Over the past few months, the production process for album 2 has been in full swing with very successful recording sessions.
Here are some shots of myself, Alex and Aled in action.
Photos taken by Bethan Miller.
It is just a week away before we head into the studio to record Eden Shadow album 2 and as mentioned previously, this album will be featuring a new drummer.
I would like to warmly welcome Aled Lloyd to Eden Shadow.
You can see him in action here;
This year has been rather busy musically speaking with being involved in two shamelessly self indulgent projects writing two shamelessly self indulgent albums with The Kinky Wizzards and of course Eden Shadow.
Regarding the latter, the second album has been without doubt, the most challenging, ambitious music I’ve yet to compose and throughout the year it has taken month after month to carefully outline the detail that each track has (as well as practising things that I couldn’t initially play!) to get it ready for final recording.
From next month, the album is scheduled for recording, mixing and mastering and will have a release date set for early next year, with a single to be released a little before then.
A couple of further updates, this album will be featuring a new drummer who will be announced in the next couple of weeks. There is a plethora of talented individuals I have the real privilege of having in the team for this record, of which one or two names even may be very familiar with the older prog fans. I am desperate to spread the news but will abstain for the time being!
In the meantime, you can expect regular updates regarding the progress of the album with details to be revealed over the next few months.
Looking forward to sharing the new music with you!
Photo taken by Rhiannon Buckle
Whilst thing have been dormant with Eden Shadow as we continue our progress with our second album. Ryan has been keeping busy venturing another project, The Kinky Wizzards.
This is an instrumental trio comprising of Ryan, and brothers Mathew Griffiths and Jonathan Griffiths, who are currently writing an album.
The following video is a live presentation of the first three tracks that they have written.
2.)Kinky Joe from Mexico’s Burritos
3.)Done with this Place
The festive period has indeed crept upon us unsuspectingly. It is crazy to think that this time a year ago, I was frantically arranging the pressing and release of ‘Phases’. The year that has followed, has indeed been an intense ride of seeing the album sell in five continents, communicating with people all over the world about music, finishing a degree and returning to Cardiff to continue investing my time in a myriad of new things and looking to the future with a strong sense of optimism.
First of all, I would like to thank every one who has embraced Eden Shadow as a band, listened to what we do, bought our album and got in touch. It’s been an absolute pleasure to speak with so many people who have such a passion for music and I am honoured that there are people out there tuning into our music and enjoying it.
I am also pleased to announce that I’m graduating from the Academy Of Contemporary music with a first class honours. I spent a lot of this year working on my dissertation and this involved creating an entire master score for ‘Hallucinogen’. I look to publish this for release at some point along with other tracks off the album.
As was announced earlier this year, Eden Shadow is very much in the process of writing the second album. I have spent the last few months of this year planning and arranging everything and we are going into full production with the album in the new year.
Besides my work with Eden Shadow, I am thrilled to say that I am in the beginnings of new collaborations and projects. Many I dare not fully mention of yet, but the new year promises to be a prolific one. In the meantime, one of the projects I can announce is that I have nearly finished a jazz album for publishing company Lark Recordings. The following is a recording of one of my favourite jazz standards, Beautiful Love.
Finally, I would like to wish everyone celebrating it a very merry Christmas and most certainly a prosperous new year!
Onwards with making music happen!
Some of my favourite things from the year
Imogen Heap – Sparks
Opeth – Pale Communion
Michael Casswell – Complaints about the noise
Paulo Nutini – Caustic Love
Mogwai – Rave Tapes
My Brightest Diamond – this is my hand
Guardians of the Galaxy
Wolf of Wall Street
Game of Thrones Season 4
As some of you may have been aware, during the completion of ‘Phases’ I was busy studying for my degree and decided to dedicate my final work and dissertation to a very prominent feature in progressive rock, the ten minute structure. It is something that has fascinated throughout my childhood and it is interesting to see how artists have utilised the opportunities of extended structure in a number of ways. During the course of my research, I was very fortunate to arrange an interview with former Genesis guitarist Steve Hackett and I thought it may be of interest to you.
I shall be in touch with more Eden Shadow news soon.
1.)What are the opportunities in writing a song with an extended structure? Would you say that writing a song over 10 minutes allows certain things that a conventional form structure does not?
A song with an extended structure can work well. “Supper’s Ready” at more than twenty minutes in length is one of early Genesis’ most popular pieces of music. It works because it takes the listener on an exotic journey through many moods and places. At the end you feel you’ve gone full circle but ended up in a deeper and more enlivened place. It gives a feeling of catharsis. You can’t quite get that feeling with a short song, although if a piece morphs enough through different moods and modes, the song can deliver a sense of adventure and range of emotional experience in as little as eight minutes. It doesn’t have to be at least ten minutes to produce that effect. Also, if there are links between songs without an obvious break the same effect can be achieved. But for sure, you can’t achieve that particular sense of exploration within an isolated song of five minutes or less.
2.)The emergence of progressive rock has been said to be partly a result of the influence of classical music. Are there any elements or composers of classical music that has inspired you in both your solo work and with Genesis?
Yes, I have been influenced by several classical composers and pieces of music. We all liked Bach in Genesis and you can hear his influence for instance in both the acoustic piece I play, “Horizons” and and in the keyboard parts of “Firth of Fifth”. I’ve been influenced in my solo work by many classical composers, from the precision of Bach to the romance of Tchaikovsky, the power of Ravel’s “Bolero” and the atmosphere of Respighi’s “Pines of Rome”. I love classical guitar and I incorporate it into my rock music as well as my classical albums. I feel that classical music can inform and expand rock in many different ways.
3.)What would you regard to be the key things that have inspired you to structure songs that run beyond the ten-minute mark?
Most of my songs are less than ten minutes because I feel I can deliver the epic feel I search for in an eight minute song. But in those tracks that are more than ten minutes, such as “This Island Earth” on my last solo album “Beyond the Shrouded Horizon”, I wanted to give a feeling of expanse, a sense of an adventure through space and time around the universe and back, which needed the extra time for full effect. Likewise, the track “Shadow of the Hierophant” on my first solo album which is at least ten minutes needed the length to facilitate the contrast between the delicate song and the instrumental and also to enable the instrumental part to gradually build to powerful effect.
4.)In past interviews, you’ve mentioned that a lot of early Genesis material deals with rather obscure themes and includes ambiguous lyrics. How did you approach organising and writing music with such concepts in mind so that initial ideas could eventually turn into a complete song?
Sometimes we just followed our feelings as we began writing, not always knowing where the song was going to lead. Going of the beaten track of consciousness can be a good way to find new paths and become inspired with new musical and lyrical ideas.
5.) What would you advise for young musicians who aspire to write music of a conceptual nature and are considering achieving this by writing songs that run beyond a conventional structure?
Follow your heart, your inner inspiration and your influences, but don’t complicate anything just for the sake of it. There is a danger of making something impenetrable. The secret is to create a world of music which excites you and one that you believe in.
Thanks Ryan, I’ve enjoyed answering your questions. I wish you luck with your dissertation.
After an intense summer of studying, we are pleased to announce that we are beginning to work on our follow up album to ‘Phases’.
The second album has been an ever exciting and looming prospect over the last year, and it shows many signs of us developing and evolving as a band. Whereas ‘Phases’ in it’s writing in many ways can be regarded as a solo effort, our second album for the first time displays moments where the band has developed material that is collaborative, and certainly more ambitious.
Throughout the fall of this year, we will be recording and producing the album with the aim to release it at some point next year. As we make progress, we will keep you informed.
Onwards with the next chapter.