The sound of metaclass is a multifaceted and complex description.
The band does not seek for purely commercial purposes with their sophisticated song structure.
Songwriter and project owner Per Merakerli say that the sound and drive of the songs must be felt, and actively worked on, with trial and error. The organic, more than the mechanical and quantified, is the goal. It must feel authentic, and feel real, right where we are, there and then.
They agree that a good foundation cannot be calculated, but must be something that strikes a nerve and has its own swing.
Per tells that a song should be a work of art, in itself, and not a tailor made and a cynical, studied attempt to make a hit. You have to strive a little and work out something, and it can be difficult, like life itself. It can, as we know, be tough, depressing, with a sense of isolation, rejection and sometimes filled with aggression.
They both started playing guitar at the age of 12.
Guest musician :
and co writer on two of the songs, Emil Dahl, says he got his first big experiences from bands like Ac / Dc, Metallica, Deep Purple, and later Joe Stariani, Steve Vai, Dream Theater and more. And with his heavy, solid and safe way of playing, firmly rooted in classic rock, he often has clean and clear ideas.
Per, who has also played and studied jazz, also has some of the same role models. He says that Eddie Van Halen, Rickie Blackmore , Frank Zappa among many, were heroes at a young age and that Allan HOldsworth was a great role model during the Hig scool. Per completes the songwriting with his more complex chord use, often with modulations and unexpected progressions.
The songs are therefore never monotonous, boring or predictable.
Vocal and song lines bond well, the often progressive and varied parts of the songs, together, creating flow and wholeness.
Per says he prefers to play bass himself in the studio, as he tells me that he has actually played a lot more bass live than guitar, which is his main instrument.
tim lambard: Pitchfork - voice in music.