Extreme metal is a music genre that has held a special place in my heart ever since I was the quiet kid with black nail polish in Grade 11. It was when I acknowledged the power this style of music held over me that I made the decision to pursue an education in music. By enrolling myself into a university program to figure out how this music was composed and executed, I discovered the vast breadth of genres that were equally as evocative as my metal roots and have provided me with limitless inspiration and life lessons.
It was with great enthusiasm when Tanner Revak approached me with the opportunity to record fretless bass on his musical brainchild, Gladius Sky, which immediately transported me back into the world of shred harmony guitars, face-melting blast beats and symphonic arrangements.
This recording is a significant achievement for me, as it is the first time that I get to share album credits with one of musical idols. The drums were recorded by none other than Hannes Grossman, who is renowned for being a virtuosic member of groups such as Necrophagist, Obscura, and Blotted Science.
My favourite track off this epic is “A Transparent Horror”.
As a fairly accurate example of my musical dichotomy, I often get called to sub on various gigs that may seem as far removed from the death metal world as could possibly be. One such occasion was for Evan Cribb’s Pixie Dream Girls. Evan is becoming infamous for his approach to jazz composition and arrangement that is often complex, loud and innovative. However, he tames the arrangements into minimalist springboards for subtle free improvisation in his group Pixie Dream Girls. It was a treat to get the opportunity to play with some of my former classmates and the beautiful compositions produced some incredibly sensitive moments.
I am particularly proud of my improvisation from 10:00 to 11:45, which I think is a sound portrayal of why I am infatuated with tuning the bass in 5ths.