Rising Force
IX
Nov 3, 1994
As I crank out another issue, I have a modest request. My birthday is
coming up Nov 18, and I'd like to ask everyone to send me a postcard from
your locale!
Igor Sinyak
119 Easy St #3
Mountain View, CA 94043
Also, include your email address, and an mailing address where you can be
reached over the winter holidays. And, if you have a tape of anything that
others at this forum would enjoy (originals also welcome), please also send
it in.
The feature in this issue is Richard Karsmaker's Berndt Steidl interview
(Richard sent us his Yngwie interview in an earlier issue). This is
actually more than a half a year old, but I think now is a good time to
run it.
I have an account that I can setup a WWW home page on. Can anyone
volunteer to put it together?
--Yngwie News----
From: Janell [email protected]>
From alt.rock-n-roll.metal.progressive dated 15 Sep. from Bill Georges:
Just spoke to a DJ from local college station WCWP, who went out to the
music convention in LA. He said that Yngwie J. Malmsteen got beat up by
the Long Island, NY band Bile. Supposedly, Bile was told that if they
performed, that they weren't allowed to light their guitars on fire, a
trademark of their live gigs. Well, it turns out, when Yngwie (who
gained a lot of weight) played his set, he lit his guitar on fire,
causing everyone in attendance to be evacuated. Bile had words with
Yngwie back at the hotel and got pissed off with him, so they gave him a
beating. This caused Bile to be thrown out of the hotel.
[uncomfirmed rumor?]
From Ytsejam: [email protected]>
At Foundation Forum, Dream Theater was supposed to be on around
midnight, and Malmsteen was playing before them. During a cover
of a Hendrix song, Yngwie set his guitar on fire. The fire marshal
came and the building had to be evacuated. DT was delayed for over
2 hours. Yngwied came in to their dressing room after the show,
and tried to appologize, saying that 'he loved them'.
From Ytsejam: [email protected]>
In the latest edition of 'Young Guitar', a Japanese magazine there is a
transcription of Mr. Malmsteen's latest 'Takada's Theme' [for that
wrestler? -Ig] and gets a lower difficulty rating than Lie (Dream Theater).
--Helloween----
From: Janell [email protected]>
The Japanese limited edition of Helloween's new album MASTER OF THE RINGS
has a bonus track that is a parody of Yngwie Malmsteen titled
"Grapowski's Malmsuite 1001 (in D-Doll)".
--Mastermind----
From: Bill [email protected]>
[Have you guys heard of Mastermind? Bill is a member, and their music
maybe of interest to us. Bill says he is not like the other Shrapnel
guitarists. -Ig]
They talk about guitar playing like it was... olympic diving or
something! "And now he's going to attempt the double sweep 32nd note
triplet augmented minor arpeggio over top of a 5/8 sig at 134 beats per
minute.... this is a most difficult manuever and hasn't been attempted
by anyone since 1984 when...
[And about Mike Varney: -Ig]
I've spent a couple of hundred hours on the phone with him in the last 5
years, but we've never met in person. I was the first artist to sign
with Magna Carta in 1989, but I got out of that contract when they failed
to deliver. I was about to sign with them again last month because they
made me a pretty good offer, but I signed the licensing deal in Japan
which pissed Varney off so much I haven't heard from him in a month. We
don't always get along so well! He seems like a nice enough guy (as long
as he gets what he wants!).
--Jens Johannson----
From: Bill [email protected]>
I have a copy [of The Johannson Brothers album] Jens sent me and there are
3 killer instrumental tracks! The rest is straight ahead 80's rock which
is OK too.
[from Jens to Bill: -Ig]
Will go in the studio on thursday next week if all goes well. Tracking
for two records, one 'funk' instrumental record that perhaps Allan
Holdsworth will play on (!) and one more Johansson brothers (with only
simple stuff, so the singer won't get completely lost.) If all goes well
with the writing that is. :) The complicated stuff we're saving for a
"Complicated Johansson Brothers" type record, perhaps late this year or
early 95.
From: [email protected]>
I bought CD called Johansson Brothers, which is really good. Sound is like
one with Trilogy.
---Deep Purple tribute----
From Hard Rock: Tim [email protected]>
The new _Metal Edge_ briefly mentions a Deep Purple tribute album that
will feature Russ Parrish, Paul Gilbert, Yngwie, Richie Kotzen, Don
Dokken, Reb Beach, Kip Winger, and John Norum. This sounds extremely
cool! The article says the album is being put out by Shrapnel, but no
release date was given. Does anyone know anything about this??
--Tony MacAlpine----
From Hard Rock: [email protected]>
I bought the new Tony MacAlpine album called 'Premonition' last week.
It features Tony on guitar and keyboards, Tony Franklin on bass, and Deen
Castronovo on drums, and Jens Johansson plays keyboards on two songs.
This album is very cool! MacAlpine plays two Chopin pieces and one J.S.
Bach piece, all on piano, and they're all excellent--he is an extremely
talented pianist. Then he rocks out on most of the other tunes, and
there is nofiller on the album. If you like guitar music, then you'll
definitely like this (and you'll probably also want to check out 1993's
'Madness'). You don't hear too much about this guy, but he's easily in
the same league as Yngwie and Satriani!
From: Janell [email protected]>
I still need the title of the Chopin piece on _Madness_.
--Dream Theater----
From: Neil [email protected]>
I got the new Dream Theater Album "Awake" last weekend. Well worth
checking out, the sort of album that forces you to really sit down and
listen to it. It's not neo-classical but it is musically very technical
and should appeal to a number of subscribers.
Lots of complex time changes and stuff (as always) and a little more
varied than the last effort. There's a stronger jazz influence in places,
most notably during "Erotomania". There are also more musical threads
running through the album giving it more of a "concept" feel. A couple of
the tunes are shall we say a little more "ordinary" (like the acoustic
"The Silent Man" or "Lifting Shadows off a Dream" which has a nice
doubled echo guitar part), but the quality is still there and they
provide a breather from the complexity of the other tracks. The average
length of a song is around 7 minutes so there's more of them, and at 75
minutes long I call it value for money!
For the die-hard neo-classical fans there's a nice litle classical run
(bit of an Yngwie rip-off actually) in the middle of the instrumental
track "Erotomania". I remember when I first I heard it, it sort of sprang
out at me because it has to be the most classical thing I've heard from
the band.
James LaBrie goes for a more aggressive vocal approach on a couple of
numbers too which changes the mood slightly. There are also more samples
on the album.
They sound like they've been lifted from film soundtracks though I don't
recognise any of them (the first one, "six o'clock on a christmas
morning", might come from Scrooge). I find that they've been carefully
used and really add atmosphere to the whole thing.
I'm still getting into it so I can't say if I prefer it from "Images..."
just yet, but I can definitely recommend it!
--Misc----
From Tehri [email protected]>
I'm a student of musicology from Finland. I'm doing a research
about Yngwie's music. My research has style-analytical aspect, but later
I'll take into account some cognitive aspect. I would be glad if I got
some information about Yngwie and his classical-influenced music. If
some of you know about feasible already-made-researches, please let me
know about them. This seminary where I'm doing this research will end
next spring and then I'll tell you all results I found.
From: [email protected]>
Do you have any info. about Yngwie' fan club?
--Berndt Steidl----
From: Richard [email protected]>
AN INTERVIEW WITH BERND STEIDL
by Richard Karsmakers
American record label Shrapnel records, often referred to as a
*guitarist stable*, has already been at the base of success for
many promising young guitarists. Yngwie Malmsteen started in
Steeler, which was a Shrapnel recording band. But famous names
like Jason Becker, Vinnie Moorse, Marty Friedman (now in
Megadeth), Tony MacAlpine, Joey Tafolla, Richie Kotzen and
Michael Lee Firkins also started out there. As a matter of fact
the only current-day guitar heroes springing to mind who have not
come from Mike Varney's Shrapnel records seem to be Joe Satriani,
Steve Vai, Cyril Whistler, Mads Eriksen and Tamas Szekeres.
Anyway, last year saw the release of a totally different kind of
guitar CD on Shrapnel. Whereas normally you have high-tech guitar
heroes that play the electric guitar like their lives depend on
it, they now did a more relaxed but nonetheless totally freaky
*acoustic* guitar CD. The artist was previously unknown Bernd
Steidl, acoustic guitar prodigy extraordinaire from Germany. The
CD was called "Psycho Acoustic Overture".
The CD wasn't merely an innovative project. It was a thoroughly
enjoyable experience that didn't just portray Bernd's phenomenal
control over the six-stringed instrument but that also clearly
showed his gift at *composing* - a quality sadly lacking from
many guitarists who just try to cram as many notes into as track
as possible. "Psycho Acoustic Overture" offers classics spin-
offs, awesomely fast solo guitar etudes and moody gothic-ish
background orchestras. I hated his bio stating that he sounded
like a cross between Mike Oldfield and Al DiMeola, for that was
exactly what I had wanted to come up with myself (and, as a
matter of fact, I *had* come up with the Oldfield bit).
Impressed thusly, I just *had* to get in contact with Mr. Steidl
and ask him whether he wouldn't mind being interviewed for ST
NEWS, even though we aren't a music magazine. I explained our
setup and the way we try to tell people what sort of music to
dig, and he immediately consented.
Needless to say I grasped the opportunity with both hands, the
result of which you can read below.
What's your date and place of birth?
I was born on July 9th 1966 in Landshut, a small town not too
far from Munich in Bavaria, Germany.
Can you give us a short account of your life (education, work,
when you started playing guitar, that sort of thing)?
I didn't have any special education at first. My grandparents
and parents were all deeply into all kinds of different musical
instruments so a lot of that brushed off on me. When I was five I
started playing the zither, but when I was nine I decided the
regular guitar would have to do. I also started playing electric
guitar. I didn't want to go to a European High School because,
musically, you had to learn to play old notes of dead people.
With respect, I wanted to play new notes and compose myself. I
went to the USA to study in 1985, and joined the Guitar Institute
of Technology (G.I.T. - where people like Paul Gilbert (Racer X
and Mr. Big) and Jennifer Batten also studied, ED.). In 1990 I
signed a deal with Mike Varney, and in August 1992 I sent Mike
the DAT master of the album.
What's a zither?
A zither is an old Bavarian music instrument with 48 strings.
You can regard it as a cross between a guitar and a harp.
What was your first guitar? Which guitars do you play now?
My first string instrument was the zither, my first actual
guitar was a Cosmotone which my uncle gave to me when I was a
kid. The custom-made guitar I play now is from a French guitar
maker by the name of Herv! Chouard. He's an incredible crafstman.
Actually, I am thinking of selling the flamenco model visible on
the front of the CD inlay and get a classical model instead.
Why did you decide to concentrate on playing the acoustic
guitar?
When I was at G.I.T. my electric guitar got stolen. I considered
that to be a twist of fate that told me to concentrate on
acoustic. So I did.
Do you play any other instruments?
I played keyboards on the album, but I like playing the piano,
too, when I have the time.
Who have been your greatest influences?
My main influences have been Sabicas, Paco DeLucia and Al
DiMeola, but I also got inspired by Jethro Tull, Pink Floyd,
Vangelis, Mike Oldfield, Alan Parsons and Jean Michel Jarre, as
well as some classical composers.
What did you have to do to get discovered? Did you send out
demos or something?
When I graduated at G.I.T. in 1988 I was already in close
contact with Mike Varney. Indeed, I sent demos. Even when I went
back to Germany after G.I.T. I stayed in touch and kept sending
demos.
Have you played in other bands previous to your going solo?
No, I haven't.
How would you describe your music yourself?
I have no idea, really.
Your album was delayed quite a bit. What caused this?
Financial problems - unfortunately we went overbudget, which
caused the delay.
What was it like to work with Atma Anur, who normally plays the
drums quite freakily and heavily with other Shrapnel recording
artists such as Cacophony and Jason Becker?
Atma is an incredible drummer and very much dedicated to his
work. I'd have to say it was very inspiring.
Do you use special tunings, custom fretboards, special
techniques to achieve high speed, etc.?
I hold the pick the usual way, between thumb and index finger,
and use alternate picking (an up-down picking motion when hitting
strings, as opposed to just hitting the string when the pick
moves down, ED.). To get more dynamical texture I sometimes use
muting, done by putting the palm of my right hand on the strings
which gives sortof what is called a pizzicato sound. I use a
staccato technique on my left hand, just like the hammers in a
piano. I use legato only very little (legato is sliding with your
finger from one note to another without actually picking the
second and further notes, ED.). I use nylon strings, but they
have to be the stiffest you can get to enable me to have high
action which, in turn, makes the staccato sound easier. Also, low
action simply doesn't allow very fast right hand picking. I use
very hard, sharpened and thick guitar picks. I use no
amplification - the entire album was just recorded stereo with
two AKG C 414 mikes.
Have you done instructional videos, or will you do one soon?
I haven't done any, and there are no plans for them as yet.
Has Shrapnel already mentioned the possibility of recording a
second album?
As a matter of fact, I have to do four albums for Shrapnel.
Can you give us some of your favourites, like favourite book,
film, album?
My favourite artists are Vladimir Horowitz (pianist), Gidon
Kremer (violinist), Thomas Mann (writer, I really like his
"Doktor Faustus"), Werner Herzog and Lucino Visconti (both film
directors), Dali and Picasso (both painters), Maria Callas
(soprano) and Leonard Bernstein (orchestra conductor). My
favourite theatre play is "Faust" by Goethe, and my favourite
movies are "Ludwig II" (by Visconti), "Mephisto" (by Szabo) and
"Fitzcaraldo" (by Herzog).
Which CDs are in your CD player most at the moment?
They vary a bit. At the moment they'd have to be Mozart's
"Requiem", Carl Orff's "Carmina Burana" and "Horowitz in Moscow".
Who is your favourite Shrapnel guitarist? What's your favourite
all-over guitarist?
All Shrapnel guitarists deserve full respect. I don't have a
favourite one. Right now I like Sabricas a lot, although my time
spent listening to other people is limited.
What is your favourite track on "Psycho Acoustic Overture"?
"Cobra Negra".
I find it hard to believe you played "Irrlichter" (the
fast unaccompanied guitar etude that starts off the album, ED.)
without dubbing. Did you or didn't you? Would someone be able to
give you a guitar at any moment of the day and would you be able
to play it just like that? "Irrlichter" is just too fast to be
humanly possible...
I think there was one punch so I had to play the whole thing
twice (these different versions can be found on the "Ominous
Guitarists from the Unknown" sampler and Bernd's debut, ED.). In
order to play it on any guitar I would have to warm up about 10
or 15 minutes on that particular guitar, but I could do it. My
worst playing times, by the way, are at daytime. I'm best in the
evening.
What was the worst day in your life?
I never really had a bad day (so I can't think of a worst one)
and I had a lot of best days. I couldn't be specific.
Is music a full-time professional thing for you? If not, what
other things do you do?
Music is a full-time profession. I don't want to do anything
else.
Will you be touring the United States or Europe within the
near future? If so, when and where?
Maybe I'll be touring, but the way I want to perform would need
an immense budget. I would need a 80-piece orchestra with
choires. But I might go on tour playing half live and the other
half playback. Everything in-between I wouldn't do.
Some words to react to now.
Mike Varney.
Mike Varney is getting a 100 tapes a week and is doing a great
job at discovering new talents and giving them a chance.
Helmut Kohl and the German Unification.
I'm a very non-political person, but I think the German
unification (although it's creating huge problems) will pay off
in the longer run.
Geigenhausen.
Geigenhausen is a tiny village in Bavaria. I live pretty
isolated in order to facilitate full concentration.
Joe Satriani.
I know he's a great player but I don't have one of his CDs or
anything.
Jason Becker.
The same as Joe Satriani, I'm afraid.
What's your ultimate ambition in life?
To be internally happy.
As we're a computer magazine I simply have to ask you if you
have a computer or not.
I don't have one, but I would like to have one that can print
out sheet music.
I'd like to thank Bernd for sacrificing a part of his time to
get this interview done.
--Farewell----
Looking forward to postcards! :-)
