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Swedish Rocker Aims For CD Release
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Robert Hansson, a guitarist from Gothenburg, Sweden, submitted his two-song instrumental demo CD-R, featuring heavy rock tracks with pulverizing rhythm guitar work, well-turned hooks and sinewy improvisations. Both tracks were recorded in Hansson's "closet" home studio with a drum machine, and could be called, in his words, "riff-a-swing-rock". The first track is called "Miss Molly", which is dedicated to his three-month-old daughter. A number of high tech, guitaristic elements are highlighted in the brief (under two minute) composiiton - whammy bar dives, legato lines and speed picking to name a few, held together with a thematic foundation. The second cut, "Evilution" is named after the terrible care animals used for food are receiving from the meat industry. The spotlight here is on slide riffs and harmony lines. Teaming with a heavyweight drummer in the Gothenburg area would be the next logical step for Mr. Hansson.
Robert has been playing guitar for over 20 years, and is currently 35 years of age. His initial inspiration was Gene Simmons in KISS, and now counts as influences such artists as Jeff Kollman, Steve Stevens, Doug Aldrich and Eric Johnson. Robert has spent his time playing with local rock bands, and has recorded loads of instrumental demos in his home studio. He is all about playing from the heart, and not for any reason other than to release the creativity of his soul. Robert strives to keep the music heavy, but always putting the melody first. His gear includes Washburn and Ibanez guitars, Line 6 amps and SIT strings.
Hansson has a dream of someday releasing an all-instrumental guitar album in his own name, in order to reach a broader audience.
Contact Information
Robert Hansson
Kobergsgatan 26
416 71 Gothenburg
Sweden
E-mail:
Robert Hansson
Web site:
www.rawburt.com
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Infinite Ego/Savior Onasis
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Feats Of Guitar Synthesis
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Enjoy Your Own Damn Symptom is a CD-R release from Infinite Ego (guitarist) and Savior Onasis (project name), which examines the synthesis of postmodern rock, improvisation, textures, ambience, looping, experimentation, noise, unfinished thoughts, pastiche, minimalism, maximalism, conventionalism and humor (whew!) So your enjoyment of the group's instrumental output is going to depend on two things - the openness of your mind, and your ability to appreciate a variety of non-guitar sounds (horns, weird sounds, etc.) coming from a guitar 'controller'. Plenty of tortured guitar sounds can be still be found from track to track, as Infinite Ego uses electric and acoustic guitars, a fretless 7-string, and a "microtonal" guitar to deliver his provocative, groove-tinged strangeness to a experimentally minded fan base. Better heard than described, the music of Savior Onasis will challenge the senses, while transporting the listener to provocative and beautiful places.
Ego is a solo artist, guiding light of Savior Onasis and founding director of KronoSequence. Ego's unconventional, online guitar lessons have been used by PBS and his various music articles (the "Praxis Papers") have been utilized by music schools worldwide and quoted in scholarly works -- e.g., Leadership Ensemble Lessons in Collaborative Management from the World's Only Conductorless Orchestra. Inspired by Vernon Reid, Hendrix, Praxis, Coltrane, Cecil Taylor, Bill Frisell, Naked City, Eric Dolphy, among countless others too numerous to mention, Infinite Ego has lent his outlandish abilities and left-of-center aesthetic to various musical efforts including the now-infamous and absurd "Bofatron Sofasaurus" campaign (a transfigured Dr. Seuss character exploring the outer limits of speed and the fragility of meaning). Infinite Ego's hybrid rock compositions and past bands have been heard on college radio stations across the Midwest.
Ego has been featured or profiled at Guitar One magazine, ZeBox, Weirdsville Radio, Dead Angel, and Artwhore.
Contact Information
Infinite Ego
549 Lakewood
Bonner Springs, KS 60012
United States
E-mail:
Infinite Ego/Savior Onasis
Web site:
www.kronosonic.com
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Vol. 17, No. 2: Feb.-Mar. 2012
