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/

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/

Semantic Saturation Featured on Noah’s Arkhive

Noah, my neighbor is studying journalism, he wanted to interview me last week and write a piece about me and Semantic Saturation on his blog.

Thank you Noah, I wish you the best of luck in your studies; and after reading the article you wrote I can already tell you are on the right track.

 

Shant Hagopian, syrian rock superstar!

Screen Shot 2015-11-15 at 5.35.18 PMMy father introduced me to Shant’s album last summer, and it was within the first five minutes of listening to “Solipsistic,” his latest album, that I knew that this guy had something special. On election day, I was lucky to get a hold of him, as he happened to be standing behind me in line; generously, he agreed to an interview

“He’s obsessed with Pink Floyd,” told me Shant Hagopian’s wife as I noticed a painting made out of guitar picks of the legendary guitarist David Gilmour of the band “Pink Floyd.” My walk here from home was under 1 minute, I live across the street. As I sat on the couch and asked his wife, Nanor, a few questions, she served me a glass of water. After a few minutes of finding out about how they met and what their first date paintballing was like, Shant came upstairs from his hard work looking exactly like what you would think a metal guitarist would look like. From the long hair and scruffy beard to the casual t-shirt and jeans, this guy says rock’n’roll from head to toe. We had a small chat about his life and career as a musician.

It all started because of bands like Bon Jovi, Aerosmith and Pink Floyd that Shant got into the rock world and began playing guitar at the age of 15 later going to music school.

“Nobody told me I was going to freeze my ass up here,” Shant explains. Born in Syria, he first created the band named “Nu.Clear.Dawn” in his youth while studying music. The band became popular in Syria after doing many cover shows, and a few years later for being the first metal band in Syria to release an album, but it did not come easy. “It’s a lot easier to build a house in Canada than it is to play a rock concert back in Syria, it’s almost impossible to release a rock album”IMG_7979s

But they did it, and the band grew and gained more and more recognition. Unfortunately Shant felt conflicted with the fact that there was no way the band could really take off from Syria. So he moved to Canada, one of the safest and most peaceful countries in the world. Honestly, who could blame him after all the conflicts, wars and explosions in the Middle East. “I consider myself very lucky for moving out of Syria before the revolution started which eventually led to the current horrible situation.”

But while Shant moved to Montreal, his other band mates fled Syria to move to different parts of the world. Shant used the incredible technology of today’s world to create his album through the Internet. He would write the songs, write down how he wanted them to be and then he would send them to different musicians around the world to add their touch and combine their talent creating an incredible piece of art. In 2013 the band he named “Semantic Saturation,” released the album “Solipsistic.”

“Semantic Saturation” and “Solipsistic”, two names I found extremely fascinating after he explained to me what they meant. “Semantic Saturation”, was the term used to describe the moment when you say a word over and over until it begins to lose meaning and starts being funny. The choice of the album name was a reflection of how the media causes us to become desensitized to the events revolving around us. Considering all the shocking things happening in Syria it’s easy to see why he would pick the name. “Solipsistic” on the other hand is the theory in which only you exist and everything and everybody around you is an illusion created simply for you. He chose the name, because it reflected the way he worked, he was reaching out to all these people through the Internet and it felt as though he was the only real person in his music-making world.

Look at the album artwork and you’ll see a girl representing “the listener” facing a metropolis of fake buildings, facades are what you see and with incredible detail you’ll notice some construction workers building everything for no one but her . Open up the CD pack and you get a 360 view of this “false reality” the girl is seeing.

After reading the reviews of the album it seems as though the album was quite a success especially since I did not notice a single trace of negative criticism. Getting to know Shant was great and I could truly say that this guy is the definition of cool.His laidback attitude and the detailed description of his life allowed for the opportunity to see how much he must have worked hard for what he’s accomplished.

If you want to get to know Shant Hagopian a little better you can either follow him on bandcamp, or you could check out his latest video on YouTube, believe me you won’t regret it. (Links Down Below)

Screen Shot 2015-11-15 at 5.34.52 PM

Www.Facebook.com/semanticsaturation

Http://semanticsaturation.bandcamp.com

www.semanticsaturation.com

 

Source: https://noahsarkhive.wordpress.com/2015/11/15/shant-hagopian-syrian-rock-superstar/

Interview on Robex Lundgren blog

I did an interview recently on the Swedish metal blog of Robex Lundgren.

Here’s the full interview:

What´s the name of your band?
Semantic Saturation

What made you call the band “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. The idea is much deeper than that, and it doesn’t just stop there. Even though unapparent, but our brains are being saturated on a daily basis, and fed by multiple sources, they may look slow but the effects are the same on the long run.

How was the band formed?
Derek is an inspiration, being a Dream Theater fan since 1995 “A Change of Seasons” was the first album I had, and up till now it’s still my favorite track (let’s call it a long track). Andy Kuntz is the most amazing, down to earth, very supportive and friendly musician I have ever met, add to that his amazing voice and the writing and producing talents he has. As for Virgil and Ric, it was natural to have them on the album. Derek Virgil and Ric worked together before with Planet X, they are simply virtuosos, they are all top of the line musicians, they are world class progressive rock gurus, and how can you go wrong? Virgil was even one of the seven drummers who were auditioned to be the next Dream Theater drummer after Mike Portnoy left the band. DT picked Mangini, their loss is my gain.

Where are all band members from?/Who does what in the band?
Keyboardist Derek Sherinian, drummer Virgil Donati and bassist Ric Fierabracci are long time pals since they all played together with Planet X. Andy Kuntz is the vocalist and front-man of the German prog metal band Vanden Plas. And I’m the founder of Semantic Saturation, former guitarist of prog/power metal band Nu.Clear.Dawn from Syria.

Could you explain your music to someone that haven’t heard you?
I think editors and writers have framed this aspect at best, so I’m just going to quote some of them:

“A work of mind-blowing complexity and technical proficiency, a dizzying lap of musical labyrinth, pleasingly nerdy, dazzlingly proficient record.” -Grant Moon, Prog Magazine (May 29, 2013)

“Solipsistic is an amazing piece of art. It’s a journey of musical emotions that reaches amazing heights.” -Joel Rittberg, Danger Dog Music Reviews (July 29, 2013)

“I can verify right now that ‘Solipsistic’ is the epitome of progressive rock/metal. The album is boundless, and will forever stand the test time. Absolutely brilliant and well worth the wait. Do not let this one slip by.”- Ken, Inhale The Heavy (Jan 30, 2013)

“The music will come to you and slap you hard in the face, a sweet punishment, painfully delicious. Music that goes beyond magic and reality, a prog-fairy-tale. Passion, wisdom, crazy theory… Solipsism.” -Rocio Flores Bedoya, Lady Obscure (Jan 29, 2013)

“This is intelligent music, cleverly put together to make melodies that glue to your brain and makes you air-guitar like Bill & Ted’s Excellent Adventure” – Jonathan Payeur, Prog Archives (March 21, 2013)

Where was your first gig?/Where was the latest gig?
Semantic Saturation remains as a studio project for the moment. The anatomy and nature of this project doesn’t allow me to organize and perform live shows since all the members involved in this project are extremely busy with their own bands, touring or writing and recording new music.

Who writes your songs?/ who writes the music who writes lyrics?
As you may know, the debut album Solipsistic is mostly instrumental, except for the last piece “What if We All Stop” which has Andy Kuntz on vocals. The music is mainly written, arranged and produced by myself, except a couple of tracks were produced by Derek and Andy. The lyrics for “What if We All Stop” were written by me and Andy. Andy also helped me arrange the music for the same track to accommodate the vocal lines.

What’s good/bad with the band?/What genre do you feel you are?
I don’t think there’s anything bad with the band, and lots of good things, starting with the musicianship and ending with the music. Semantic Saturation is a progressive rock/metal.

Have you made any albums?/If yes what are they?
The debut album is Solipsistic, consisting of eight instrumental pieces and one song with vocals. Total length of 51 minutes.

Do you have any clips on YouTube?
No official music videos yet, but there’s one promotional video for Stardust, the fourth track from the album.

How old are you?/What got you started in music?
I’m 34. I’d say Pink Floyd and Dream Theater are the main bands that got me into playing music and becoming a musician. Ironically, as a child I wasn’t interested in music that much until my teenage years, when I started listening to rock and metal, I discovered Pink Floyd through my friends and then a couple of years later when I started listening to heavier music I discovered Dream Theater.

At what age did you start playing?
I was about 15 years old when I picked up a classical nylon string guitar, later on I joined a music school for jazz guitar studies, and graduated in 2003.

What year was the band started?
Work on the debut album Solipsistic started late 2010, and took almost 2 years to complete.

Witch band is the best you´ve seen?
If you’re referring to the best band I’ve seen live on stage, I’ll answer as what was the best show or performance instead of band. I think one of the best and unforgettable experiences I’ve had was one of the Porcupine Tree shows I’ve seen, the place was small and intimate, the sound was amazing, the track-list was amazing and the band’s performance was best. Another experience would be Roger Waters’ latest The Wall tour. That is historical.

What are the plans for the rest of the year?
I’m currently planning to put together a music video with some friends. Whether this will be 100% possible or not I am not sure as of yet. Later in 2014 there are plans to start work on the next masterpiece.

Is it easier to get your inspiration from older bands or from bands more modern?
Probably a mix of both, older bands are the schools, but modern bands give you the energy and latest hype.

What are your sources of inspiration?
Like I mentioned, Pink Floyd and Dream Theater are a big influence and inspiration but sometimes it could be a book I’m reading, a movie, or even an article on the web.

What’s the first step when making a new song?
Writing a catchy theme. That’s the basis of my music writing process, if the theme is not memorable; as complicated as it may be, it will not stick in the listener’s head. In fact the simpler the theme, the more catchy and memorable it will be. I have said this many times before and I will keep saying it: Music is art, not a competition.

How do you feel about the downloading of music instead of buying albums?
Downloading is fine as long as the artist is profiting from it. I think the real music fan will go ahead and purchase the album even if they have downloaded it for free. In this age of the internet it’s almost impossible to stop what’s happening, but it’s possible to adapt.

Besides your own music, what genres and bands do you listen to?
I listen mainly to prog bands, Porcupine Tree, Pink Floyd, Rush, Dream Theater, Ayreon, Anneke Van Giersbergen, Pain of Salvation the list is pretty much endless. But also who doesn’t enjoy some blues or jazz by the fire with some alcohol?

When you are on stage, what do you fear most then?
I haven’t played on stage for a while, but when I did the most I feared was having technical problems, and not giving what the audience is there for.

Have you been in any other bands?
I’m the former guitarist of Nu.Clear.Dawn, the prog metal band from Syria. The band toured and played a lot of shows in the region including one giant metal festival in Istanbul, Turkey back in 2004 among big names like Pain of Salvation, Epica, Vanden Plas, UDO, Amon Amarth, right after releasing the full length studio album “Poem of a Knight” which was officially the first metal album released in Syria.

What would you do if there was no music?
That would’ve been very depressing. Why would we live then?

How important are your fans?
Absolutely the most important. In the end, they are the engine; they are who I make music for.

How often do you rehearse? Where do you rehearse?
Not much lately, since I’m pretty busy promoting the album, as you know I pretty much try to do everything myself. I usually play/record in my humble home studio, which I am planning to expand and convert to a cozier and an even more professional guitarist corner.

Name 2 of your own songs you like at the moment? Stardust and… Believe me the second one is harder to choose, but I think Ambivalence, the opening track is the one. It portrays my personality very well.

What drives a band that isn’t all that famous and renowned to try to make a living on their music and to keep playing? The devoted fans and my love for the genre.

Do you have any webpages?

The official website is www.semanticsaturation.com
And the facebook page at https://www.facebook.com/SemanticSaturation
Youtube: https://www.youtube.com/SemanticSaturation
and Twitter: https://twitter.com/SemanticSat

How do you view the music industry today?
With the internet, smaller and new starting bands have a lot more chances to get heard today versus how things worked back before the internet existed. It’s not the guys in suits who pick the bands we want to listen to anymore, it’s the fans who choose. Artists and musicians today can also make more money instead of having a small percentage of the profit share, providing they do things the right away, and that starts with their music.

Do you have anything to add?
I’d like to thank you for your interest in Semantic Saturation and thank you for the interview and opportunity to have more people listen to the music we have made. Rock on!

Source: http://ghgumman.blogg.se/2014/march/interview-with-semantic-saturation.html