Johnny Copeland – they all play a certain way. Stevie Ray Vaughn was an influence on me. I’d be lying if I said that he’s not. Now, do I think I play the same way [as Vaughn]? I don’t wanna do that. There’s so many people out that are doing it, man. Some of the Johnny Winter-ness…it’s Johnny Winter meets Roy Buchanan. That’s what I’d be going for. Rock…country…I like funk a whole lot, too. I like to dance, man!

You just played “Cissy Strut” by The Meters.

Yeah, that’s cool. That’s where it’s at, that’s where the funk is. But “funky” don’t mean “faster,” and it doesn’t mean more notes. There’s gotta be space.

On your shows, how much original material vs. covers do you play? Does that vary a lot according to the venue?

I would change according to the venue. When you play a bar, people aren’t interested. But I do my original stuff. Anywhere I go, I shove my original stuff down people’s throats whether they like it or not! [laughs]

Songs like “Pride and Joy” and “Red House” I get [asked to play] all the time. And I’m like, “Those are great songs, man, [whispers] but I don’t want to.”

Sometimes we get asked to play AC/DC stuff. I’m like, “Man you… you got a jukebox, play that on the [set] breaks. Do you wanna hear the ‘radio rock’ you hear all day long? You don’t wanna hear us, man?”  I wanna do something different.

Josh 2

What are your current listening habits? Are you into a lot of the current pop music, or do you lean more old school?

Definitely old school.  Actually, I’m into Tom Waits a lot. Tom Waits is the man, dude! I mean, just for the writing. The dude’s a wordsmith.

He’s very quirky. Which leads me to ask: Is there anything in your album collection that would completely shock your fans?

Aw, man!  [long pause] [sighs]

Any death metal?

[Loud laughter] No, no…nothing too scary there.

Well, Tom Waits is pretty obscure. You mention his name to people and they go, “Oh, he was in Bram Stoker’s Dracula…you mean he sings!???”  [Laughter]

It would have to be him and Ry Cooder. He’s obscure but he’s not really surprising.

I like the blues, I like soul, I like funk.

Tonight you have keyboardist Rob Stoney playing with you, but that seems to be a bit of an exception. You seem to favor the trio format. Any particular reasons why?

I like to play all the notes, dude. It’s just me. Nobody else gets to solo, it’s just me.

So, it all comes down to selfishness, huh?  [I asked with a smirk]

Well, in a way. It’s also a monetary thing. It’s easier to book shows. It’s hard to keep a band together, and hard to pay them. I’d rather have three guys that I could pay well, than have that fourth guy…

 Have there been any personnel changes in the history of your band, Automatic Heat?

I’ve been through like, fifty drummers. And, I do pick-up gigs with different bass players and stuff. I think I have a group of guys now that I can really rely on. Rob Stoney, the keyboard player, he’s the guy that played on our record. He was on tour with the Warren Brothers from Nashville. He’s played with everybody. I’m very fortunate to have him.

Josh and AH

What do you look for in a musical partner?

Just compatibility. Somebody who listens, and doesn’t suck. Someone who’s not afraid to “go there” with me. I don’t like timid players.  When it’s go time, it’s time to rock n’ roll, man!

How much touring have you done?

I went to Memphis. That’s about as far as I’ve been. We go to the [Florida] Keys, every now and then, but it’s all mainly in Florida. I’m wanting to branch out and do more. Hopefully next summer we get out to New Orleans. I got a couple friends down there.

What’s your favorite setup when it comes to guitar, amps, and effects?

No effects, man. I play a Mesa Lone Star [amp] special, 30 watts. I don’t think I’ll ever buy another amplifier. I love it, it’s my pride and joy.

I got the Les Paul with P90s [pickups] in it. I was a Tele guy for a long time, because of Roy Buchanan and Danny Gatton. I like a solid Tele, man! Yeah, anything with P90s in it, anything old.

 

Do you practice guitar by yourself often,  do you prefer to practice with the band, or do you mostly just go in there and let it out with no prior planning?

We don’t rehearse very much. If  I’m bringing in a new guy, we have one or two rehearsals. Once we got it, we play a lot. It’s like a baseball team. You practice during the off season, and then you play games. And, a lot of it is off the cuff, free for all kind of thing.

At home I don’t really practice, I just play. There’s things that I work on, of course. I do a lot of writing, and a lot of exploratory stuff. I don’t really sit down with an agenda. It’s just, “Ok, I’m playing.”

What’s your take on the musical scene in the central Florida area?

It’s horrible. Well, music scenes everywhere suck. The country’s in recession…sad times for everybody. But you just gotta keep plugging away. You can tell the size of a man by what it takes to stop him. There’s no stopping me, I’m gonna do this. I know what I wanna do.

What are your short and long-range plans or goals for the future?

I’d like to do another record in the summer. Hopefully it will be out by July [2013]. I’d like to do that, and be rich and famous, drive Lamborghinis. [smirk]  Naw, man, I’m just trying to make a living. I’m happy just getting to play music with my friends. That’s all I can ask for. Just to play with a really tight band.  Good people.

Thank you very much, Josh. I wish you much success in all your endeavors.

Thank you, man!

Who am I? Why am I here?

Posted in General with tags , on December 5, 2012 by Héctor Rodríguez

This is not a philosophical blog, so I don’t mean that in the existential sense. I’m going to provide some comparatively mundane answers to those questions.

I’m passionate about music. That is the main thing to know about me. But, when I say “passionate,” I really mean it. Music is on my mind most of the time.

I engage in a voracious, relentless search for music. I often spend hours on youtube and amazon.com sampling bands or artists I haven’t heard before.  Sadly, it seems that with the advent of technology, much of the music out there is utterly devoid of substance and originality.  I live for those moments when I discover an artist that sends shivers down my spine. They’re so rare it takes a lot of digging. Some days I listen to ten or more artists, and none of them move me.

Being that passionate about music led me to pursue the craft of music itself.  I’ve been playing the bass guitar  since 1992.  I’ve played in bands of various genres: jazz, metal, punk/alternative, and rock/pop cover bands.  I’m currently playing in a metal band called Project 25.  I also write songs. One day I hope to finish the album I started recording last year. The project is called Voice of the Vortex.

P25 1ST SHOW Mrch 24 2912

Getting into it.

The genres of music I’m into the most are metal in all its forms (I’m a huge death metal fan), and jazz. I gravitate towards acoustic, instrumental jazz for the most part. I’m also a big Latin music fan, as I’m of Hispanic origin. I also love the blues,  funk, reggae, soul/R&B,  various “world musics,” especially Middle Eastern.  Last but not least is classical music. Unfortunately, it seems I don’t listen to enough of it. Days have only 24 hours, though!

In this blog I will be doing album reviews, and interviews with musicians (local only at first.)  I will cover mostly the genres mentioned above. If you like to dig into music beyond what’s being overplayed on the radio and what you see on the celebrity tabloids, if you value originality and substance over image and hype, if you listen to many genres of music, then this is the place for you.

I hope you join me in this journey of discovery.

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