By Carl Begai
Photographer-turned-musician Omer Cordell doesn’t suffer from delusions of grandeur. He does, however, possess an artistic streak that saw him go from tackling the bass as a hobby to a full album of prog-metal tweaked Pink Floydian-esque songs. A full year in the making, Trailight went from being a blip on social media radar as Cordell began assembling the necessary pieces to an intense musical experience unleashed at the end of May 2015. The do-it-himself experience included a 30 minute behind-the-scenes documentary of the production (found on YouTube) and extensive track-by-track breakdowns all prior to the album release (issued via Facebook), far more than most signed band are able or willing to produce… and for a fanbase that had yet to be established. That’s about to change, as Trailight is slowly but surely gaining some well deserved momentum.
“The Trailight album is the result of a conversation I had with a good friend of mine,” Cordell begins. “I originally released what I call a glorified demo with a bunch of instrumental stuff that I performed myself. That was when I was just starting to play music. What inspired me to do it was an interview I read with a bass player I really like – I started playing bass about four-and-a-half years ago – and he said the best way to explore yourself as a musician is to write music. I thought that was a great piece of advice, so I went out and bought some crappy gear, and taught myself how to record.”
Cordell admits that at the time he had no idea what he was doing or how to go about it. His learning-by-doing approach would pay off in spades when it came time to mix and master the official Trailight debut, The Primitive Mountain. But more on that later…
“I played everything myself on my first attempt – there was no singing on the material – and I compiled a bunch of stuff and over the course of about a year that I wanted to share with people. It was an experiment, really; bedroom demos that made it into CD form. Nothing to write home about, but a handful of people really dug it so that gave me the confidence and push to work on the real debut, which is The Primitive Mountain. It was more popular amongst fellow bassist in the Spector community who were liking the tones and effect. They dug it so I released it as my first thing.” Continue reading TRAILIGHT – “The First Batch Of Songs Sounded Like St. Anger, And The Final Mixes Sound Like The Black Album”
Back in 2003 Strapping Young Lad toured Europe supporting Fear Factory, and being the diehard SYL fan it was a no-brainer I’d take in at least one show and do some press while I was there. The fact that frontman Devin Townsend and I had been crossing paths and doing interviews since 1995 – including a memorable evening at a pseudo-posh Hawaiian restaurant in 1998 ordering up overpriced food and drink that the label paid for – made it a necessary visit, if only to say hello.
A late afternoon interview was scheduled but Devin chose to get some very necessary sleep before the gig, leaving guitarist Jed Simon, drummer Gene Hoglan and bassist Byron Stroud to play hurry-up-and-wait with me. We traded the latest tour, album and industry info until word finally came down that Dev would be available after the band’s set instead. Thus, after double-checking all the necessary guest list arrangements, I made my exit so as not to wear out my welcome.
On the way out through the back door of the venue I encountered a fellow journalist – an assumption (foolishly) made based on the camera bag over his shoulder – and his well endowed eye candy. An inexperienced fellow judging by the way he was waiting around for someone to magically appear and say “Come on in, Dood!” as opposed to simply going in and looking for the tour manager. Not my problem, I decided, but as I walked past – offering a courteous nod to him and his woman’s attributes – he flagged me down.
“Excuse me? Do you know if Al is around?”
Continue reading Journalism For Dummies Starring Karma The Bitch
By Carl Begai
When it comes to music guitarist Jed Simon doesn’t do things quietly. From his early days with Armoros and Caustic Thought to a crushing decade in Strapping Young Lad and his continued work with Zimmers Hole, Simon’s life has been about being louder than everyone else. The mission continues in 2009 with the birth of Tenet, a solo project bubbling beneath the surface for the past 13 years that mutated into a band of familiar faces with an agenda based on grab-you-by-the-face brutality. Teaming up with ex-Forbidden guitarist Glen Alvelais, re-uniting once again with Zimmers Hole / ex-SYL mates Gene Hoglan (drums) and Byron Stroud (bass), Simon has unleashed a full scale old school thrash album entitled Sovereign that recalls the days when aggression wasn’t disposable paint-by-numbers kid stuff. It is the real deal, based on roots and feel rather than example. Tenet is not the answer to whatever gaping hole that may have been left in Simon’s life with the demise of Strapping Young Lad. It’s his next logical step as a musician who lives his metal rather than merely playing it.
Continue reading TENET – When It Reigns…
Having spent well over a decade as a member of Strapping Young Lad’s indestructible line-up, the fans are justified in expecting guitarist Jed Simon’s first solo outing to be a continuation of the SYL legacy. And that would be a big fat “nope.” Sure, there are moments on Sovereign that recall Simon’s days of sonic devastation circa the City record (‘Take A Long Line’, ‘Hail Hail’), particularly with drummer Gene Hoglan behind the kit and Byron Stroud ripping up the bass, but this is flat-out mean rather than trademark SYL aggressive. Tenet is about old school so-raw-it’s-bleeding thrash, and minus the big Devin Townsend production values the band has still turned in an unexpectedly brutal debut. A mere nine songs, Sovereign is a frantic beating within the realms of Death Angel’s heaviest Bay Area thrash punk moments and old, old, old Metallica; all shred and no brakes save for the half-speed rest during ‘Going Down’. Continue reading TENET – Sovereign (Century Media – 2009)