A lot of heavy riffs and high energy coming through the speakers with the super group “Projected’s” new two disc album “Ignite my Insanity,” the band’s second album since the release of their 2012 debut album “Human.” The band’s frontman John Connolly returns with Sevendust band mate Vince Hornsby on bass, Scott “Flip” Phillips of Creed and Alter Bridge on drums and Tremonti guitarist Eric Friedman.
The album features 21 tracks of pure gold with featured tracks such as the albums two singles “Reload” and “Ignite.” Album offers more heaviness with tracks such as “Vain” and “Gomorrah” while taking an acoustic turn with “Faith.” “Reload” and “Ignite,” the albums featured singles highlight the album with articulate and dynamic drums provided by Scott Phillips and carried by lead vocalist John Connolly who takes us through the album with well-written lyrics and strong performance. The band delivers a solid performance as they sync well with one another such as in songs like “Only” which pumps you up with double pedaling drums and heavy guitar riffs.
The album starts with the opening track strike which builds anticipation with its fourth coming vibe setting the mood for the rest of the album. This track seems to tie in the album cover bringing to mind a slow motion explosion of the mind into madness as the rise of the character depicted on the albums cover commences. “Reload” kicks it off with chest pounding drumming, heavy riffs and high energy that carries us through the first few songs until coming to “Faith.” Here we slow it down with some acoustic guitar playing which sets an uplifting vibe that draws us into every word from Connolly. The track offers a moment of reflection and allows the listener to stop and reflect on whatever they may be faced with in their own lives. We transition into the next track following “Faith” with “Gomorrah” and continue through with the gratifying vocals and heavy drums and guitar displayed on the rest of the album. The album concludes with its most massive track “Battlestar” on a site that takes us on a story which seems to reflect broken promises and about facing and tackling the problems head on.
The band’s second album delivers a high powered performance with a trip through insanity as it gazes into love and all the chaos and madness in and through it. This album offers plenty of head banging and rock horns in the air. A must have this summer! 8/10 Stars.
Metal Wani‘s editor in chief Owais “Vitek” Nabi recently conducted an interview with legendary Swedish guitarist Yngwie Malmsteen. You can now listen to the chat below.
On whether he has considered working with singers like Jeff Scott Soto, Joe Lynn Turner and Tim “Ripper” Owens again on an album or a tour:
Yngwie: “Actually, no, I have not, because I found myself very much… I’m very comfortable singing myself, first of all. Secondly, there’s a certain disconnect when you write the song, and you have someone else sing it for you. And it’s kind of like a fakeness about it. I always wrote everything — I wrote all the lyrics, I wrote all the melodies, everything; it’s just somebody else sung it. And to me, the singer is nothing else than a different like a bass player or a keyboard player — they’re not more important than any other musician. And they, unfortunately, seem to think that they are. And I’ve kind of had it with their sort of… self-absorbed sort of way and I’m very much against it. No. I don’t like that. I don’t like any of those people, and I don’t like to do anything with them ever again.”
On illegal music downloading albums being leaked well ahead of their release dates:
Yngwie: “It’s a horrible thing. And if it weren’t for the fact that the music itself is so rewarding to create, I don’t think I would have done it anymore. Because it’s like somebody, I don’t know; It doesn’t matter what you make — if you create a movie or build a car or whatever, it’s the amount of blood, sweat and tears and money and everything that goes into it that needs to be rewarded. Funnily enough, I was talking to my son about this — I think there might be a small resurgence of the vinyl scene again, so I might start doing that too. It’s a problem, definitely, in a sense where you don’t feel that you get the financial reward that you should get, but the satisfaction of creating a record, a full album, and listening back to it and going, ‘Shit, this is not bad. I did well.’ That is an amazing feeling because it’s [part of your] legacy that will never go away. Long after I’m gone, it’ll still be there. So I don’t think it’s… Just because the money part is… you’re being robbed … I still love doing it. I still like to go into the studio and write and all that.”
Malmsteen‘s recent U.S. trek marked his first run of dates in the States since 2016 when he took part in the “Generation Axe” tour alongside Steve Vai, Zakk Wylde, Nuno Bettencourt and Tosin Abasi, playing to more than seventy thousand people over twenty-seven shows.
Yngwie‘s latest album, “World On Fire,” came out in June 2016 via King Records.
Most of us remember growing up, having our guitar heroes to worship. Children growing up nowadays aren’t picking up an instrument for years past. In comes in Tom Amoriello. Tom is a guitar teacher at the Hunterdon Academy of the Arts in New Jersey.
Tom has been on the faculty of Hunterdon Academy of the Arts since 2012. He currently is the Guitar Education Chairperson for the New Jersey Music Education Association and serves as the NAfME Eastern Division Representative for the Council for Guitar Education Executive Committee.
He has had over 20 guitar advocacy articles published in Tempo Magazine: The Official Magazine of the NJMEA. During his time on the NJMEA board, he has co-directed 3 guitar festivals and drafted the proposal to approve the first ever NJMEA Honors Guitar Ensemble. Tom is an advocate for class guitar programs in public schools and has been a clinician presenting his “Guitar for the K-12 Music Educator” for the Guitar Foundation of America Festivals in Charleston, SC and Columbus, GA., Lehigh Valley Guitar Festival in Bethlehem, PA, NAFME 2011 Biennial Conference in Baltimore, as well as other state music education conferences in New Jersey, New York and Virginia.
Tom has made a book geared toward children tilted “Journey to Guitarland with Maestro Armadillo.” Tom’s book is to introduce children to the world of the guitar. Using his experience as a teacher and accomplished guitarist, Tom illustrates images and carefully worded paragraphs to grab the attention of his young audience. Hoping to get their young minds interested in learning more about the guitar.
Marcelo Souza, you might have heard his name on YouTube and Facebook, as he is now an emerging Brazilian guitarist. He has faced tough times to make his mark in the world, and now he is known to the world because of the talent he has expertise in.
At the early age of 13, he started taking the guitar lessons. He got his experience in various aspects of music like rock, fusion, jazz, blues, Brazilian music and the traditional classical music. He studied the classical guitar at the famous school of arts Maestro Fêgo Camargo in Taubaté São Paulo in Brazil.
In 2005 he graduated with the Bachelor of guitar from the FASC. He did not just stopped there and continued to take private tuitions for the particular music theory and arrangements.
He started his career by working as a guitarist and arranger. He uploaded several videos that gave him the chance to work with many famous artists that include the Hevelyn Costa and Christian of the young talent twiggy and the prestigious singer Cecilia Militão.
He conducted several workshops and showed his talent in the major events in Brazil. In 2006 he performed in the first national anthem of Brazil in the case of a national basketball league, this event got the coverage from the global television networks.
In 2007, he appeared as the guitarist with the famous lady singers Daniela Mercury and Rita Lee in an album that was a tribute to Paul McCartney. The track Suicide in which he made the guitar notes got him acknowledged.
The event that earned him the credibility and reputation was in 2009 when he was invited to perform as the opener of the workshop guitarist in Faíska in Taubaté, and the show gained a record-breaking attendance in the region of Vale do Paraíba.
Marcelo released his instrumental work with the name of Circles of Fire in 2011. The critics wrote many praising articles for his work that were published in Guitar Player. When the CD was released with Edu Ardanuy, it got appreciation from the audience in the form of their thoughtful comments.
In 2012, he made his mark on the social media network when he played at the Fire custom shop stands with many great musicians at the expo music.
In 2013, he got the chance to become a part of two leading international events. Marcelo personally interviewed Vinnie Moore, the legendary guitarist.
Nowadays he teaches in his Musical Institute, where with the help of his instrumental work he is enhancing the expertise, musical and technical knowledge of many.
His passion and dedication have made him reach this level of success that most only dream of. You must check out his videos to know more about him and his talent. He has become an inspiration for many youngsters who want to pursue the same career.
A guitarist dies and is quite pleased to find that he ends up standing before the pearly gates of Guitar Heaven. St. Peter shows him in and gives him a guided tour.
“This is Stevie Ray’s room here…” says Peter, and the guitarist is saying “Wow! Stevie Ray!”
“And this is Jimi’s room…” and the guitarist is totally over the moon.
Finally, Peter shows the guitarist to his own room. Before Peter leaves, he says to him, “I have to ask. Is Yngwie here?” Peter shakes his head sadly and says “I’m afraid he went… the “other” way…”
The guitarist is disappointed but goes to his room and tries to get some sleep. He is woken up in the middle of the night by someone playing a really fast harmonic minor lick – and it sounds just like Yngwie. He presses his ear to the wall and listens more closely. Someone in the next room is playing really fast neo-classical shreds through what sounds very much like a vintage Strat. The guitarist is confused as it sounds so much like Yngwie. The next day he tells Peter that he is almost certain that Yngwie’s in the next room.
Peter pulls him to one side, and whispers into his ear, “Shhh…. don’t tell anyone. That’s God. He thinks he’s Yngwie Malmsteen”
I am a Guitarist, Songwriter, and Singer from Auckland, New Zealand. My music styles crossover from Metal, Rock, Neo Classical, Progressive, Instrumental, Pop and Country Rock.
I am a mostly self-taught shredder who studied Music Education at the University of Auckland. I thought one day if I don’t become a rock star I might be a music teacher in a school. My guitar shred skills were just developing at this stage.
Luckily a fellow student, an excellent pianist with proficient music education, taught me a lot about music theory. Especially scale, chords and the link they have with modes.
I didn’t start playing guitar until I was sixteen. By that, I mean fewer chords and more shred. I wanted to be in the front of the stage…show boating a Stratocaster.
I initially always saw myself as a songwriter. But later in my teenage years, I was turned onto what I call my ‘BIG 3’. Malmsteen, Vai, and Satriani. Up until then I was more into blues and rock and influenced by Hendrix, Richie Sambora, and Eric Clapton. I’m currently going through a stage of listening to Richie Kotzen and John Petrucci again. Amazing what you can still pick up about the instrument from great players.
Technique wise I am influenced mostly by alternate pickers like Yngwie Malmsteen, Steve Morse, and John Petrucci. Style wise today I enjoy the use of Modal approaches like Steve Vai and Joe Satriani with Neo-Classical touches here and there.
I originally got into music as a drummer. I soon realized that playing the drums wasn’t the best way to express what I wanted to do musically. But still today I can say I can play drums pretty well as a consequence. I think that is where my love of the percussive attack you get from alternate picking, comes from.
As a young shredder and musician, I am from the pre-youtube generation. I was trying to nail Yngwie pieces from books and tabs from the internet back in the 90s when everyone else was into Hootie and the Blowfish. YoutTube would have made it easier back then. I was into the Harmonic Minor Scale, Neo Classical Rock, and Bon Jovi. A bit out of step really in 1995.
I also loved great song writers like John Rzeznik from the Goo Goo Dolls, and he influenced my songwriting and fashion style I have to admit for a while there.
While living in Auckland, I have worked as a musician in top cover Bar Bands (Ultrasound, Nstinct) and Acoustic Duos(LA.Thompson and Dynamic Duo). Also as a solo artist playing Flamenco with loop pedals to sustain my first love.
During my stints in Auckland, I also carried out the odd bit of session work for other New Zealand artists. I have played many numerous events and festivals and have played some of my best gigs for charity benefits and fashion events where I wirelessly strutted the cat walk with models shredding their faces off. I just love to play up for the audience and try to play my ass off as best I can.
As ‘Chris Barclay’ I often play as a three piece band or with backing tracks. I recently played a gig first utilizing acoustic flamenco Phrygian/Neo-Classical arrangements of my more pop work, then a Rock set with vocal, and finished up with my shred oriented Instrumental work. I stole John Mayer’s idea from some of his live work to do three music styles in one show and put my spin on it.
I record and produce my music in my home studio and master my work post production over seas. I like my recordings to sound as live as possible. This makes it more authentic to play live.
It would be fair to say the United States culture influences my music. I love the USA. America has the most fascinating, delicious and paradoxical culture. I love to visit there often and can’t help but be touched by it.
Even as a Kiwi ’Down Under’ it is hard not to be influenced by the United States. My songs ‘I Won’t Fade’ ‘Go Let It Out’ and my Neo Classical instrumental ‘The Freedom Love and Fire Of America’ are all influenced by California and New York.
My songs are also influenced by my personal experiences of loss, love, lust, ambition, triumph, and death.
The death of my mother and my mortality with a diagnosis of Leukaemia in 2003 are themes in ‘Go Let It Out’ and ‘I Won’t Fade.’
‘I Won’t Fade’ won the Guitar Shop TV showcase on June 2013 where I was headlined as a ‘Charismatic Kiwi Virtuoso.’ In this track, I start off very much as a Joe Bonamassa inspired guitarist and then I tried to cram a little of Yngwie, Vai, and Satch in my outro solo. I love my Wah Wah pedal work in that song. The video on YouTube plays homage to many other great athletes and guitar heroes too.
In 2009, My song ‘Open Your Eyes’ featured on ‘Rock 4 Life’ volume 4 to generate money to help research for the liver disease.
In 2016 The Akademia awarded my song ‘Go Let It Out’ best Rock song in February 2016.
One of my biggest highlights musically is having met Steve Vai three separate times. One of these was at the Vai Academy where he remembered me from his time visiting New Zealand. Humbling.
I love Mr. Vai’s style, his guitar genius, but to my biggest surprise, I love his private views on life and the universe.They were so aligned with my own. I could listen to him talk all day. He is like a Guru. His contribution and generosity to the guitar world are awe inspiring.
I play Fender Stratocasters. I love their organic simplicity and strength. I like both single coils and hum buckers for their different charms. I mix it up a little. I think you need both.
I own several American Strats along with a Malmsteen strat. I am changing the pick guard on that one soon to a mirror finish. My favorite two Stratocasters are a 1997 teal custom shop with Texas Special single coils and my trusty 2007 white pearl Deluxe fat Strat.
As far as Amplifiers go, I have always been mostly a traditional Marshall guy. I have owned, rented and borrowed several JCM800s, JVMs, JDMs, and Plexis with 4×12 1960 cabs.
Just recently I reluctantly tried digital modeling amps thinking I would hate them. I have been impressed with the Line 6 Helix and am trying it out live into the P.A directly for my shorter, smaller gigs.
My music can be found on many digital streaming platforms including, iTunes, Apple Music, Spotify, and Soundcloud.
My goal is to contribute to this amazing guitar culture and to leave my mark in some way as an artist.
An accomplished solo artist with his signature style, a competent band member, an enthralling session player, a master producer, and a crackerjack bitten by the travel bug – Tony MacAlpine is a name that rhymes and resonates in perfect unison with the modern techniques and contemporary trends of the guitars and music acoustics of the present age.
His style is unique, majorly inclined towards classical, rock and fusion. Holding a substantial expertise on his instruments and chords, he sure knows how to squeeze the tones and carve out music planes, in rock as well as metal domains, through guitars and keyboards alike.
Born on 29th August 1960, Tony set his hands on a piano at the age of 5 and moved on to explore and ace the intricacies of guitar chords by the time he was 12. Having started playing at such a young age, it came as no surprise that Tony MacAlpine was introduced as an emerging music sensation in the Guitar Player magazine in an article by Mike Varney in 1984.
Having started learning the tidbits and intricacies of the chords, keys, and strings, Tony MacAlpine made a brisk and promising start to his professional career in the 1980s, launching his debut studio album ‘Edge of Insanity’ featuring Billy Sheehan and Steve Smith in 1986. A year later, he teamed up with George Lynch, Deen Castronova,Atma Anur, and Jeff Watson to produce ‘Maximum Security’ in 1987. Both records received a tremendous applause from the music enthusiasts and critics alike. Not looking back since, he has progressed to ace his domain and has produced some records and releases, solos and joint ventures, to extend his music profile.
Tony MacAlpine is known for the variety of his fusion techniques. He possesses this magical tendency to play complex shreds and pulls. One of his most famous techniques is the eccentric modification of sweep picking into sweep tapping, which he manages to pull through a perfect blend of his skills. Once influenced by the neoclassical metal genre, Tony MacAlpine explored and tapped into a variety of, not only experiencing it through his fingers, but leaving his signature mark on them before he finally landed in to play and ace the rock metal domain.
Besides his natural brilliance and learned expertise, the credit for the nuances and variety of his techniques can also be accredited to the equipment and instruments that he plays. From the Kramer, BC Rich, Mason Bernard, Peavey, Washburn Mercury Series, Carvin, and Ibanez guitars to DiMarzio and Seymour Duncan pickups, and from GHS and Ernie Ball Strings to Peavey, Rockman, and Hughes and Kettner amplifications, Tony MaCalpine’s fingers have befriended an extensive myriad of instruments over time, and a chronology of his releases and discography clearly indicates his passion for experimenting with new equipment and chords.
Some of the most notable highlights on his professional career include ‘Eyes of the World’, ‘Premonition’, ‘Madness’, ‘Evolution’, ‘Chromaticity’ as a solo, ‘Universe’ Live from Oz’, ‘Moon Babies’ with Planet X, ‘Cab Saga’ with the CAB, ‘Ring of Fire’, ‘Edge of the World’ with Mark Boals, ‘Live at Astoria London’, ‘G3: Live in Denver’, and ‘G3: Live in Tokyo’ with Steve Vai.