Opeth have always been a little left of centre, especially when taking the iconic sounds of death metal out of the 90s and into the naughties and infusing it with a progressive edge. But nowhere has that prog influence been more inspired – and even jarring – than on their new album, Heritage. There’s barely a hint of metal to be found on the album and absolutely no death growling anywhere. In its place there’s distorted organ, nylon string guitar, and – you’re not gonna believe this – fully authentic 1970s-style jazz fusion in the style of Mahavishnu Orchestra. Mikael Åkerfeldt explains the abrupt change in style…
There’s an obvious fusion feel to a lot of the material on Heritage. Where did that come from?
We’ve been listening to not only fusion but all sorts of music. And the fusion aspect comes from Mahavishnu Orchestra, Billy Cobham… I listened to Alphonse Mouzon, the drummer who was with Larry Coryell in The Eleventh House; some Herbie Hancock; the Headhunters, who are a mix of free-form and jazz and pop and whatever. But we listened to all styles of music. Some influences are more there than others, but I think we’ve been quite taken by the sounds of fusion for quite some time now, all of us.
How did you write it? Fusion is very ‘musician’ music.
I write everything on my own. I’m not really a good keyboard player, although I’m learning and I would love to be better. But with Opeth I can play what I want to hear, and I can play it fairly well. But I really, really rely on the other guys to make it proper for the actual recording once we go into the studio. I make demos of everything, and the demos, if I do say so myself, they’re pretty fucking good-sounding! I work a lot on the drums. Every ghost hit on the snare has got to be there. Everything’s there. So I want to have a splendid demo that I can present to the other guys so they should almost feel intimidated! I tell them, “You make it better than this and we have a real fucking thing going here!” And they always do! I think it’s inspirational for them to get that kind of level from the demos. Once they come up with something it’s gonna be fucking outrageous.
It must be great to have musicians who are professional enough to deal with that!
Yeah! I surround myself with really, really good musicians, but they are also more than metal musicians. They listen to all sorts of music, they’re interested in their own instruments and in developing their skills for those instruments. That’s been the case since the beginning. We always aimed to be fairly competent musicians because it makes experimentation so much easier. I mean, we could not have been doing this album with just a bunch of musicians who can only play metal. It’d be physically impossible.
I got a copy of this to review the other day, but you can check it out for yourself now at the VH1 website!
Here’s one that’s bound to put the wind up Chris Cornell and his attempts to become the next Justin Timberlake or whatever: Soundgarden with Tad Doyle on vocals and Tom Morello on second guitar, rocking Spoonman at the Seattle stop of Morello’s Axis of Justice tour.
Former KISS guitarist Bruce Kulick will make a “BK3” limited-edition EP available at his upcoming clinics for Allans Music in Australia. The CD features guest appearances by TOTO’s Steve Lukather and John Corabi.
The songs included are:
* No Friend Of Mine (feat. John Corabi on vocals)
* And I Know (vocals by Bruce Kulick)
* Between The Lines (feat. Steve Lukather)
The EP will be available to the general public in mid-April after Kulick’s Australia trip.
Bruce Kulick’s Australian Allans Music clinic schedule:
April 01 – Melbourne – 7:00pm
April 02 – Brisbane – 6:30pm
April 03 – Adelaide – 7:00pm
April 04 – Sydney – 5:00pm
Whether you’re playing a Battle of the Bands with your dad as your roadie, or playing the Big Day Out with a pro tech at your side, there are certain similarities to the kind of gear you need. The key to playing on any multi-band bill is foresight. What songs are you going to play? What tunings are they in? What effects do you need? What’s going to happen while you’re changing guitars? What happens if you bust a string?
In the late 90s David Bowie guitarist Reeves Gabrels used a Parker Fly guitar direct into a Roland VG-8 modelling system via a MIDI pickup. This allowed him to model everything from amps and pedals to guitars and pickup selections all at the touch of a button. It also meant he didn’t have to take speaker cabinets on tour at all, cutting down on haulage costs. The VG-8 even allowed him to change tunings within the unit with the tap of a foot, and it could be plugged directly into the front of house desk for a perfect reading of the programmed sounds. One final bonus of this system was that he could just copy his sounds and plug them into another VG-8 anywhere in the world if his broke down.