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Paradigms

Written and Produced by
Shant Hagopian
Featuring
Craig Blundell
Kristoffer Gildenlöw
Special Guests
Derek Sherinian
Alex Argento
Houry Dora Apartian

Paradigms

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Paradigms Goes Streaming

You can now stream Paradigms on all major platforms: Spotify, Deezer, Bandcamp, TIDAL, Apple Music, Google Play, Amazon... You name it.



A compact page is also launched where you can listen to the album, watch our music video and leave us comments and/or mini reviews. Check it out here.

Paradigms Review in iO-Pages magazine

The review by Geert Ryssen is in Dutch, translated poorly by Google below.



"Semantic Saturation is the brainchild of Canadian guitarist Shant Hagopian, who with his second album Paradigms consolidates his fusion between metal, progressive rock and jazz. He does not want to be stuck with the same musician, and besides guest contributions from Derek Sherinian, Alex Argento (keyboards) and Squiggy McFlannel (trumpet) - each with a song - he opted for a rhythm section consisting of Kristoffer Gildenlów (ex-Pain Of Salvation) on bass / double bass Crain Blundell (Frost*/Steven Wilson) on drums. Particularly original is the choice of jazz singer Houry Dora Apartian in Empty Whiskey Jar, the only vocal number on the record. Hagopian does not want to fall into the trap of virtuosity because of the virtuosity and plays in the compositions, that offers enough space to display his guitar skills. Hagopian is not dictated by a certain sound but chooses variation in the sound spectrum and has a nice, full tone. He can fiercely and energetically rage, but also lyrical and thoughtful and that never goes away because the focus always remains on the composition. The interplay of the three protagonists is communicative and does not sound mechanical at all, here are clearly three musicians who are listening to each other. With the ten-minute closing song Where Dreams Have Died, Shant puts the crown on an enjoyable album."

Source: https://www.iopages.nl/editie/id/153/io-pages-152

Polish Metal Web 'Zine Laboratorium Muzycznych Fuzji.com Reviews 'Paradigms' Rating it 9.5/10

Egon Klank reviews Paradigms and gives it 9.5/10 stars on the Polish online metal magazine Laboratorium Muzycznych Fuzji.com.
English translation can be found below.

An album that changes the essence of progressive metal. Hagopian is often compared to Joe Satriani and Steve Vai. Believe it or not, none of them convince me emotionally as Hagopian does.

*****


Semantic Saturation – Paradigms
Posted by: Egon Klank - 27 Aug. 2018

Shant Hagopian. Człowiek, o którym mało kto wie, a na, którego płytach zawsze udzielają się tuzy największego formatu. Człowiek, który muzyką przekracza wszelkie kulturowe bariery. Fascynujący debiut „Solipsistic” zebrał u mnie gromkie oklaski. Debiut przez tak niewielu oczekiwany, a robiący tak kolosalne wrażenie. Album, który zmienia wręcz istotę progresywnego metalu, często zawężonego do wąskich szufladek. Debiut Hagopiana to jedna z niewielu płyt, zwłaszcza pokroju tego gatunku, którą bez mrugnięcia okiem uznałbym za jedną z najbardziej wizjonerskich wśród progresji. Muzyk, jeżeli dziś nie wybitny, to z pewnością za takiego za kilka lat zostanie uznany. Tak ambiwalentny kunszt podparty takimi muzycznymi legendami i ich umiejętnościami jak świetna trakcja bezprogowego basu Kristoffera Gildenlöwa czy też chirurgiczna precyzja Craiga Blundell na najnowszej płycie dobrze rokuje.

Surowy klimat płynnej improwizacji utwierdzonej na skale doskonałej dynamiki i alergii na brzmieniową losowość. Do tego solidna produkcja oraz idealny balans instrumentarium. Gama stylów nie łamie może paradygmatów, ale zdecydowanie przybliża najnowszy dorobek Hagopiana do miana arcydzieła. Nie wiem, czy „Paradigms” przebija debiut. Być może tamtej był bardziej ekstatyczny i entuzjastyczny. Najnowszy zdecydowanie jest bardziej stonowany oraz wyważony, co też może wynikać z dość drastycznej zmiany obsady, ale jak zawsze całość jest doszlifowana do samego końca.

Twórczość Hagopiana to emocje rozszczepione na czynniki pierwsze, głównie dzięki solidnej interpretacji atmosfery każdej z kompozycji, które zawsze tworzą spójną muzyczną koncepcję. Trudno wyobrazić sobie bowiem lepszą identyfikację z utworem, jak dzieje się to za przykładem Dereka Sheriniana w Ulterior Harmony. Całość jest doskonale przemyślana. Hagopian nie błądzi, chociaż ciężko pracuje, aby jego albumy były heterogenicznymi obłokami niejednorodnych styli. Sterylność instrumentarium i technicznej konstrukcji nie zaburza jednak przesłania emocjonalnego (When Dreams Have Died). To jeden z utworów, który utwierdzają wiedzą kompletną w zakresie konstrukcji i mieszania różnych stylistyk. Słuchacz po tak wyczerpującej dawce wypełniających muzycznych nastroi musi być spełniony.

Systematycznie nakładające się na kompozycje warstwy tworzą materiał równie przystępny co skomplikowany dzięki inteligentnej konstrukcji utworów. Nie odurza ona słuchacza przepychem, ale stopniowym wprowadzaniem do kolejnych muzycznych wymiarów. Od akustycznej krotochwilności przez rozpaczliwość ballad, a na rockowo-orkiestracyjnych kohortach dźwięku kończąc (Universal). To nie wszystko! W Mirrors of Confusion dostajemy genialny funkowy rytm. Spore wrażenie pod względem budowania atmosfery i przestrzeni robi tripowy Disturbance Within. Do tego dostajemy ciężki, acz zaparty jazzowymi melodiami rozrywkowy utwór Carousel of Death czy też świetne melodie w Pereidolia. Melancholia zaskoczy nas w blusowym Empty Whisky Jar. Gorące progresje z efektownymi ornamentami znajdziecie w The Stranger From Andromeda. Ultrarelaksujący Until We Meet Again ukoi. Ta umiejętność zabawy dźwiękiem kojarzy mi się z Hagopianem najbardziej. Robi to nie tylko z niebywałą lekkością, ale i z piorunujące efektem ostatecznych aranżacji. Niektóre tematy rozwijają się w sposób całkowicie zaskakujący. Nieprzewidywalność utworów to jedna z podstawowych zalet, dla których do jego twórczości się wraca.

Hagopian porównywany jest często do Joe Satrianiego oraz Steve’a Vaia. Wierzcie czy nie, ale żaden z nich nie przekonuje mnie pod względem emocjonalnym tak jak robi to właśnie Hagopian, a o to w tej muzyce bardzo ciężko ze względu na brak lirycznego podkładu. Na nic jednak porównania. Universal przecież na ten przykład można podciągnąć oraz interpretować jako hołd formacji Camel z czasów płyty „The Snow Goose” (1975). Jego subtelność, delikatność oraz finezja tworzą naprawdę niesamowitą i unikatową całość i raczej nie należałoby tego konkretyzować w ramy znanych standardów, które pojawiają się raczej przypadkowo. Dobry album instrumentalny nie zależy od bicia rekordów prędkości, ale od wyczucia klimatu i wszechstronności. Te cechy Hagopian posiadł w całej ich synergii.

Twórczość Hagopiana dorasta jednak tak naprawdę ze słuchaczem. Trywialnym wydaje się pisać o tym, że album rośnie wraz z każdym przesłuchaniem, ale jego twórczość naprawdę tworzy coś do czego nie tylko wraca się z wielką przyjemnością, ale za każdym razem skłania nas ku innym zakamarkom tej brzmieniowej poezji. Niesamowita atmosfera, przy tych technicznych fajerwerkach rzadko kiedy ma tak emocjonalny wydźwięk. „Paradigms” to kolejne wyjątkowe i unikalne wydawnictwo. „Solipstistic” nie był dziełem przypadku.

(** TRANSLATION BY GOOGLE **)

Shant Hagopian. A man who is hardly known by anyone, and whose albums are always shared by the largest format. A man who transcends all cultural barriers with music. The fascinating debut of "Solipsistic" brought me thunderous applause. Debut for so few expected, and doing such a colossal impression. An album that changes the essence of progressive metal, often narrowed down to narrow drawers. Hagopian's debut is one of the few records, especially the type of this genre, which I would have considered without blinking as one of the most visionary among progression. Musician, if not prominent today, it will certainly be recognized in a few years.

The harsh climate of liquid improvisation fixed on the rock of perfect dynamics and allergy to sound randomness. For this solid production and perfect instrumental balance. The range of styles does not break paradigms, but it definitely brings Hagopian's newest output to the name of a masterpiece. I do not know if "Paradigms" is breaking through the debut. Perhaps he was more ecstatic and enthusiastic. The latest one is definitely more toned down and balanced, which can also result from quite a drastic cast change, but as always the whole is polished to the very end.

Hagopian's work is emotions split into prime factors, mainly thanks to the solid interpretation of the atmosphere of each composition, which always form a coherent musical concept. It is hard to imagine a better identification with the song, as is the case with Derek Sherinian in Ulterior Harmony. The whole is well thought out. Hagopian does not err, although he works hard to make his albums heterogeneous clouds of heterogeneous styles. The sterility of the instruments and technical design does not, however, disturb the emotional message ( When Dreams Have Died ). This is one of the pieces that confirm the complete knowledge in the field of construction and mixing of different styles. The listener after such an exhausting dose of musical moods must be fulfilled.

Systematically overlapping layers make the material as accessible as it is complicated due to the intelligent design of the tracks. It does not dazzle the listener with glamor, but with gradual introduction to subsequent musical dimensions. From acoustic krotochwilność through the desperation of ballads, and on rock and orchestral sound cohorts ending ( Universal ). It's not everything! In Mirrors of Confusion we get a brilliant funk rhythm. The trip Disturbance Within makes a great impression in terms of building the atmosphere and space . For this we get a heavy, though jazz-entwined tunes, the entertaining song Carousel of Death or great melodies in Pereidolia . Melancholy will surprise us in the bluesEmpty Whiskey Jar. You will find hot progressions with spectacular ornaments in The Stranger From Andromeda. Ultrarelaxing Until We Meet Again soothes. This ability to play with sound reminds me of Hagopian the most. It does it not only with an incredible lightness, but also with a stunning effect of the final arrangements. Some topics develop in a completely surprising way. The unpredictability of works is one of the basic advantages for which he returns to his work.

Hagopian is often compared to Joe Satriani and Steve Vaia. Believe it or not, none of them convinces me emotionally as Hagopian does, and it's very hard in this music because of the lack of a lyric foundation. However, no comparison.Universal, for example, can be drawn up and interpreted as a tribute to the Camel band from the time of the album "The Snow Goose" (1975). Its subtlety, delicacy and finesse create a truly amazing and unique whole, and it should not be concretized in the context of well-known standards, which appear rather accidentally. A good instrumental album does not depend on breaking speed records but on feeling the climate and versatility. These features Hagopian possessed in all their synergy.

Hagopian's work, however, really grows with the listener. It seems trivial to write about the fact that the album grows with each interrogation, but its creation really creates something that not only returns with great pleasure, but each time leads us to other nooks of this sonic poetry. An amazing atmosphere, with these technical fireworks, is rarely so emotional. "Paradigms" is another unique and unique publishing house. "Solipstistic" was not a coincidence.

Full Review target="_blank">https://www.laboratoriummuzycznychfuzji.com/2018/08/semantic-saturation-paradigms.html

Paradigms Reviewed on Lady Obscure

Rocio F. Bedoya reviews Paradigms and gives it 5/5 stars on Lady Obscure

You can close your eyes and almost see the musicians playing their hearts out right in front of you and that honesty is palpable in every single track of the album.

*****


Semantic Saturation – Paradigms
Posted by: Rocio Flores - 08 Aug. 2018

Some years ago I came across a debut album that, together with wooing me, changed too my by then narrow vision of what progressive metal really is all about, and therefore, in what direction it is moving forward nowadays. A couple of weeks ago I had the pleasure to receive the band’s second album and from the hands of the mastermind himself; a man that I consider one of the future legends of progressive rock. Paradigms, by Semantic Saturation; is out now and I couldn’t be any happier about it.

Semantic Saturation is a progressive rock/progressive metal project founded in 2010 by Canadian guitarist Shant Hagopian, a man whose musical vision I personally find outstanding, and an artistic sense that, as an amateur musician, makes me sort of “jelly”. Besides being an outstanding guitar player himself, Shant has always taken good care on finding great musicians to interpret the rest of the instruments on his albums. In fact, he affirms that the idea to work with a different set of musicians on every album is one of the bases of his project. Paradigms features renown musicians such as drummer Craig Blundell and bassist Kristoffer Gildenlöw throughout the whole album; and counts with the participation of special guests such as keyboardists Derek Sherinian and Alex Argento, and singer Houry Dora Apartian.

But let’s go back to the music itself. Though heavily influenced by his jazz background, Shant works hard to never stay in one place in terms of style. He wanders through different musical moods that are evident throughout the album and leave the listener feeling fulfilled, and recharged. Both, this and the previous album, give one the idea that the artist aims to starts musical concepts for each album from scratch and enjoys surprising his fans with unexpected roads. A visionary musician that is not only focused on impressing us with his mad skills, yet he is willing to transmit and let us “feel” himself and the rest of the musicians in his songs. Every track delivers a piece of his own soul, and the heartfelt interpretation by all allow us to feel related to what we are listening, to recognize each of our own emotions on those melodies, those notes, without the need for words. The songs tell stories as clear and sincerely as words could, and sometimes even better; something that many virtuosos have sadly forgotten when aiming merely to break speed records.

First track Mirrors of Confusion builds up the level of energy with one of the most vivacious funky guitar riffs I’ve heard lately. Carrousel of Death comes heavier, bringing a great display of jazzy melodies, a truly entertaining track to which you just can’t simply stay unresponsive. Since here the evidence is clear. Everything on the album flows smoothly; in one word, delightfully.

Pareidolia turns out to be much more melodic, a very enjoyable track, perfect for turning up the volume and jump on your bed while playing air guitar. Not that I tried it. *coughs uncomfortably*

Empty Whisky Jar, as the name may somehow reveal, is a slow-paced and melancholic track that happens to feature the mesmerizing voice of singer Houry Dora Apartian, doing some kind of smooth jazzy improvisation, that transmits such raw energy that it’s hard to believe it is a recorded sound. Some soulful guitar solos make of this track one of my favorite in the whole album.

The progressive vibe grows strong in the next track. The Stranger from Andromeda features some really cool sounds effects and luscious thrilling guitar riffs and solos. Until We Meet Again is to me the most relaxing track in the whole album. Derek Sherinian keyboard work shines exceptionally throughout Ulterior Harmony, a track much more energetic than the previous one, the virtuoso’s great work intertwines with Shant’s guitar creating some kind of cool proggy riff off that leads to a great display of both, neat technique and soulful interpretations.

Disturbance Within is a trippy, heavy yet slow-paced rock piece, that right after transforms into chaos and rage. Universal starts with a lonesome and gloomy keyboard that evolves into another rich progressive rock track. Another laidback track that besides changing the mood once again, also briefly features a harmonica interpreted by Shant’s Wife, Nanor Wazirian.

Finally, Where Dreams Have Died, is the longest one in the album, and maybe the most complete in terms of styles. It has unsuspected changes coming all through while keeping the fluency, delivering heavy riffs in between its beautiful chaos. By the way; those bells ala Super Mario Bros at the end… Brilliant.

To conclude, it’s undeniable that Shant has the rare ability to transport you to your deepest emotions with his compositions and his playing. Paradigms has the raw vibe of smooth improvisation yet feels also completely professional and neat. You can close your eyes and almost see the musicians playing their hearts out right in front of you and that honesty is palpable in every single track of the album. For a progressive rock/progressive metal fan, Paradigms is a must have; for a jazz fan, a refreshing musical treasure; for anyone with working ears, an interesting finding and door to the modern progressive genre.

*****


Source: http://ladyobscure.com/albums/semantic-saturation-paradigms/

Airing on Progzilla Radio

Paradigms is airing on the Heavy Elements show on Progzilla Radio.

www.progzillaradio.com

Review on Angry Metal Guy

A new review published on Angry Metal Guy web 'zine.

Paradigms is chock full of excellent, inventive compositions, with a healthy range of genres infusing the album with their particular flavors.


*****



By GardensTale On August 23, 2018

Semantic Saturation - Paradigms

Welcome to Psych 102! Today we discuss the phenomenon of semantic saturation, or satiation. Ever hear a word so often it just becomes a sound and loses all meaning? Let’s try it here! Read this out loud, focusing on the sound of the word: juxtapose. Juxtapose. Juxtapose. Juxtapose. Juxtapose. Are you feeling it yet? Syrian/Canadian guitarist Shant Hagopian was, and he was feeling it with music rather than words. Developing an acute allergy to repetition, he decided to create a band with a focus on variety, resulting in the instrumental band Semantic Saturation. Then, a few years later, he took it to the next level by replacing all the band members for the second album Paradigms. At least he’s consistent with his theme.

There is one common thread across the album: Hagopian was trained as a jazz guitarist, and it shows. Though his aim towards varied music is a generally successful one, borrowing from progressive rock and metal as well as blues and post-rock on occasion, the undercurrent is always jazz-fusion. The resulting amalgam is a more restrained and coherent cousin to Liquid Tension Experiment. But while LTE often seemed bent on cramming as much show-offiness (vocabulary patent pending) into an album as humanly possible, Hagopian has a clear vision toward tracks with an internal consistency, keeping the music dynamic without becoming random for the hell of it.

That’s not to say there is no show-offiness (it’s gonna catch on, I swear) to be found on Paradigms. I don’t think such a thing is possible on an instrumental album fronted by a jazz guitarist. But with such diversity as the choppy Steve Vai electro-experiments of “The Stranger from Andromeda,” the sultry jazz-blues of “Empty Whiskey Jar,” and the various bendy Joe Satriani solos strewn across the album, there’s no help but admiring the skill on the six-string. What’s more, the album sounds crystal clear, with drums as natural as though you were in the room with them and a smoothly thrumming bass of which every note rings true. Thankfully, neither is at any point entirely outshone by the guitar, in spite of its clear protagonist role. The solid production and sensible compositions result in an album that feels whole, not like a competition between its performers. Not every instrumental record can lay claim to such an achievement.

As much as I enjoy the album, I miss the real peaks, the moments to get well and truly excited about. There’s not one single reason for this restraint on my enthusiasm. Perhaps it is a result of the angle of variety, the compositions spreading themselves too thin to be honed to their very maximum. Maybe it’s the lack of a tension arc within the compositions, lacking any real sense of climax. I might simply be less receptive to instrumental albums. Whatever the case, it certainly doesn’t break Paradigms. The gamut of styles it employs ensures that boredom never has much chance to set in, making the record if not a masterpiece, then at least a joy to listen to from start to finish.

A good album, even an instrumental one, depends on more than a versatile and talented guitar player. Hagopian seems to understand this, and he gets to shine as much as can be reasonably expected as the lead guitarist without vocals to compete with. Paradigms is chock full of excellent, inventive compositions, with a healthy range of genres infusing the album with their particular flavors. Though short in real climaxes, I never felt averse to spinning the record just one more time. Completed by a lush production, Semantic Saturation proves itself a capable project, and skillfully avoids the yawning pits of show-offiness (third time’s the charm.)



Album Launch & Listening Party - Live on Facebook

NEW ALBUM 'Paradigms' OUT NOW!

We're doing a live stream on Our Facebook page today, (Monday, August 20, 2018). We will be listening to the new album together on an online video call with Kristoffer Gildenlow, Craig Blundell and myself Shant Hagopian, while we chat with you and answer your questions.



When?
Monday, August 20, 2018
10:00 am Pacific Time (PT)
1:00 pm Eastern Time (ET)
6:00 pm UK Time
7:00 pm Central European Time (CET)

Where?
On our Facebook page

COME JOIN US AND LET'S CELEBRATE TOGETHER!
WATCH NOW

Paradigms Review in Dutch on RockMuzine and Esther's Rock Blog

A new review in Dutch by on Rockmuzine online magazine and on Esther's Rock Blog.
Esther gives the album a very high rating of 92/100

Semantic Saturation always know how to surprise me.


*****



SEMANTIC SATURATION – PARADIGMS

Shant Hagopian is een gitarist uit Canada. In richtte hij 2010 het prog rock/metal project Semantic Saturation op. Het idee achter het project is om op ieder album met een andere line-up te werken.
‘Paradigms’ is het tweede album. Hier werkten hele bekende proggers aan mee onder andere: Craig Blundell (Frost*/ Steven Wilson), Kristoffer Gildenlöw (ex Pain of Salvation).

Het intro van ‘Mirrors of Confusion’ zou net zo goed een intro zijn van een blues-rock track kunnen zijn. Als de metal elementen naar boven komen weet je dat we wat anders voorgeschoteld krijgen. De metal wordt niet alleen met rock afgewisseld, maar ook met rustige stukjes. Zoals verwacht is het drumwerk zeer goed. De verdeling tussen ritme en melodie is prima. Deze openingstrack sterft heel mooi weg.

‘Carousel of Death’ heeft een strakke start. Er komen enkele hoge, elektronische klanken bij. Het ritme wordt afgewisseld met melodie. Er zijn veel wendingen, met bijvoorbeeld trompetspel dat een jazzy twist geeft. Door de hoeveelheid wendingen kom je bijna oren te kort. De opbouw is complex, toch weet Shant er een pakkende melodie en ritme in te verweven. Dit blijft aangenaam in je hoofd kleven. Met vlagen wordt er snel en strak gespeeld. Even later, soms zelfs tegelijkertijd, drijft de melodie boven. Zelfs de rusten zijn mooi gespeeld. Deze track heeft een gaaf einde.

‘Empty Whisky Jar’ heeft een rustige, chillende start. Ook hier zijn alle instrumenten in balans. De zang klinkt voornamelijk als instrument, maar is een prima aanvulling. Deze track blijft dromerig van sfeer. Voor het eerst is het einde is minder verrassend. Hoewel.. op het einde zijn de hele kleine details leuk toegevoegd.

Aanvankelijk heeft ‘Ulterior Harmony’ een pakkend ritme. De snaren zorgen voor de rock, die langzaam zwaarder en sneller wordt. Weer zijn er de onverwachte wendingen en combinaties die je eigenlijk zelf zou moeten horen. Hoge tonen van de toetsen worden door elkaar gehusseld, of juist afgewisseld, met de zware snaren. Deze soms merkwaardige of onrustige mengelmoes is prima uitgebalanceerd. Het tempo ligt hoog, terwijl de melodie behouden blijft. Dit alles is goed verdeeld over de koptelefoon. De gave zeer uitgebreide opbouw naar het einde is experimenteel van aard. Naadloos loopt dit over naar ‘Disturbance Within’. Na een rustige, experimentele start volgt een portie stevige rock. Weer is het gitaarwerk om je vingers bij af te likken. Elektronische klanken zorgen voor een sferisch einde.

Steeds weet ‘Semantic Saturation’ me te verrassen: In ‘Universal’ met pianoklanken. Er is een verandering naar meer rock, waar even vleugje Latijns Amerikaanse sfeer in zit. In dit stuk zitten volop wendingen. De piano keert voor korte tijd terug. Ook in het rustige deel zijn de laagjes prachtig verdeeld. Er is een plotselinge twist naar rock. Dit bevat een gaaf basloopje. Kortom, er is zo veel om naar te luisteren. Weer zit de opbouw naar het einde zeer goed in elkaar.

Ook ‘Where Dreams Have Died’ zit fantastisch in elkaar. Naar het einde toe wordt het mysterieuze stuk steeds zachter gespeeld, totdat je bijna niets meer hoort. Dan is het stil. Maar… de muziek keert terug. Dit duurt slechts een paar seconden, super wat een verrassend einde. Deze laatste track is een epic, wat een gave afsluiter.
Het artwork gemaakt is gemaakt door Shant, en ziet er zeer professioneel uit. Hij is bijzonder getalenteerd, dat heeft hij laten zien en horen. Want ik heb veel moois gehoord. Regelmatig was ik onder de indruk van het sublieme gitaarspel van Shant. Hij heeft, samen met zijn tijdelijke team, een zeer goed album gemaakt. (92/100) (Eigen beheer)

*****



Source: https://rockmuzine.nl/2018/08/17/semantic-saturation-paradigms/

http://kessel-tamerus.nl/Esthers_Blog/rock/semantic-saturation-paradigms/

Paradigms Review on Progressive Music Planet

TLDR;
Imagine if Joe Satriani joined up with Liquid Tension Experiment. If you like instrumental progressive rock/metal albums you should check this one out.

*****


Semantic Saturation – Paradigms


Posted on August 12, 2018 by Matthew (restlessamoeba)

I’m new to Semantic Saturation so I dove into this one without knowing anything about them. Figured I would give it a full, fresh, blind listen. And I enjoy what I hear.

The band is made up of creator Shant Hagopian and the featured musicians on this album are: drummer Craig Blundell (Frost* / Steven Wilson), bassist Kristoffer Gildenlöw (ex-Pain of Salvation) along with guests Derek Sherinian (ex-Dream Theater), Alex Argento on keyboards, and jazz vocalist Houry Dora Apartian. A whole different set of musicians this time out (except for Derek). It seems Shant wants to change things up from album to album. Neat concept. The best I can do to describe this album is: imagine if Satriani joined up with Liquid Tension Experiment. A little simplistic of a summation but that it is what I hear for the most part.

Mirrors of Confusion, the first track, pretty much embodies that. Nice rocking track. And then we roll into Carousel of Death, the Satch sound takes a break and we go full on LTE. Pretty cool little big band breakdown, but the main theme gets a little repetitive for me. I do dig the heavier parts, though. Alex Argento is the guest keyboardist on this one. Video here.

Pareidolia shifts the gears down a bit and gives us a very melodic track. But really they all are. Semantic Saturation puts a heavy emphasis on melody. As they state, they don’t try to play all the notes really fast. They try to let the songs flow where they will. And they usually succeed!

Empty Whiskey Jar is next and we have reached the first track I really can’t stand. I am no fan of slow, bluesy, wahwah. But that is just me. You may like it. We are joined here by nice sounding, wordless female vocals, provided by the aforementioned Houry Dora Apartian, as well as some soulful guitar solos. YYMV on this track but my car broke down.

The Stranger from Andromeda brings us back into rock territory. Another like you would expect if Satch was part of LTE. Good song. Until We Meet Again offers up a nice laid back tune with a tinge of blues. One of those perfect for sitting outside one evening with you favorite beverage to relax. I really need to make a playlist of these types of songs as I find them. Love these.

Universal gives us a TSO like feel in the intro. Can’t remember the song it reminds me of at the moment. One of those slow keyboard solo numbers. Then it kicks into another mid-tempo rocker. More of that Satch feel coming at ya.

Where Dreams Have Died is the mini epic of the album and it travels a great distance through many styles with that ever present Satch style. Love the bells on the close of the track. Reminds me a bit of early David Arkenstone.

And we close out with a short little reprise of Carousel of Death. Then it’s game over. Inside joke here. Join me, will you?

Over all, this is a really good album. If you like instrumental progressive rock/metal albums you should check this one out. The special edition CD/DVD, includes play-along tracks, so that is a neat feature.

Rating: 8/10

Tracklist:


  1. Mirrors Of Confusion 4:41

  2. Carousel Of Death 4:54

  3. Pareidolia 4:52

  4. Empty Whisky Jar 3:40

  5. The Stranger From Andromeda 5:06

  6. Until We Meet Again 4:18

  7. Ulterior Harmony 6:58

  8. Disturbance Within 4:36

  9. Universal 6:41

  10. Where Dreams Have Died 10:33



Label: Self Released
Release Date: 20 August 2018
Facebook: https://www.facebook.com/SemanticSaturation/
Website: http://www.semanticsaturation.com/

*****


Source: https://progressivemusicplanet.com/2018/08/12/semantic-saturation-paradigms/

Paradigms Review by My Global Mind Magazine

TLDR;
Another chapter has been added to the Big Book of Prog with the sophomore release of Paradigms. Semantic Saturation rightfully takes its place at the table with many other forward-thinking musicians who keep the progressive music fresh and alive.

*****

Semantic Saturation – Paradigms Review

Where does instrumental music fit into our society these days? Especially if it’s not jazz or classical, both styles typically noted for not really having a voice (yes, I am aware that both have vocals at times as well. Just going with the predominant thought pattern on both.) The day of the shred album has long since gone, though some of those guys and gals from back in the day (and a handful of notable newbies) still keep that flame burning. I’m talking straight out instrumental songs, not designed to feature crazy solos, but music… songs that could’ve had someone singing throughout, but the band opted to stick with just the instrumental voice. Bands like Scale the Summit and Animals As Leaders create some brilliant stuff but haven’t much of a chance of becoming the next summertime hit with the Pop loving bunch. As a former guitarist, I adore instrumental work, though I don’t often find myself so inclined to listen to it much on a regular basis. With a band Like Semantic Saturation it’s refreshing to hear a band not afraid to go strictly musical, and do it while at the same time not having it spiral into some self-absorbed show-off fest.

Their second album, Paradigms, is a tasty ten-course meal that serves up some truly delectable treats. Guitarist and mastermind behind the project Shant Hagopian has constructed a brilliant line-up of ultra-talented musicians to bring his vision to life. The guitar work alone on this album is enough to keep ones rapt attention for years to come, but there is also some divine keyboard work from guys like Derek Sherinian and Alex Argento, bassist Kristoffer Gildenlöw creates a pulsing, vibrant flow with his skills, and drummer Craig Blundell keeps everything in perfect time. There is a brief bit of vocals from Houry Dora Apartian that is mostly jazz riffing or scatting. Even though there are times throughout this album that you get that whole Prog battle between the musicians there is plenty of space in those notes too. The frenzied chaos of “Ulterior Harmony” is juxtaposed by a bouncy “Carousel of Death” and then brought to a close by the epic “Where Dreams Have Died.”

Another chapter has been added to the Big Book of Prog with the sophomore release of Paradigms. Semantic Saturation rightfully takes its place at the table with many other forward-thinking musicians who keep the progressive music fresh and alive. Hagopian has certainly got enough talent and ability to keep this project going for a long while, and creates soundscapes worthy of any musician to want to join him in the future based on the two albums thus far.

Written by: Chris Martin

Ratings: 8/10
*****

Source: https://myglobalmind.com/2018/08/11/semantic-saturation-paradigms-review/

Exclusive Music Video Premiere

Watch the new music video for Carousel of Death from the new album Paradigms

Paradigms Review by Sonic Perspectives

TLDR;
Albums do still matter and can be an art form, and should be treated as if every song counts – because it does. The complete roller coaster ride that is Paradigms is a testament to how well it can still be done today, and Hagopian deserves praise for what is a well-planned story he and his cohorts tell.

Each song has its own unique personality and feel, full of melody and technical fireworks when needed, but most importantly, it takes this genre back to a time when it maybe wasn’t so stale or predictable.


*****

Semantic Saturation – Paradigms (Album Review)
By AUSTIN KOKEL August 6, 2018

Think about how it feels when a musician leaves one of your favorite bands, or even worse, most of the band packs up and quits, leaving one central musician to carry on alone. Well, that’s what happens with Semantic Saturation on every album, and it’s by design. Guitarist and composer Shant Hagopian started the project in 2010, and now in 2018, the band project is set to release a sophomore effort with Hagopian the only main musician returning from one album to the next. That idea is actually the foundation of what Semantic Saturation strives for… to keep it fresh and interesting with each new album. It was difficult to see how that would go after just one album (2013’s Solipsistic) but now that we’re seeing it happen as the release of the new album Paradigms is on the horizon, just how well does it work?

The main power trio of the first album was comprised of Hagopian on guitars, Virgil Donati on drums, and Ric Fierabracci on bass, with a lot of keyboard work performed by quite possibly the most unique keyboardist on the planet, Derek Sherinian (though he is listed as a special guest, whereas the others were featured musicians, with a shout-out to Andy Kuntz on lead vocals for a bit). Now, on the follow-up effort, the only returning musicians are Hagopian, of course, and a significantly smaller (but not lesser) contribution from Sherinian. Our new lineup for this album is completed by drummer Craig Blundell (who seems to be everywhere these days, which is a high-class problem) and bassist Kristoffer Gildenlöw (most known for his time in Pain of Salvation, and for his more recent solo albums), with additional keyboard work from Alex Argento, and some dreamy vocalizations from Houry Dora Apartian.

So, to answer the question above, it works surprisingly well. Admittedly, this new album does have a slightly different feel from Solipsistic, whereas Donati‘s drums gave a larger-than-life sound, and Blundell plays his cards a bit closer to his chest, if you will… which is not to diminish his playing, because he’s a fantastic drummer and one of this reviewer’s favorites currently (with his work with John Mitchell in KINO and Lonely Robot, and Steven Wilson these days) but Donati has a style that’s pretty immediately recognizable, similar to a Terry Bozzio, Mike Portnoy, or Bill Bruford. So, to follow up a debut album with a different drummer, there will surely be some departure in sound, but that might also work in Paradigms‘ favor, as Blundell is an extremely solid drummer whose performance on this album is full of groove, power, and playing in the pocket when called for.

Gildenlöw provides his own unique contributions to this album – playing with feeling and subtlety on fingered fret-less bass at times, but also adding surgical precision and hard rock prowess for the majority of the record, in unison with Hagopian and Blundell when needed, and holding down the low-end superbly at any other point. Probably his most tasteful contribution is in this reviewer’s surprise favorite song on the album, the tender ballad “Until We Meet Again”, where his high fills are subtle and pleasing to the ear, and his walking bass during Hagopian‘s soloing is just what the song needs. Bassists never receive the recognition they deserve (speaking from experience here,) but even the most understated of performances can be exactly what a song needs. It’s also nice to hear Kristoffer Gildenlöw after his recent solo album, The Rain, being part of an ensemble again and being the underrated bassist that Pain of Salvation fans loved for a couple of decades, and likely still do.

That brings us to Shant Hagopian, the mastermind of the project. Admittedly, he is not a household name in the prog-rock community, but after one listen to Paradigms, it’s hard to see why he isn’t one. His playing style is a lot of what we love about our favorite guitarists, especially with a lot of John Petrucci at times, all chameleon-ized into whatever the album needs at any given moment. His clean playing is understated and gentle, his lead melodies are singable to the point where Joe Satriani could be jealous, his speed and shredding are tasty and never self-indulgent, and yet his greatest strength might be as a band leader. His compositions are fantastic, and full of melody, and as you know this album was probably all recorded in home studios and then put together, the entire thing feels very cohesive and has a complete band feel to it. And yet where it might shine the most, and something that people might not think about these days, is in its track sequencing.

The entire work has a great album feel to it, with the highs and lows right where they should be, and the introspective quiet moments giving the listener exactly the break that is needed at the right times. One of the best moments on the album, which works so well, is the seamless transition between the two songs “Ulterior Harmony” and “Disturbance Within”, which come together to work as a yin and yang of songs, and complement each other so well. The listener is taken from one song that is reminiscent of an outer-space epic akin to Satriani‘s Crystal Planet, with its insane keyboard and guitar delay arpeggios, screaming lead parts, and crunching seven-string rhythm parts, into a softer and more emotional side of space, like so much George Clooney in Solaris, with a heavy-yet-light chord progression in line with today’s newer bands like Sithu Aye, Plini, or even TesseracT. And the whole thing works incredibly well together.

Even when it’s time to start winding down, Hagopian sets us up perfectly with an album pre-closer of “Universal”, to lead up to the actual finale that is the epic-length “Where Dreams Have Died” (and please, be sure to listen all the way to the end). In this era of singles and downloads, and hitting shuffle on streaming sites, albums do still matter and can be an art form, and should be treated as if every song counts – because it does. And the complete roller coaster ride that is Paradigms is a testament to how well it can still be done today, and Hagopian deserves praise for what is a well-planned story he and his cohorts tell.

The album, while not entirely breaking new ground, knows what it needs to do and does it well. The bluesy opening riff belies what comes next, with everything from Sevendust-detuned-groove and swagger, to brass and New Orleans band moments that Diablo Swing Orchestra would love, to the aforementioned sweet and sour singing passage from Houry Dora Apartian, to even piano balladry and just a slight hint of chip-tune, and plenty of great keyboard moments all throughout. The first album, Solipsistic, felt a bit like a love letter to Liquid Tension Experiment at times, and while good, was maybe a bit too safe. And with Paradigms, it feels like anything goes, and often does… maybe that’s the inspiration for the album title? And that’s what, most likely, is what draws many listeners back to this style of music, the promise of hearing something new or unexpected, that still is cohesive within a whole.

Paradigms is good upon a first listen, very good after a few listens, and something of a grower over time, as it will likely open itself up more and more to the listener, with repeated listens. Each song has its own unique personality and feel, full of melody and technical fireworks when needed, but most importantly, it takes this genre back to a time when it maybe wasn’t so stale or predictable. It’s actually fun to listen to. Remember listening to progressive metal in the ’90s, and it was a little wacky and new, and the style championed by Dream Theater or Symphony X felt simply fun and exciting? That’s how Paradigms feels. It honors its roots, but has its own potpourri-like identity, and shows the listener a good time, and gives them all of the emotion that an album should, along the way.

Not to compare apples and oranges, but this album is a much more unique and inspired record than its predecessor, though that album is quite good in its own right, and should be heard before embarking on this adventure. While it’s respectable that Hagopian founded this project on the principle that each album would have its own unique identity by changing out band members, it’s a shame we won’t hear the trio of Shant Hagopian, Craig Blundell, and Kristoffer Gildenlöw together again (at least in the studio,) as it’s quite a special concoction. Shant Hagopian might not be a household name, but his work with Semantic Saturation is something special, and unique in a genre slowly becoming a sea of homogeneous bands, and if he keeps putting forth work of this level of quality, he’ll hopefully soon earn the acclaim he deserves.

*****


Source: https://www.sonicperspectives.com/album-reviews/semantic-saturation-paradigms/

Paradigms Review By Prog Radar

TLDR;
As instrumental albums go ‘Paradigms’ is an absolute monster featuring such amazing tracks. The riffs and grooves come thick and fast almost giving you no pause to really appreciate the mind blowing musical structures and spellbinding melodies.

*****


Review – Semantic Saturation – Paradigms – by Progradar

Does anybody remember Infectious Grooves? The funk metal supergroup led by Suicidal Tendencies frontman Mike Muir released a completely bonkers album in 1991 called ‘The Plague That Makes Your Booty Move…It’s The Infectious Grooves.’ It was so out there it made my CD collection and I’ve yet to hear anything come close to that infectious energy that the album contained.

Fast forward to 2013 Semantic Saturation (a progressive rock/progressive metal project founded by Canadian guitarist Shant Hagopian) release their debut album ‘Solipsistic’ featuring progressive metal gurus such as drummer Virgil Donati, bassist Ric Fierabracci and guests; keyboardist Derek Sherinian (ex. Dream Theater) and vocalist Andy Kuntz (Vanden Plas). A dizzying and complex release that has touches of the spirit of Infectious Grooves hidden in its convoluted depths.

After 5 years wait virtuoso guitarist Shant returns with the mind blowing ‘Paradigms’, this time aided and abetted by legendary musicians, drummer Craig Blundell and bassist Kristoffer Gildenlöw. The album also features guest musicians, some of the greatest names in metal, with Derek Sherinian returning to feature on the track Ulterior Harmony, Alex Argento on Carousel of Death and the lovely jazz vocalist Houry Dora Apartian on Empty Whisky Jar.

As instrumental albums go ‘Paradigms’ is an absolute monster featuring such amazing tracks as the powerfully funkadelic opener Mirrors of Confusion and it’s identical twin Carousel of Death which are a real echo of that Infectious Grooves monster of 27 years previous. On the former, edgy, thunderous guitar combine with Blundell’s cacophony of drumbeats and Gildenlöw’s stylish bass drives all before it. It’s a grin inducing roller coaster ride and one you don’t want to get off. The latter takes you on an insane, acid jazz trip through a really warped mind where Alex Argento stands tall like a crazed professor.

The infectious grooves (see what I did there?) of Pareidolia give a moments pause of foot tapping energy before calm is finally restored with the elegance of Empty Whiskey Jar where Houry Dora Apartian adds her sultry jazz vocals.

The riffs and grooves come thick and fast almost giving you no pause to really appreciate the mind blowing musical structures and spellbinding melodies. Personal favourites are the intelligently constructed charm of Until We Meet Again, the otherworldly experience of Disturbance Within and the calm and collected polish of classic rocker Universal.

This magical experience is completed by Where Dreams Have Died, a ten minute journey that becomes Shant’s grand paradigm of musical intrigue and astounding mastery. It is an elaborate, baroque composition that trades on each musician’s undoubted skill and dexterity to deliver a sublime listening experience.

As the last note fades out a small but knowing smile appears on my face as I reminisce back to 1991. ‘Paradigms’ is a wonderfully complex and accomplished piece of work but, deep at its core this album is full of incredibly infectious grooves. Shant Hagopian and your stellar cast of musicians please take a bow for this fantastic achievement.

Released 20th August 2018

Order the album in various formats direct from the band’s website

*****


Source: https://www.progradar.org/index.php/2018/08/01/review-semantic-saturation-paradigms-by-progradar/

Paradigms Out on August 20, 2018

Paradigms is set to release on August 20, 2018.

Pre-order your copy now at the Official Semantic Saturation Online Store and get one of these lovely 1.14mm celluloid guitar picks with your album, as well as a postcard carrying a personal message signed by Shant.

New Site Launched!

Out with the old, in with the new.
The new website with a brand new design has launched, featuring the Paradigms album cover artwork in the banner.
Navigation should be a breeze, with sticky bar including shortcuts to the different available formats for the new record Paradigms at the top of every page.
The new site is also compatible with most mobile devices.

Demos from the new album will be available on the home page in the very near feature, as well as the new 'Carousel of Death' music video.

If you find a broken link or something that's not working as expected, I'd very much appreciate if you notify me regarding the issue by sending me a message.

-Shant

The Big Reveal

PARADIGMS ALBUM COVER REVEAL



Track-list:
1. Mirrors of Confusion 4:41
2. Carousel of Death 4:54
3. Pareidolia 4:52
4. Empty Whisky Jar 3:40
5. The Stranger From Andromeda 5:06
6. Until We Meet Again 4:18
7. Ulterior Harmony 6:58
8. Disturbance Within 4:36
9. Universal 6:41
10. Where Dreams Have Died 10:33

Featuring Craig Blundell, Kristoffer Gildenlöw
Guests Derek Sherinian, Alex Argento, Houry Dora Apartian
Project By Shant Hagopian

CD & DVD SPECIAL EDITION COVER



BRAND NEW STORE AND PRE-ORDERS
The Online Store launches today, and pre-orders are now open. There's a bunch of very cool T-Shirts and Tank Tops for both genders featuring artwork from Paradigms and Solipsistic. T-Shirt fabric and print quality are great, and most importantly, prices are very affordable!

Note: All Paradigms audio related products are currently marked as "Pre-Order" and will be shipped a few days before the release date.
But, T-Shirts and all apparel and accessories will be shipped to you right away, even if they are bundled with Paradigms CD or Vinyl.

Click here to access the online store.

PARADIGMS AVAILABLE FORMATS
Paradigms will be available in four formats.

Vinyl (LP): Available in translucent purple (limited to 100 copies) You may also choose black if you prefer.

Standard CD: Six panel digipak.

Special Edition CD & DVD: Featuring special edition Mirrors of Confusion cover as well as the original cover.
BONUS DVD includes: Demos,.Play-along tracks, "Making of album" Short movie, Paradigms cover painting video. and Carousel of Death music video.
Also includes a custom Special Edition guitar pick.

Digital Copy: In both MP3 and FLAC formats
All physical items come with a Digital Copy and a custom guitar pick, exclusively when ordered through the Semantic Saturation Online Store.


To pre-order, click on a product image below

Masters are In

Here's what I've been doing in the last couple of weeks. I completed the CD and Vinyl artwork, need a few last minute color correction and fine tuning before sending to production. We finalized the mix with Alex and the album was being mastered last week, I had to purchase some necessary UPC and ISRC codes to track the album information online, I started working on a new website design with the Paradigms theme, and it's almost done; few last touches remain. I think you'll love it.

I thought the band needs a logo so I made dozens of them, and then showed it to friends, they were meh, I made dozens more and showed it to friends, they were better but still meh, then suddenly on a sunny afternoon it came to me, so I made a dozen more, I'm not exaggerating, finally found the one! So I made a dozen more variations of it. Can you tell I'm anal?

Then I made some new art that will be used on merchandise (T-Shirts, guitar picks etc..) for you guys. The new Semantic Saturation Store is looking lit. I was running into performance issues on the store site, so I wasted a few more days trying to find some solutions, it's a bit better now. Hopefully will improve further. I also had to make some extra artwork for the exclusive items which will only be sent out to you, the backers.

What else.. Oh, I'm putting together all the videos I've recorded of me during the album cover painting process, and of course I'm making a sped up timelapse so you don't sit down for hours (days) to watch the entire process. This video will be available to you on extra CD that will be included in a limited edition CD package, among other goodies which I also have to put together. Unfortunately things don't just come together on their own.

What's next? The audio masters have *just arrived*, if everything goes well, I'll sign a deal with a CD and Vinyl production company to start producing the CDs and Vinyls, but of course it's not that easy, as vinyls need a different master, and I'll have to wait for their input on whether we can fit the album on a single disc or two, which will increase the cost significantly.I need to sit down with Richard the director who's working on a new music video, and we have to go through all the fixes we need to make.
But most importantly, coming up next is the big reveal of the album artwork and track-listing.

Stay tuned!
-Shant

Discography

Solipsistic Album Cover
Solipsistic (2013)
Solipsistic Album Cover
Paradigms (2018)

Solipsistic

Solipsistic Album Cover

Solipsistic is the debut album for Semantic Saturation. The album features world class musicians and progressive rock gurus; such as drummer Virgil Donati, bassist Ric Fierabracci, and guests Derek Sherinian (ex-Dream Theater) on keyboards, and vocalist Andy Kuntz from Vanden Plas. Solipsistic was released physically on CD and digitally on January 21, 2013 after two long years of hard work and coordination between the featured artists working on the album. The album is available for sale in both formats on the Semantic Saturation store and on other online stores like Amazon, iTunes and others.

On the album, Bassist Ric Fierabracci says:
It was a great pleasure for me to play on Shant’s new CD. He is an extremely gifted writer, guitarist and producer as well.

Solipsistic consists of nine tracks, the first eight of which are instrumental, with the final track titled “What if We All Stop” bearing Andy Kuntz’s signature vocals. The epic song spans over 8 minutes, transitioning from a calm, mellow beginning towards an eagerly-anticipated heavier mid-section, before it reaches a grand finale capturing the essence of prog-rock along the way.

Vocalist Andy Kuntz follow up saying:
I’m very proud to be part of a new project with my precious friend Shant Hagopian. He is such a great composer and a very unique guitar player with his very own fingerprint.
On the process of creating the album Shant comments:
There’s this moment of transition during the recording process, when you put all the ideas together like pieces of a puzzle, and only then the bigger picture takes shape and you clearly see what the end result is going to be.
Virgil Donati - DrumsVirgil Donati
Ric Fierabracci - BassRic Fierabracci
Andy Kuntz - VocalsAndy Kuntz
Shant Hagopian - GuitarsShant Hagopian
Special Guests
Derek Sherinian

Paradigms

Paradigms Album Cover

Paradigms is an honest attempt to expand musical horizons, capturing the essence of the unique prog vibe by focusing on the genre's most important aspect: variety. Featured musicians on the album include drummer Craig Blundell (Frost*/Steven Wilson), bassist Kristoffer Gildenlöw (ex-Pain of Salvation), guests Derek Sherinian (ex-Dream Theater), Alex Argento on keyboards, and the lovely jazz vocalist Houry Dora Apartian.

PARADIGMS is now available for pre-order in CD, Special Edition CD&DVD, Vinyl and digital formats through the brand new Semantic Saturation online store. Pre-orders come with a postcard including a personal message, and signed by Shant Hagopian. The online store also hosts a selection of T-Shirts, bundles and other merchandise featuring PARADIGMS artwork. The digital album will also be available on Apple iTunes and others.

The laudable array of ten compositions conveys a multitudinous variety of changing moods, while inventively preserving the album's grand paradigm of musical intrigue and astounding mastery. Shant's musical ingenious is rendered crystal clear in “Mirrors of Confusion” where funky grooves and heavy riffing intertwine seamlessly, and his academic foundations in Jazz are evidently traced throughout the exciting track of “Carousel of Death”, while Craig Blundell’s insane drumming techniques and Kirstoffer’s transcendent bass lines are conspicuous throughout all ten tracks. Furthermore, Shant’s masterful and peculiar cover painting resonates radiantly with the music.

PARADIGMS is Shant's second Semantic Saturation album after Solipsistic, demonstrating his ever-evolving musical writing abilities, and on this long-awaited production he says:

To me, the process of creating an album has always been like giving birth, you carry it within you for several months until it's *released*, and then you show the world what you've made. Minus all the crying and the ugly baby pictures.
Drummer Craig Blundell says:
I was deeply honoured when I got the call to play all the tracks on this project which features some insanely talented people of which I'm fans of too. Every track is a real challenge but extremely rewarding when it comes together, the whole album is staggeringly good.
And Kristoffer humbly said:
The basslines I recorded did not do justice for the album, so I've asked Shant quietly to hire guitarist Steve Lukather to re-record the basslines for all ten tracks.
Kristoffer has since retreated to his cabin in the woods of northern Holland, after selling his entire career on ebay for as close to nothing.

Album Line-up

Craig Blundell - DrumsCraig Blundell
Kristoffer Gildenlöw - BassKristoffer Gildenlöw
Shant Hagopian - GuitarsShant Hagopian
Special Guests
Derek Sherinian - Alex Argento - Houry Dora Apartian

Music Videos

Loading Semantic Saturation Online Store...

Who is Semantic Saturation?

Semantic Saturation is a progressive rock/progressive metal project founded by Canadian guitarist Shant Hagopian. The foundation of the project is based on the idea to work with a different set of musicians on every album. Today, playing prog music is regarded in the eyes of many as being a feat. It should not be like that. Listeners do not enjoy music anymore, they're only trying to find bands that can play a million notes per minute. Although we do that too occasionally, but Semantic Saturation is not an impressing machine, it's a single note at the right place and the right time that will give you chills.

Musicians

Craig Blundell - DrumsCraig Blundell
Kristoffer Gildenlöw - BassKristoffer Gildenlöw
Shant Hagopian - GuitarsShant Hagopian

Virgil Donati - DrumsVirgil Donati
Ric Fierabracci - BassRic Fierabracci
Andy Kuntz - GuitarsAndy Kuntz
Special Guests
Derek Sherinian - Alex Argento - Houry Dora Apartian

What is Semantic Saturation?

Semantic Saturation also known as ‘Semantic Satiation’ is a psychological phenomenon where repetition causes a word or phrase to lose its meaning temporarily; words are then processed in the mind as meaningless sounds. This idea, of course, goes much deeper than that, it doesn’t just stop there. Even though unapparent, our brains are being saturated on a daily basis. It may seem slow, but the effects are significant on the long run.

Oftentimes, we hear people repeating a set of clichéd words or phrases without any perception, and completely indifferent to what they really mean. Some of these words have become saturated in our minds, as a result of overhearing the same phrases over and over. Until it becomes a habit; a bad one.

Saturation is a disease; and it’s viral. it is being streamed to us through multiple channels, it’s on the news, it’s in the paper, and words spread mouth to mouth. Once you’re in the cycle, you’re inside a black hole and there's never an escape. You overhear a few people talking about the latest trend and you start mentioning it to everyone you meet, fearing of being left behind, in fear of complete disconnection, and being left all alone in some dark corner of our imaginary realities.

We’re losing our communication skills, in this age of technology. Almost all of us on our planet are interconnected, the whole world is in our palms; just a few clicks away; under our fingertips, yet we struggle to connect mentally. When was the last time you had a REAL conversation with somebody? I fail to remember. Communication is key, but we've already been over-saturated, and words have become meaningless sounds.

When I look at the social media today, I don’t see people. I see emotionless by-products, mind-controlled nincompoops, narcissist lunatics. Everybody’s trying to sell something, including myself, and we’re all busy consuming and boasting about the latest toy we bought, a “be-the-first-or-be-nothing” mentality that is killing our motivations; our desires; our dreams and our creativity.

This is the new norm.

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