Marching In Time

[CrowsOnAWire]

Part 2 of the interview above...

And you have a Silver Sky?

“I do, I love the Silver Sky.”

How would you describe it to someone?

“It’s kind of like a more user-friendly Strat kind of thing. Stratocasters have that really great organic sound to them. But they also have a thing where you have to fight with the guitar a little. The Silver Sky takes the fight out of it a little, and with that the tone’s a little different.

“The Fender Strat is one of the greatest guitars of all time. But the Silver Sky is more of an easier playing guitar with the same sort of characteristics. Not identical but the same ballpark.”

How do you feel your tastes have changed in terms of tone over the years?

“When I was a kid I liked straight up speed metal tones that were scooped where there’s no mids. Now I’m very heavy in the mids. I think the mids are the highest thing dialled in with my EQs. I think I have my mids at 2 o’clock. I take the low end down a lot now too. When I was a kid I thought the more low end the better, but all that low end muddies things so I’ve dialled that back a lot over the years. I’m at noon at best with my low end.

“Diving down that boutiquey rabbit hole. Some of the most exciting things to find are these unique amps that do something different to other amps that you can’t really replicate. I’ve got lots of cool little amps that are on-offs. There’s this guy up in Milwaukee in a guitar shop that builds amps and I’m talking a couple of dozen amps. I absolutely love it. I remember John Connolly from Sevendust borrowed it and he used it to record one of his records. He said, ‘This could be the best amp!’ You never know. You can see the handwriting on the treble, bass and it’s all kind of sloppy but it’s got its own thing.”

You’ve come from owning some very high-end amplifiers to designing the MT-15, which brought pro-level tones at a relatively affordable price.

“I’m very proud of the MT-15. When we dove into it I told Paul and everyone on the conference calls that I wanted there to be a five before the price number and it’s not five thousand. I said let’s do our best to dial this thing in and make it affordable.

“I remember telling Paul that I’m never a one amp guy. If another amp comes out that I like over my signature amp, I’m going to play it. I’m never going to do a signature amp because of that. But then finally one day I was online, because I’m always researching amps, and I saw this post about top-selling amps in the world at the moment. And they were all lunchbox three, four, five, six hundred dollar amps.

"That was one of those lightbulb moments. I could develop this amp as best as I can and I don’t necessarily have to play it onstage because people wouldn’t expect there to be a 15-watt amp onstage. I can kind of open the door into the amp world with this amp.

“Then once we dove in I fell in love with the thing. That’s my favourite amp right now, the MT-15. If I’m at home and I’ve got 40 amplifiers, that’s the one that’s right next to my studio desk that I plug into. As the MT-100s come in, each revision, I’ll stack them both up. But I think we created an amp that sounds just as good as any of my amps at home for a tenth of the price of some of them.

The clean tone, lead tone, rhythm tone… everything about it was special. I was nervous as hell to put it out because when you love something much and you put it out into the world and someone tells you, ‘Ah this amp sucks!’ it would crush you. I remember putting it out at NAMM and I think there was 8,000 new products out at NAMM and I remember sitting there playing on it and Mr Sam Ash came in and put the best in show tag right on it. It just blew me away, one of my favourite moments as an endorser of anything. That was a special, special moment. So the MT-15 is something I’m hugely proud of.”

Do you see yourself getting back into the rhythm you had before lockdown as recording and touring with Tremonti and then Alter Bridge?

“Yes, there might be something thrown in here and there, who knows. But most of the time it’s three years between Alter Bridge and Tremonti records and then we tour the 18 months for each record release.”

So the next few years are already planned out for you

“I would say so, always busy, man. Trying to stay busy!”

Well we’re looking forward to hearing that top secret project

“It’s been really hard sitting on this project but I can’t wait!”

[Mr. Slash]

Let That Be Us kicks ass. The Last One Of Us transports such a nice mood. It's so different from everything Mark ever released with Tremonti. So, I'm halfway through the album and so far I like it.

[ToNsOFuN88]

The thing that sounds a bit weird to me and which happens a bunch of times on the album is the juxtaposition of some unbelievably fantastic heavy thundering thrash intro riffs that then morph into beautiful soaring almost arena rock quality choruses. Both by themselves are so good, but they sort of sound funny squished together in the same song.

It's been the issue with this project since day 1.
A bunch of juxtaposed great parts doesn't necessarily turn into a great song.

Prime example: Now and Forever's bridge is just fucking nasty, and then immediately switches back into a super poppy chorus. There is zero transition, and it just does not work there, at least for me.
...
You can be all over the place with crazy juxtapositions and have it work (we see it a lot in prog) but those transitions have to be done well; I'd argue here that they aren't.

Agreed.
I was listening to a few new songs yesterday, and some transitions shocked me.
Sometimes, there weren't any transitions at all, and at other times, it felt like I had already heard them in previous AB or Tremonti songs.

That's why, more than ever, Mark needs to work with a new producer who will call him out on that precise aspect of his songs and push him to write something more elaborate.

Totally, but I doubt Mark is capable of writing a chorus that isn't overblown, pompous and blatantly melodic. Having 4 chords that are being repeated is an easy way out. But yeah, if you tune starts out like Slayer and plows your ears through the verses and pre-chorus and then turns into pop rock in the chorus, it just doesn't make sense.

Also, a lot of main riffs and intros start to sound samey. When Would You Kill kicked off I thought Spotify switched into Radical Change and then the verse sounded almost exactly like A Lot Like Sin. But that's what happens if you keep on churning out speed metal riffs.

People always complain about this, but y'all need to realize that the problem is with you not Tremonti. He's making music how he likes to make it, and alot of us like it like that and don't see a need for any change with the structure. I'm paraphrasing, but I remember Zakk Wylde saying something back in the day about loving to "mix the heavy and the soft shit". Some people just really like that style, myself included. Some people like their rock balls to the wall straight metal screaming the whole time, some people like nice melody driven rock, and some people like both styles but don't like to hear every song sounding either heavy or melodic and instead like to have the best of both worlds. Enter Tremonti.

[CrowsOnAWire]

The thing that sounds a bit weird to me and which happens a bunch of times on the album is the juxtaposition of some unbelievably fantastic heavy thundering thrash intro riffs that then morph into beautiful soaring almost arena rock quality choruses. Both by themselves are so good, but they sort of sound funny squished together in the same song.

It's been the issue with this project since day 1.
A bunch of juxtaposed great parts doesn't necessarily turn into a great song.

Prime example: Now and Forever's bridge is just fucking nasty, and then immediately switches back into a super poppy chorus. There is zero transition, and it just does not work there, at least for me.
...
You can be all over the place with crazy juxtapositions and have it work (we see it a lot in prog) but those transitions have to be done well; I'd argue here that they aren't.

Agreed.
I was listening to a few new songs yesterday, and some transitions shocked me.
Sometimes, there weren't any transitions at all, and at other times, it felt like I had already heard them in previous AB or Tremonti songs.

That's why, more than ever, Mark needs to work with a new producer who will call him out on that precise aspect of his songs and push him to write something more elaborate.

Totally, but I doubt Mark is capable of writing a chorus that isn't overblown, pompous and blatantly melodic. Having 4 chords that are being repeated is an easy way out. But yeah, if you tune starts out like Slayer and plows your ears through the verses and pre-chorus and then turns into pop rock in the chorus, it just doesn't make sense.

Also, a lot of main riffs and intros start to sound samey. When Would You Kill kicked off I thought Spotify switched into Radical Change and then the verse sounded almost exactly like A Lot Like Sin. But that's what happens if you keep on churning out speed metal riffs.

People always complain about this, but y'all need to realize that the problem is with you not Tremonti. He's making music how he likes to make it, and alot of us like it like that and don't see a need for any change with the structure. I'm paraphrasing, but I remember Zakk Wylde saying something back in the day about loving to "mix the heavy and the soft shit". Some people just really like that style, myself included. Some people like their rock balls to the wall straight metal screaming the whole time, some people like nice melody driven rock, and some people like both styles but don't like to hear every song sounding either heavy or melodic and instead like to have the best of both worlds. Enter Tremonti.

Agree. This has always been Mark's style. Melodic hard rock/metal.

[chtimixeur]

Totally, but I doubt Mark is capable of writing a chorus that isn't overblown, pompous and blatantly melodic. Having 4 chords that are being repeated is an easy way out. But yeah, if you tune starts out like Slayer and plows your ears through the verses and pre-chorus and then turns into pop rock in the chorus, it just doesn't make sense.

It's not just Mark who's doing that.
Most of current active rock bands write poppy choruses that don't fit with the rest of their songs.
Weirdly enough, they all sound the same to me. I read or watched something about that one day, and I think it has to do with the key they're written in. That's the popular sound with kids these days, and I totally understand why Mark follows that path with his band.

As to the album, I haven't digested it yet, so I don't know how I feel about it yet.
I just know that the way Mark pronounces Us in the Let That Be us chorus is funny to me, because all I hear him sing is Let That be Ass.

Also, I totally get what you mean here:

Would You Kill: The final HEAVY parting shot before the closer. Maybe the thrashiest the album gets. BUT the bridge - the first time I've heard THAT Human Clay guitar sound since... Human Clay!? (3.5/5)

That guitar sounds reminds me of Never Die in particular.

[Mr. Slash]

Totally, but I doubt Mark is capable of writing a chorus that isn't overblown, pompous and blatantly melodic.

"I wish You well, I wish You well"

[Dolo]

People always complain about this, but y'all need to realize that the problem is with you not Tremonti. He's making music how he likes to make it, and alot of us like it like that and don't see a need for any change with the structure. I'm paraphrasing, but I remember Zakk Wylde saying something back in the day about loving to "mix the heavy and the soft shit". Some people just really like that style, myself included. Some people like their rock balls to the wall straight metal screaming the whole time, some people like nice melody driven rock, and some people like both styles but don't like to hear every song sounding either heavy or melodic and instead like to have the best of both worlds. Enter Tremonti.

Nobody is telling him what to do, we're just having an open discussion on what would be cool for him to try and not keep on repeating himself but every time somebody comes with constructive criticism a lot of people on here seem to be upset about it.

"I wish You well, I wish You well"

Oh yeah, here's an exception.

[Ubik]

It's easier to get away with when the melody is as great as Let That Be Us. Now and Forever I'm struggling with a lot more, no like that chorus at all.

[ToNsOFuN88]

People always complain about this, but y'all need to realize that the problem is with you not Tremonti. He's making music how he likes to make it, and alot of us like it like that and don't see a need for any change with the structure. I'm paraphrasing, but I remember Zakk Wylde saying something back in the day about loving to "mix the heavy and the soft shit". Some people just really like that style, myself included. Some people like their rock balls to the wall straight metal screaming the whole time, some people like nice melody driven rock, and some people like both styles but don't like to hear every song sounding either heavy or melodic and instead like to have the best of both worlds. Enter Tremonti.

Nobody is telling him what to do, we're just having an open discussion on what would be cool for him to try and not keep on repeating himself but every time somebody comes with constructive criticism a lot of people on here seem to be upset about it.

"I wish You well, I wish You well"

Oh yeah, here's an exception.

I'm not saying anyone is telling him what to do, I just don't understand after all this time people expect anything OVERALL any different than the style we usually get. The man makes melodic alternative/hard rock/metal. It's been brought up literally since before All I Was even released. By the alot same people. Why keep doing that to yourself, if you obviously don't like the style? It's not really a secret that he has no issue making song with a thrash verse and soaring melodic chorus, and it's been that way for a decade at this point. Why show up every 3 years to complain about it all over again? I'm not upset about it, I just don't get it.

[Mr. Slash]

Did anyone already point out, that the bridge of Thrown Further is pretty much the same as in "The Cage" from the 3rd album?

[SHEAKENBAKEN]

Did anyone already point out, that the bridge of Thrown Further is pretty much the same as in "The Cage" from the 3rd album?

I was just thinking about this earlier too! I knew the bridge sounded similar to something off Dust

Its like Fall Again and Save Me all over again

[ToNsOFuN88]

Anyone heard the bonus tracks yet? Someone was taking up Walking Beside Me on Facebook. These are vinyl only releases as of now correct?

[SHEAKENBAKEN]

Anyone heard the bonus tracks yet? Someone was taking up Walking Beside Me on Facebook. These are vinyl only releases as of now correct?

Correct. No vinyl no bonus tracks. Havent heard them but I hope at the very least they'll get uploaded to iTunes as part of a deluxe edition at some point like Now or Never on ADM was in 2019.

[gbruin]

I'm really curious about Mark's mystery non-flute project in the spring.

[Crumbso]

Thrown Further Really should have been a single. I will say that this tune fucking rocks. The main riff has real drive and bounce, the Chorus is decent and the bridge/solo are great.

[SHEAKENBAKEN]

Anyone else feel like the 2nd verse of Under The Sun also could have been a chorus? Or is it just a really melodic verse?

[chtimixeur]

Did anyone already point out, that the bridge of Thrown Further is pretty much the same as in "The Cage" from the 3rd album?

I knew it sounded familiar.

[Mr. Slash]

Also the harmonics in the intro of In One Piece aren't new. I think I have heard them on some ADM song before.

[Dan Dando]

It's easier to get away with when the melody is as great as Let That Be Us. Now and Forever I'm struggling with a lot more, no like that chorus at all.

It'll click for you at some point, I feel. I'm a fan

[Dan Dando]

Fortunately, Mark is so good at both that it still works, even when it does sound a little schizophrenic.

It mostly works for me but I hear you. I've actually sent 'Let That Be Us' to a couple of friends (who appreciate a good tune but aren't exactly metal-heads), and I've sort of found myself needing to apologise for the heavier parts of that particular song