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Michael Harris - Ego Dezimation Profil CD neu Finnland-
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eBay-Artikelnr.:380195041211
Artikelmerkmale
- Artikelzustand
- UPC
- 6419922002223
- Artist
- Harris, Michael
- Format
- CD
- Producer
- Michael Harris
- Release Year
- 2009
- Record Label
- Lio, Lion Music Finland
- Release Title
- EGO Decimation Profile
- Genre
- Heavy Metal
Über dieses Produkt
Product Identifiers
Producer
Michael Harris
Record Label
Lio, Lion Music Finland
UPC
6419922002223
eBay Product ID (ePID)
6046062806
Product Key Features
Release Year
2009
Format
CD
Genre
Heavy Metal
Artist
Harris, Michael
Release Title
EGO Decimation Profile
Dimensions
Item Height
0.39 in
Item Weight
0.11 lb
Item Length
5.27 in
Item Width
4.88 in
Additional Product Features
Number of Discs
1
Number of Tracks
10
Tracks
1.1 Forewarning 1.2 Vicious Uppercut 1.3 Startus-Fear 1.4 Julius Seizure 1.5 Pawn to King IV 1.6 Grandscape 1.7 Hair on the E String 1.8 Freudian Trip 1.9 Brainwarp 1.10 Terminus Epic
Notes
Michael Harris is one of the most acclaimed instrumental guitarists going thanks to a number of solo releases over the last 2 decades and his current prog metal band Thought Chamber. His 2006 Lion Music release "Orchestrate" received scorching reviews from media worldwide, so why has Michael decided to re-release his 1996 work "Ego Decimation Profile" First of all, this release is a remixed, re-mastered, and repackaged version. Michael remixed and re-mastered the CD myself. On the remix and remastering Michael states, "EDP originally came out in the 90s, when a drier mix was in vogue, so one of my goals in remixing the record was to get a more ambient sound overall, (especially on the lead guitars and drums). My goals were also to get a better drum tone, to get a "rounder" sound overall, and to use the stereo field a bit more with things like stereo delays and panning". Stylistically, "EDP" is a combination of metal, prog, funk, groove, and jazz fusion and is considered Harris' heaviest instrumental disc to date, as there is a running "metal" influence in all of the songs, although it does contain 3 of Michael's personal favourite slower numbers in "Grandscape", "Pawn to King IV", and "Terminus Epic". Melody and composition was Michael's primary focus on the CD. As progressive as it gets at times, Harris tried to never go too over the top with flashy solos or intricate parts. The album was also an open invitation to great musicianship from the other players and to achieve that many of the tracks were purposely composed with sections that had trade-offs. On Michael's aim with the album he states, "It was to blend rock, prog, jazz fusion, groove, funk, and neo classical all with melody and lots of guitar. Other than the opening piece, "Forewarning", there are not a lot of keyboards on the record. My goal on any of my instrumental records is that the compositions are strong, the melodies are original and memorable, and that I'm not just showing how many notes I can play on guitar". MICHAEL'S TRACK BY TRACK ANALYSIS 01) Forewarning - "Forewarning" was a compositional turning point for me. I envisioned composing a very heavy, progressive, and orchestrated piece, which I achieved with "FW", and I consider it my first "mini-symphony". Rob Stankiewicz played a great drum track and I played all the other instruments. For this remixed version, I actually re-recorded the steel string acoustic guitar intro with a nylon string. This was the only part on the whole record that I re-recorded. 02) Vicious Uppercut - Being heavy and fast with progressive touches, "Vicious" felt like a good follow up to "Forewarning" and set the tone for the disc. 03) Stratus-Fear - The theme to this piece was the chorus, which was based on a G#-E riff that I'd had sitting around for awhile which really blossomed when I thought of the melody on top of it. Then I wrote the progressive middle section which has a triplet feel. 04) Julius Seizure - Even before "Defense Mechanizms", I'd had a vision of fusing metal with jazz (my father being a jazz musician), and "Julius" really typified what I was trying to achieve. I also wanted to include a clean jazz break in a heavy tune, and patiently waited for the right inspiration for such a break to be included in this piece. Keith Carlock just smoked on this one. Although at the time he was relatively unknown, I'd recruited him based on his great reputation. As amazing as he was even back then, I don't think anyone could have predicted the success his future would bring. He eventually moved to NY and has since played with John Scofield, Steely Dan, and Sting. 05) Pawn to King IV - Based on counterpoint-esque and classical-esque melodies achieved with all volume swells, I haven't done a piece like this before or since. I'd had a demo stashed away for quite some time, so I refined it a bit, and it ended up being a nice dynamic for the record. 06) Grandscape - This sounded very soundtrack-esque - the melodies, feel,
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