Features
Cezanne – The Art of Bangladeshi Progressive Metal Bass
Artcell Bassist Cezanne…
Progressive Metal is perhaps not a genre you immediately associate with Bangladesh, but there’s a thriving scene there. Tim Fletcher talks to Artcell bassist Cezanne about the Bangladesh metal community, the history of the band, and their upcoming album.
Opening Photo, Chowdhury Sifat
One of the most pleasing things about the Bass Musician Magazine FaceBook page is the wide range of people that engage with it. Bass players from all over the world join in with the discussions, and sometimes that can lead you to places that you hadn’t expected.
A few months ago, I was interested to see a profile of Ayan Upadhaya, a bass player from Bangladesh, and he related the story of how he became a bassist in a Bangla Rock band. Having never heard about Bangla Rock, this intrigued me, and I asked Ayan to recommend some bands to listen to. He immediately suggested Artcell, a progressive metal band, and I listened to a few of their songs – I was very impressed. I soon discovered that they are a very popular band in their home country, playing regular gigs across Bangladesh, but they have also played major events in Australia (Sydney and Melbourne), India (Kolkata) and Malaysia (Kuala Lumpur).
This led to searching out their bass player, Cezanne who is now resident in Sydney, Australia, and he was kind enough to agree to a long-distance interview.
Hi Cezanne – many thanks for talking to us.
My pleasure and thanks for approaching me as well.
You’re based in Australia – have you managed to stay musically productive during the lockdown?
The lockdown hasn’t been easy. However, I guess we were very lucky as the COVID situation was very well managed here in Australia. However, it was a tricky time to adjust to the new normal of working from home. The way it works for me is, I like to take breaks from my music. It helps me keep a balance with the other things in my life, and weirdly it makes music more enjoyable for me. I know not many musicians would agree with this approach, but I didn’t really play a lot of bass during the lockdown, although I knew I could get back and play when I felt like it.
Have you been writing new material?
As we are in the middle of recording our third album, the focus is on completing that for the time being. However, I do have a bunch of new stuff that I would love to share with the band to work on after we are done with the third album.
How do you organise collaborating with the other band members over such long distances?
Thanks to all the new technologies, it’s not difficult at all to be in touch. I speak to the band members almost every day. However, obviously we can’t jam and that definitely doesn’t help. This is not the ideal situation to work together for sure. However, we are trying to make the best out of it and the band is sharing their demos and I am providing my input online. This is how we recorded the last released track ‘Avoy’ – meaning ‘No Fear’ in English – and it came out pretty well.
Did Artcell have to cancel any concerts, and are you looking forward to being able to play more live shows once this is over?
As a band Artcell is one of the busiest in Bangladesh. So, yes, we had to cancel a lot of shows. The sooner the COVID-19 crisis is over the better, not only for us, but everyone everywhere. I can’t tell you how much I miss being back with the band and playing for a live audience, but I do realize the seriousness of the crisis and for now it is VERY important for everyone to follow the social distancing requirements.
Artcell had a major show to celebrate its 20th anniversary last year – was that an exciting milestone to reach?
This was definitely a career highlight for Artcell and a very special moment in my life. This was probably the first time a prog rock band had an open air concert in Bangladesh, which also was a full house with over 8,000 people. We were overwhelmed with the support we got not just from our fans and listeners, but also from the organizers, partners, and sponsors. It was a milestone for the Bangladesh rock music scene, as far as we are concerned.
Let’s go back to the beginning – what prompted you to take up bass?
I just liked the bold fat sounds of the bass. I started playing bass when I was about fifteen. I played guitar for three years before that, but only so I could learn the basics so that I could pick up bass one day. So, yes, bass has always been my weapon of choice. Besides, as a kid, I didn’t want to play what everyone kid in my school was playing…. and that worked out for me pretty well!
Who were the bass players you tried to emulate when you first started playing?
The first name on the list would be Steve Harris from Iron Maiden. He’s one of the reasons I play bass. Then I was heavily influenced by Stuart Hamm, Les Claypool and Flea. I was also a huge fan of Billy Sheehan – I watched his Advance Bass Instruction video tape so many times that I remembered all the jokes Billy would pull in the interview! So, I picked up a lot my bass techniques (at least tried to) from Billy Sheehan.
What was your first bass?
I got my first bass, a used Indian ‘Givson’ Bass, not Gibson, when I was around fifteen and played the heck out of it. I got my first proper bass, a Peavey, when I was seventeen or eighteen.
How did you learn to play? Did you have lessons?
I was very lucky to have the acquaintance of Schumann Zaman (from Bangladeshi pop/rock band Paper Rhyme) as my first bass guide. He’s the one who introduced me to Billy Sheehan.
Were there any other local players that helped you?
Apart from Schumann Zaman, I was massively influenced by Shafin Ahmed (Miles), BassBaba Sumon (Aurthohin) and Babna Karim (Warfaze) – the great bass players of Bangla Rock music.
I understand that there was a great music shop in Dhaka that stocked metal albums that weren’t generally available in Bangladesh. Did you find lots of influential stuff there?
I think you are referring to Rainbow, at Elephant Road, Dhaka! Yes, back when I just started listening to metal (and music in general) there were only cassettes available and the Rainbow was one of the very few sources (along with Shur-Niketon, right beside the Rainbow and another music shop) where we could find the music we liked. The best part was, when anyone would give them a 60 or a 90 min cassette to record some album, if there were few minutes left after the album was transferred, they would fill that in with other good music of similar genre. And that’s how I was exposed to Steve Vai and Joe Satriani.
Were there many rock gigs to go and see in Dhaka at that time?
In normal situations, there would be underground rock gigs in Dhaka every weekend. But in the winter we have some of the biggest festivals, like the Joy Bangla Concert that’s held in March and other open air shows.
How did Artcell begin?
We started Artcell in October 1999. I am one of the four founder members of the band. Before me and Shaju (Drummer) started playing together, Lincoln (Vocals/Guitars) and Ershad (former Lead Guitars) used to play together in another band called Tantrik. After we started jamming together, we decided to start a new band. Before coming to the name Artcell, we tried few other names, such as Zapatista, and Anubis. But Ershad came up with the name Artcell and that stuck.
Would you say that Artcell were the biggest progressive metal band in Bangladesh?
I don’t know about biggest. But it surely is the most loved one by the fans for sure.
Do you think of Artcell as part of the ‘Bangla Rock’ scene, or as part of the more global progressive metal genre alongside bands like Dream Theater and Tool?
It is a matter of great pride that Artcell made it so big in Bangladesh. So, we do see this a major part of Bangladeshi music scene. But since it was a conscious decision to do our music in Bengali for the people and the culture. However, it doesn’t get enough attention in the international scene because of the language, but people who are open to the universal language of music, they certainly can relate with the band. So, Bangla Prog-Rock definitely offers world class music, unfortunately something that is not common knowledge.
Artcell sing in Bengali – do you think that the band (and other Bangladeshi metal bands) would possibly have a bigger audience if you sang in English?
English songs would naturally attract a wider audience. However, it is also our responsibility to enrich our Bengali music culture and contribute to the rich history of Bangla Music.
Apart from singing in Bengali, do Artcell songs have any influences from Bangladeshi music styles?
Growing up all of us had some level of exposure and experience learning and performing Bangladeshi folk songs, Rabindra Sangeet, Lalon and Nazrul Songs, which helped setting up a strong base when we picked up the western instruments. The fused influences are obvious in Artcell’s melodies and arrangements, I think.
One of your most famous songs ‘Oniket Prantor’ has had over 8 million views on YouTube. It’s a very complex piece with lots of shifts of time signatures – what was the writing process for that song?
I remember it grew from the tapping section I came up with that comes after the first couple of verses. But since it wasn’t sounding right to start the song with the tapping section, Ershad came up with the plucking and the whole thing just took off from there. The intention was never to make it such a long song [16m 21s], but we just followed what each section demanded. Although I don’t really think the views on YouTube is a proper measure of an artwork, we are nevertheless very happy with the response.
Do you contribute to other parts of the writing process?
Playing with Artcell has always been about band effort and all of us have contribution in all the songs. I guess that’s you will see different sections and vibes in each of the songs. I specially enjoy working with the overall sound and arrangement of songs.
How has your own playing style developed over the years?
Well, in early days, I used to practise a lot (no surprise). But as other things in life started taking over, I realized, even a small amount of time I would give to practising, it would have more impact on my playing then it used to in my earlier years. Not sure why, but I am a more confident bass player than ever, as I know it’s not how many notes you play, it’s what the song requires.
I understand that you briefly played in Warfaze (another Bangladeshi Metal Band) – how did that come about?
Growing up I was always a huge fan of Warfaze. And when they needed a bass player and the lead guitar player of the band Kalam, who is like a big brother to me asked me to join the band, it was a dream come true. But since it was at the early days of Artcell, I could manage time to play for both bands. But after a certain time, I had to prioritize. But it was a great experience playing some of my favourite Bangla Rock songs with the band on stage.
Did you play with any other bands?
Although Artcell was my main band, I did play as guest bassist for funk rock band Wire (to feed my appetite of Flea influences) and heavy metal band DeathRow.
The more recent Artcell material has moved towards a more concise style with nods towards bands like the Red Hot Chilli Peppers – was that a deliberate move to be more mainstream, or is it just how the writing has developed?
The last two songs released were ‘Shongshoy’ (Doubt) and ‘Avoy’ which is some of our heaviest songs to date. I guess you are referring to couple other tracks that was released prior to these, which is ‘Obimrisshotta’ and ‘Sporsher Onuvuti’ which is a mixture of different sounds, I think. RHCP, although is a huge influence for me, as you would see in the bass lines for ‘Obimrisshota’, but the songs are more like new-age metal more than funk. The bass for the other track was influenced by Opeth, another one of my recent favourites.
When is the long-awaited third Artcell album coming out?
I can’t promise a timeline, but the work is almost 80% complete. We will also need to sort out the platform and the sponsorship deals before this is released. But it will definitely be in 2021.
I understand you’ve been instrumental in developing the ‘Gaan’ music player app. Can you tell us about how that came about?
When I moved to Australia, I realized how difficult it was to listen to Bangla songs. Also, there’s a demand for a platform that the musicians and listeners can rely upon. Based on our understanding of the music scene in Bangladesh and with the support from fellow Bangladeshi IT Developers (Zayed and Saud) me and Shaju (Artcell’s drummer) decided to create Gaan, a Spotify like service, exclusively for Bangla and Bangladeshi Music. So far it’s been doing great with over 100K+ downloads and available on both iOS and Android platforms. But it still is a long way to go to solve the sustainable music platform requirement for the industry.
Do you think that the app might help to promote Bangladeshi music to a wider audience outside its home country?
Outside Bangladesh, Gaan has the second highest number of downloads in India, followed by the USA, Australia, and UK. So, yes, that’s definitely the plan to provide easy access to a huge collection and all the latest Bangla music to people around the world, specially the NRBs [Non-Resident Bangladeshis].
What is the next thing on the horizon for Artcell?
Now the entire focus is to complete the third album and then do a few concerts both in Bangladesh and around the world to promote the album. After that we already have enough materials to start working on the fourth.
Thanks for taking the time to speak to us – it’s been great!
The pleasure was all mine. Thank you so much for your interest in Artcell and our music.
Follow Cezanne on Facebook here
Readers have been fans of the composer, bass player, and Bass Musician contributor Alberto Rigoni for some time now.
In this interview, we had the opportunity to hear directly from Alberto about his love of music and a project near and dear to his heart, “Unexpected Lullabies”…
Could you tell our readers what makes your band different from other artists?
In 2005, I felt the urge to write original music. My first track was “Trying to Forget,” an instrumental piece with multiple bass layers (rhythm, solo, and arrangement), similar to the Twin Peaks soundtrack. When I played it for a few people, they really liked it, and I decided to continue composing based on my instinct and ear without adhering to any specific genre. In 2007, I released “Something Different” with Lion Music. The title says it all! Since then, I’ve released many solo albums, each different from the others, ranging from ambient to prog, fusion, jazz, and new age. I am very eclectic!
How did you get involved in this crazy world of music?
As a child, I listened to the music my parents enjoyed: my dad loved classical music, while my mom was into Pink Floyd, Genesis, Duran Duran, etc. These influences left a significant mark on my life. However, the turning point came at 15 when a drummer friend played me “A Change of Seasons” by Dream Theater, which was a shock! From that moment, I decided to play bass and cover Dream Theater songs, which I did for many years with my cover band, Ascra, until it disbanded in 2004. After that, I joined TwinSpirits (prog rock) led by multi-instrumentalist Daniele Liverani. Since then, I haven’t played any more covers!
Who are your musical inspirations, and what inspired the album and the songs?
My roots are in progressive rock metal, with influences from bands like Dream Theater, Symphony X, and many others. However, I listen to all genres and try to keep an open mind, which helps me compose original music. On bass, I was significantly inspired by Michael Manring and Randy Coven (bassist of Ark, Steve Vai, etc.). But I don’t have a real idol; I just follow my own path without compromise.
What are your interests outside of music?
Living in Italy, I love good food and wine! Beyond that, I have a deep interest in art in general and history, not just of my country. I enjoy spending time with friends, skiing, biking, and walking in nature. This is how I spend my free time. The rest of my time is devoted to music and my family!
Tell us about the new album.
It is definitely an out-of-the-box album. When I found out last year that I was going to have a baby girl, I decided to compose a sort of lullaby album, but I didn’t want to cover already famous lullabies. So, I started composing new tunes with the goal of creating an album that was half-sweet and half-hard rock. I did include some covers like “Strangers in the Night” by Frank Sinatra, sung by Goran Edman, former lead singer of Malmsteen. It’s not exactly a lullaby, but I felt the lyrics fit the album, as does the instrumental version of “Fly Me to The Moon.” There are also tracks with just bass and piano (Nenia) or two basses (Vicky). It was definitely an interesting creative process!
What is the difference between the new album and your previous releases, and will there be any new material from your other outfit called BAD AS?
BAD AS is essentially a metal band with several influences including prog. My solo genre is quite different, although there are some metal songs on a few albums. It’s always difficult for me to categorize my music… let’s say it’s a mix of prog, ambient, fusion, and new age.
Where was the album recorded, who produced it, and how long did the process take?
I produced my last album entirely by myself, including mixing and mastering. Unlike other albums I’ve produced within a few months, this one took much longer, perhaps because I was very busy or maybe because I wanted it to be perfect for my daughter, who is now three months old. In any case, I am satisfied. Once again, I did something different from my previous albums.
What is the highlight of the album for you and why?
My favorite song is the first track titled “Vittoria,” named after my daughter. It’s the intro to the record and isn’t very long, but the melody stuck in my head. Another standout track is the instrumental version of “Fly Me to The Moon” by Frank Sinatra, where I used fretless bass. The first part is sweet, the second part definitely rocks!
How are the live shows going, and what are you and the band hoping to achieve?
With BAD AS, this year we shared the stage with David Ellefson’s (former Megadeth bassist) band and talented young singer Dino Jelusik (White Snake). We plan to continue performing all over Europe!
What’s in store for the future?
I am working on an instrumental project called Nemesis Call, a progressive shred prog metal album with various influences. It will feature guest appearances from famous musicians like drummers Mike Terrana and Thomas Lang, as well as young talents like Japanese guitarist Keiji from Zero (19), 14-year-old Indian drummer Sajan Young, and guitarists Alexandra Zerner and Alexandra Lioness, Hellena Pandora. It’s scheduled for release at the end of the year or early 2025. As an independent artist, I have launched a fundraising campaign with exclusive pledges at www.albertorigoni.net/nemesiscall. And no, I am not begging; the album will be released anyway!
What formats is the release available in?
Unexpected Lullabies is available both as a Digipack CD and on streaming platforms.
What is the official album release date?
June 4th, 2024.
Thanks for this interview Bass Musician Magazine and for the continued support to my career!
Visit Online:
www.albertorigoni.net
www.youtube.com/albertorigoni
albertorigoni.bandcamp.com
www.instagram.com/albertorigonibassplayer
www.facebook.com/albertorigonimusic
www.tiktok.com/@albertorigonibassist
CD Track Listing:
1. Vittoria
2. Fly Me to the Moon
3. Azzurra
4. Dancing with Tears in My Eyes (feat. John Jeff Touch)
5. Out of Fear
6. Veni Laeatitia (feat. Alexandra Zerner)
7. Nenia
8. Slap Lullaby (feat. Karl Clews)
9. Saga
10. Vicky (feat. Michael Manring)
11. Ocean Travelers (feat. Vitalij Kuprij)
12. Strangers in the Night (feat. Göran Edman)
13. Peaceful
14. Un uomo che voga (feat. Eleonora Damiano)
Band Line-Up:
- Tommaso Ermolli arrangements on “Vittoria”
- Sefi Carmel on “Fly Me to the Moon” (Cover) (except for the keyboard solo by Alessandro Bertoni)
- Piano and keyboards by Alessandro Bertoni on “Azzurra”
- Leonardo Caverzan, guitars, and John Jeff Touch, vocals on “Dancing with Tears in my Eyes” (Cover)
- T. Ermolli keys on “Out of Fear”
- Alexandra Zerner everything on “Veni Laetitia”
- Daniele Bof piano on “Nenia”
- Karl Clews, piccolo bass on “Slap Lullaby”
- Jonas Erixon vocals and guitars on “Saga”
- Michael Manring bass on “Vicky”
- Vitalij Kuprij, keyboards and piano, and Josh Sapna, guitars, on “Ocean Traveler”
- Göran Edman, vocals, Emiliano Tessitore, guitars, Emiliano Bonini, drums, on “Strangers in the Night” (Cover) everything by Alberto Rigoni and vocals by Federica “Faith”
- Sciamanna on “Peaceful”
- T. Ermolli, guitars, and Eleonora Damiano, vocals, on “Un uomo che voga All drums programmed by Alberto Rigoni
If you are an electric bass player, this is an exciting time to be alive as this relatively new instrument evolves around us. Some creative individuals have taken an active role in this evolution and made giant leaps in their own direction. Lee Barker is one of these inventive people having created the Barker Bass.
Fortunately, Lee is also an excellent writer (among so many talents) and has recently released his book “Plausible Gumption, The Road Between a Christmas Toolbox and The Barker Bass”. This book is a very fun read for everyone and shares a ton of details about Lee’s life in general, his experiences as a musician, a radio host, and a luthier. Now I am fortunate to have the great opportunity to gain even more insights into this renaissance man with this video interview.
Plausible Gumption, The Road Between a Christmas Toolbox and The Barker Bass is available online at Amazon.com
Interview and photo courtesy of Holly Bergantino of Bergantino Audio Systems
With an expansive live show and touring, Mt. Joy bassist Michael Byrnes shares his experiences with the joyful, high-energy band!
Michael Byrnes has kept quite a busy touring schedule for the past few years with his band, Mt. Joy. With a philosophy of trial and error, he’s developed quite the routines for touring, learning musical instruments, and finding the right sound. While on the road, we were fortunate to have him share his thoughts on his music, history, and path as a musician/composer.
Let’s start from the very beginning, like all good stories. What first drew
you to music as well as the bass?
My parents required my sister and I to play an instrument. I started on piano and really didn’t like it so when I wanted to quit my parents made me switch to another instrument and I chose drums. Then as I got older and started forming bands there were never any bass players. When I turned 17 I bought a bass and started getting lessons. I think with drums I loved music and I loved the idea of playing music but when I started playing bass I really got lost in it. I was completely hooked.
Can you tell us where you learned about music, singing, and composing?
A bit from teachers and school but honestly I learned the most from just going out and trying it. I still feel like most of the time I don’t know what I am doing but I do know that if I try things I will learn.
What other instruments do you play?
A bit of drums but that’s it. For composing I play a lot of things but I fake it till I make and what I can’t fake I will ask a friend!
I know you are also a composer for film and video. Can you share more
about this with us?
Pretty new to it at the moment. It is weirdly similar to the role of a bass player in the band. You are using music to emphasize and lift up the storyline. Which I feel I do with the bass in a band setting. Kind of putting my efforts into lifting the song and the other musicians on it.
Everybody loves talking about gear. How do you achieve your “fat” sound?
I just tinker till it’s fat lol. Right now solid-state amps have been helping me get there a little quicker than tube amps. That’s why I have been using the Bergantino Forté HP2 – Otherwise I have to say the cliche because it is true…. It’s in the hands.
Describe your playing style(s), tone, strengths and/or areas that you’d like
to explore on the bass.
I like to think of myself as a pretty catchy bass player. I need to ask my bandmates to confirm! But I think when improvising and writing bass parts I always am trying to sneak little earworms into the music. I want to explore 5-string more!
Who are your influences?
I can’t not mention James Jamerson. Where would any of us be if it wasn’t for him? A lesser-known bassist who had a huge effect on me is Ben Kenney. He is the second bassist in the band Incubus and his playing on the Crow Left the Murder album completely opened me up to the type of bass playing I aspire towards. When I first started playing I was really just listening to a lot of virtuosic bassists. I was loving that but I couldn’t see myself realistically playing like that. It wasn’t from a place of self-doubt I just deep down knew that wasn’t me. Ben has no problem shredding but I was struck by how much he would influence the song through smaller movements and reharmonizing underneath the band. His playing isn’t really in your face but from within the music, he could move mountains. That’s how I want to play.
What was the first bass you had? Do you still have it?
A MIM Fender Jazz and I do still have it. It’s in my studio as we speak. I rarely use it these days but I would never get rid of it.
(Every bass player’s favorite part of an interview and a read!) Tell us about
your favorite bass or basses. 🙂
I guess I would need to say that MIM Jazz bass even though I don’t play it much. I feel connected to that one. Otherwise, I have been playing lots of great amazing basses through the years. I have a Serek that I always have with me on the road (shout out Jake). Also have a 70’s Mustang that 8 times out of 10 times is what I use on recordings. Otherwise, I am always switching it up. I find that after a while the road I just cycle basses in and out. Even if I cycle out a P bass for another P bass.
What led you to Bergantino Audio Systems?
My friend and former roommate Edison is a monster bassist and he would gig with a cab of yours all the time years ago. Then when I was shopping for a solid state amp the Bergantino Forté HP2 kept popping up. Then I saw Justin Meldal Johnsen using it on tour with St. Vincent and I thought alright I’ll give it a try!
Can you share a little bit with us about your experience with the Bergantino
forte HP amplifier? I know you had this out on tour in 2023 and I am pretty
certain the forte HP has been to more countries than I have.
It has been great! I had been touring with a 70’s SVT which was great but from room to room, it was a little inconsistent. I really was picky with the type of power that we had on stage. After a while, I thought maybe it is time to just retire this to the studio. So I got that Forte because I had heard that it isn’t too far of a leap from a tube amp tone-wise. Plus I knew our crew would be much happier loading a small solid state amp over against the 60 lbs of SVT. It has sounded great and has really remained pretty much the same from night to night. Sometimes I catch myself hitting the bright switch depending on the room and occasionally I will use the drive on it.
You have recently added the new Berg NXT410-C speaker cabinet to your
arsenal. Thoughts so far?
It has sounded great in the studio. I haven’t gotten a chance to take it on the road with us but I am excited to put it through the paces!
You have been touring like a madman all over the world for the past few
years. Any touring advice for other musicians/bass players? And can I go to Dublin, Ireland with you all??
Exercise! That’s probably the number one thing I can say. Exercise is what keeps me sane on the road and helps me regulate the ups and downs of it. Please come to Dublin! I can put you on the guest list!
It’s a cool story on how the Mt. Joy band has grown so quickly! Tell us
more about Mt. Joy, how it started, where the name comes from, who the
members are and a little bit about this great group?
Our singer and guitarist knew each other in high school and have made music together off and on since. Once they both found themselves living in LA they decided to record a couple songs and put out a Craigslist ad looking for a bassist. At the time I had just moved to LA and was looking for anyone to play with. We linked up and we recorded what would become the first Mt. Joy songs in my house with my friend Caleb producing. Caleb has since produced our third album and is working on our fourth with us now. Once those songs came out we needed to form a full band to be able to do live shows. I knew our drummer from gigging around LA and a mutual friend of all of us recommended Jackie. From then on we’ve been on the road and in the studio. Even through Covid.
Describe the music style of Mt. Joy for me.
Folk Rock with Jam influences
What are your favorite songs to perform?
Always changing but right now it is ‘Let Loose’
What else do you love to do besides bass?
Exercise!
I always throw in a question about food. What is your favorite food?
I love a good chocolate croissant.
Follow Michael Byrnes:
Instagram: @mikeyblaster
Follow Mt. Joy Band:
Instagram: https://www.instagram.com/mtjoyband
Facebook: https://www.facebook.com/mtjoyband
I am sure many of you are very familiar with Mark Egan as we have been following him and his music for many years now. The last time we chatted was in 2020.
Mark teamed up with drummer Shawn Pelton and guitarist Shane Theriot to produce a new album, “Cross Currents” released on March 8th, 2024. I have been listening to this album in its entirety and it is simply superb (See my review).
Now, I am excited to hear about this project from Mark himself and share this conversation with our bass community in Bass Musician Magazine.
Photo courtesy of Mark Egan
Visit Online:
markegan.com
markegan.bandcamp.com
Apple Music
Amazon Music
Bassist Adam Sullivan…
Hailing from Minnesota since 2012, By the Thousands has produced some serious Technical Metal/Deathcore music. Following their recent EP “The Decent”s release, I have the great opportunity to chat with bassist Adam Sullivan.
Join me as we hear about Adam’s musical Journey, his Influences, how he gets his sound, and the band’s plans for the future
Photo, Laura Baker
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