![]() ![]() A lot of times I get riffs stuck in my head, and the only way to really get them out is to apply them musically and record them. I like to sometimes write drum parts before I write the riffs, and then sometimes write riffs around that. MO: I do most of the writing by myself – a lot of it is in front of a computer. MM: What is your process for songwriting – is it something you do yourself? Is it something you do as a band, or in front of a computer or what? I also write a lot of riffs using pedal tones, so I can have a moving bass line that accompanies the riff within the riff already, so it kind of covers a lot of ground. I use a harmonist to harmonize all of my riffs in key, and I use a loop station to record myself and play myself back. You have to fill the role of two guitarists in your band. MM: You have a very unique approach to the guitar. But I’ve got my good friend Chewbacca here to help me out.ĬLICK PLAY ABOVE TO VIEW PART 1 OF 2 OF THE INTERVIEW VIDEO SCROLL DOWN FOR PART 2 We have a song that we haven’t even practiced, so I’m more nervous than you are. MO: Because we’re on tour with Periphery and Darkest Hour and Revocation. We haven’t even played our first show yet. MM: We’re on tour with Revocation and Darkest Hour, and this tour is gonna rule. ![]() MM: I think I’ve officially played more shows with you than anyone else – probably not true the other way around. Their blend of polyrhythmic grooves, complex harmonies and infectious melodies has earned them the respect of their peers and made a deep impact both within the metal community and beyond it. We met with Marc and Misha on the opening date of their tour with Darkest Hour and Revocation in Worcester, Massachusetts: We last spoke to Periphery founder Misha Mansoor in April of 2010, just before the release of the band’s celebrated debut album. Fueled by chief songwriter Marc Okubo’s lush, unorthodox riffing style, further pushes the group’s jarring twist of progressive, thrash, and melodic death metal, while maintaining the rhythmically precise and harmonically dense sound that is Veil Of Maya. Since their formation in 2004, Chicago’s Veil Of Maya have cultivated their dedicated following with non-stop touring and a passionate do-it-yourself attitude. In 2010, the quartet released, their third full-length record and second through Sumerian Records. So the thought occurred to us: what if instead of us interviewing Marc, we had Misha do it instead? Soon, what began as an interview became an in-depth discussion between these two titans of modern progressive metal. In this editorial experiment, photography is often mixed with appropriated materials from various sources, both textual and visual, creating a profusion of eclectic scenarios.We at Guitar Messenger already had plans to interview Veil Of Maya’s Marc Okubo, but once we saw the announcement of their tour with Periphery, we knew we had to do something special. Taking its title from a common metaphor defining the state of perennial illusion in which people are trapped, “ The Veil of Maya” serial project deals with the duality enchantment-disenchantment from 7 different perspectives. “ The Veil of Maya 1” is the first of 7 artist-books to be published in the coming years in a very limited edition of 35 copies each. This 2000-page volume brings together an overflowing torrent of “imaginary photographs” in an editorial ideal of copiousness. Layers and layers of colourful posters and promising ads cover the walls like an aesthetic bacteria it’s intermittence is almost compulsive. “Beauty is the last veil that covers the horrible.” (Zizek/Lacan/Rilke)īy sequencing recurring patterns from the streets of Kolkata, “The Veil of Maya 1” materializes on paper the flayed skin of a city.
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