Blotted science torrent

Song titles fit the various music segments with very little effort, and I think it shows on the CD. Having a full band pay a simple vamp while some soloist is blowing his wad never really did much for me. It will all be within the context of something else. There are already too many guitar videos focusing solely on 5 string arpeggios, string skipping, alternate picking, etc.

Talk about the process of recording your album. Are there any tips and trick that you could pass on? For me, recording just about always starts with playing along to a click track. Guitars and bass were scratch tracked while we were playing as a band, and we only kept the drums. Then Doug and I went in an after and rerecorded guitars and bass. For the Blotted recordings, Alex was nearly done recording his bass tracks before we even knew who was going to be playing drums.

I was about halfway done with my rhythm tracks when Charlie came on board. I compiled all of the tracks over here, mixed it and did all of the production work. We are planning on getting together for a few live rehearsals soon, then possibly doing some shows, depending on our schedules.

We are getting lots of invites, and it would be all too cool if we could take them up. When is your instructional DVD coming out? I have so much material that I want to cover.

It will be at least 2 DVDs, could be 3. What material will you cover in your instructional DVD? Common simple scales use and abuse, 2. Changing Keys, 3. Floating Parallels, 5. Timing Syncopation , 6. Trade-Offs, 7.

The second DVD will focus on the tone aspect of writing. All of the technique stuff will be played but it will be fitted into the context of other theoretical things. Many thanks to you for asking me questions that made me think a bit and look into things a bit more. We appreciate your support. How did you come up with the concept for your 66 Licks lesson programme? He asked me if I was interested in recording 66 guitar licks for him and being paid for that, of course. I thought it would be a kind of sample licks CD.

It sounded very easy to do at the beginning. I sent a rough 4 lick demo and he liked it. It was about recording very short licks, about 2 seconds long, one lick per bar.

The weeks passed and the idea of including them into a program came. It was about 3 different levels, from very easy to pretty challenging.

I sent back a few samples but my licks were too difficult. Then came the idea of licks combos. I was asked to record 12 different examples to demonstrate them in a "live" situation. So I realised that I would have to do everything in the same key, making part of the previous work useless. The concept was now to have 66 licks of 3 levels, that would fit in any order, to build little solos.

That was actually the biggest challenge we had between Ben, the programmer and me. It took time to solve this problem and the fact that I added a metronome click into the licks helped to check the time accuracy. I also had to re-record some of the licks that were cutting abruptly. Some lick chains sounded great in a certain order but sucked running in a different order. So I had to work on having the licks fading at the right time and removing the "bad licks".

When I finally played the finished program, with the tablature appearing in perfect time with the lick combos, playing in any order, that was a great feeling. I felt "It's alive! The concept of 66 Licks lesson programme was born. Ben really did a great job. How is 66 Licks different to the average guitar magazine or guitar video lesson? It's an enhanced vocabulary of licks, phrases and ideas to incorporate into your own playing, song writing and improvisation.

You increase your ability to construct your own solos from the licks provided and perfect or learn new techniques. The program comes with backing tracks so that you can jam with what you've learned. It's also very easy and fun to use. It is definitely interactive. I can not compare this to a stock standard magazine or video lessons. Will there be an upgrade or maybe a version 2 for the 66 Licks? Yes, I have a volume 2 in progress and as you know there are other Shred Academy artists working on their own version.

The program will receive plenty of regular and cool updates to make its use even more enjoyable. So it's constantly evolving. Joe Stump's 66 licks will be out soon, I heard a preview, it's absolutely killer material!

I ran through a few licks, it was so awesome that I instinctively picked up my guitar to try them out. The winter, I go to the lake, make a hole in the ice and fish till dusk, hehe. Well, life is always in motion so I can't tell what a normal day for me is. I wish I could do more physical activities and get rid of all the boring daily duties Is Finland turning you into a blackmetal fan?

The axe man is a master of rhythmic precision and very complex patterns, none other than guitarist extraordinaire Ron Jarzombek, and he is joined by Alex Webster on bass and Charlie Zeleny on drums. Together they are a glorious force of killer metal. This is intense wall to wall shredding and blast beats. Everything is going at warp speed and it makes the heart race quicker as the grinding pounds. This is one album to get hold of for shred heads and is definitely some of the most technical metal I have ever heard.

Skull crushing metal from beginning to end with relentless brutality, but there is a market for this and without vocals it is all the better. Not for the faint hearted but an important album for the development of extreme metal. Sudden outbursts of blast beats and manic lead breaks with astonishing time changes are the stuff of dreams when it comes to technical metal. It is extreme, aggressive, weird, and downright inventive throughout. It is a form of Math metal in many ways, very technical complex time changes, and speed picking lead soloing.

Undoubtedly the band love to stun a listener with incredible time sig metrics and rather odd structures in the tracks. It begins with doomy metal crawls and then a 'flight of the bumblebee' lead break. It is recognisable as the familiar bumblebee tune but it is varied enough to be innovative. Alex Webster's bassline is a heartbeat and the percussion of Hannes Grossmann is extraordinary. Ron Jarzombek's metal distorted guitar and lead breaks are a quintessential drawcard.

Did I mention no vocals. There are none whatsoever and yet one might expect a death metal growl to come over at any second. I am grateful o the absence of this as I can concentrate on the incredibly speedy metal signatures. Amazing how these sounds are generated by one artist. Jarzombek is incredible. This is a slower song but no less adventurous. The time sigs are unbelievable. Soon it launched into a chugging low riff and speedy lead guitar sweeps. A new time sig locks in and more lead guitar as another sig clashes in and the tempo is incredibly fast, like a nest of hornets just buzzing furiously.

Hence the wonderful album cover art. The illustration on the cover is the insect world's answer to "Kill 'Em All". The next epic in 4 phases is in contrast to the insect infestation on the cover. The epic that lasts for about 9 minutes when heard in its entirety begins with buzzing bee guitar, and incredible percussion speedblasts, double kicking frenetically.

It is slowed into a steady pace with consistent lead guitar arpeggios. The pace really slows into what sounds like keyboard but its phased guitar.

Grossmann's percussion is technical brilliance speeding up and maintaining rhythm sporadically. There is a freak out of metal and then a welcome break into quieter acoustics. Then more breakneck speed metal and weird time changes to finish it. My ears need a break now but its only short and such a rush of energy it is astounding.

This is an awesome extreme tech metal album, a short EP but just so good. I urge all metal fans to get hold of this dynamic killer EP. Review by Conor Fynes Prog Reviewer.

It's finally here. Taking in the best elements of both musicians, the music was viciously technical, heavy, and ultimately one of the most brilliantly complex metal albums ever made. Despite the overwhelming critical support and acclaim that Blotted Science received in , I wasn't even sure that this project would see any future releases.

After all, after virtually perfecting a sound at their first try, where was there to go? All the same, Blotted Science has come back again, this time in the form of a twenty-four minute long EP.

Although it may sound like traveled ground for some, there's no denying that the band has done it again; Blotted Science have crafted another masterpiece of tech metal. As I described the debut, Blotted Science's sound is essentially technical death metal, without the growls that seem to turn off so many prospective listeners. In any case, while Blotted Science may lack the defining feature of death metal, they remain heavy as hell, with guitars blazing, bass pummeling, and the drums firing as precisely as an atomic clock.

While there may not be lyrics here, Blotted Science also tends to have albums based on a theme. With 'The Machinations Of Dementia', Jarzombek and company built this music on the foundation of brain disorders, titling their songs after brain disorders and gearing the music to revolve around what feelings they might evoke.

On their second run-through, Blotted Science maintain their cold, mechanically oriented themes, this time dealing with the nature of bugs, and all of the different unsettling things they do. The album cover is crawling with them, and while I thought that the subject of brain dysfunction worked perfectly for Blotted's music, this new subject mirrors the music perfectly. Over the course of seven tracks four of which are bound together in a mini-epic , Blotted Science's number one goal seems to be to make their listener's heads explode in amazement.

Sure, plenty of guitarists can shred and some even have a deep knowledge of theory. Still, I am hard-pressed to think of another band that is able to play together with such complexity as Blotted Science.

The music is highly aggressive, with 'Ingesting Blattaria' opening up the album with a barrage of nearly incomprehensible tech-heaviness that soon breaks up into an incessant fusion of technical death metal riffs, sci-fi lead solos, and a surprising depth of atmosphere that lets the horror-styled undertones of the music get inside your head.

Jarzombek and Webster are an absolutely devastating pair, whose respective styles compliment each other greatly. New to the band is drummer Hannes Grossmann, who brings a subtle jazz flourish to the band; I would say the intense and dynamic drumming here is even better than Charlie Zeleny's performance on the debut.

Despite a change in apparent subject from brain disorders to bugs that cause them , , the actual music of Blotted Science has barely changed, if at all. As much as I am blown away by what Blotted Science do with 'The Animation Of Entomology', there are no creative leaps here beyond what the band did on 'Machinations'. For this, I cannot quite consider it the classic that the band's debut is, even if Blotted Science have some even greater moments here.

One thing I could mention that seems to set 'Animation' apart from its predecessor is that the mellower moments here are integrated a little more cohesively into the music that on 'Machinations', where the brutal tech metal and schizoid jazz explorations where largely kept separate from each other.

While I may have been a little disappointed at first that Blotted Science's second album was only twenty four minutes long, this does work for the exhausting style of the band. I would not consider 'The Animation Of Entomology' necessarily to be an improvement in what Blotted Science has done, and certainly not a development.

All the same, the depth in the composition is very consistent, and as impressive as it ever has been. While I thought their debut was a virtually impossible achievement, Blotted Science have gone out and done it twice. To put it simply, this is the most accomplished technical metal release ever created.

While the genre of technical progressive metal has gotten a bad name in the eyes of some for it's typically overindulgent and mindless showboating and lack of substantial depth, there will always be bands, or albums that really excel and break through the barriers of convention to deliver something that really blows the doors away.

While the metal world is full of greatly talented, skilled and even genius musicians, I will admit that there have been only a handful of albums that have impressed me so much on a musical level in instrumental metal, and arguably none that have blown me away as much on a technical level as Blotted Science does however.

While this is not going to be the order of the day for everyone, 'The Machinations Of Dementia' is easily one of the greatest instrumental albums ever made. What might come as a bit of a shock to the progressive side of the prog metal scene is that the bassist chosen to be part of this project is Alex Webster, of Cannibal Corpse.

While Cannibal Corpse isn't exactly known for their penchant of thought-provoking themes and music, they are indeed talented musicians and Alex Webster's frantic bass work steals the show here. With a presence much greater here than on most other albums, the technical bass display adds a dimension to the music that really compliments Jarzombek's left-of-center guitar playing.