Angine de Poitrine are arguably the breakout band of 2026. Since their otherworldly KEXP session went viral, guitarist Khn de Poitrine and drummer Klek de Poitrine have set the guitar world into a microtonal-guitar-meets-prog-rock frenzy.

The mavericks have now gained the support of fellow Canadians and prog legends Alex Lifeson and Geddy Lee, who have recently spoken about the Québécois phenomenon.

“Well, I think they're fantastic,” Lee told Chile’s Radio Futuro in a recent interview. “I love the fact that they've gone viral, because they're so unusual, peculiar, idiosyncratic.

“It's a sound that no-one's heard before. They've taken Primus and a bit of Rush and all the complexities and sort of boiled it down to a two-piece band using an incredible array of technology.”

Lee went as far as to say that Angine de Poitrine’s repertoire is the “most entertaining and exhilarating bits of music that I've heard for a long, long time.

“And I think most people that hear them find it somehow infectious, and I don't mean that like it's poisonous. I mean good infectious.”

Lifeson also chipped in, calling their arrangements and songwriting “hypnotic.

“You know, using the looping pedals to create a bassline, and then guitar lines over it, and keep building on it,” he pointed out.

“And above all, they're just great players. They really play their instruments so well, and that whole microtonal approach just makes it sound so exotic, and just mesmerizing.”

“And the drummer has a bigger nose than me, so I love it,” Lee quipped.

Other recent Angine de Poitrine disciples include Animals as Leaders’ Tosin Abasi, who recently had the privilege of wielding Khn’s microtonal double-neck guitar/bass, as documented by Willow Smith.

The two guitarists recently attended an Angine de Poitrine gig, and Abasi couldn’t help but lay his hands on what’s already proving to be quite the legendary guitar.

As for the rest of us, well, it seems like a signature may or may not be in the works – at least according to CEO Simon Godin.

“I’m speaking with their team,” he told Guitar World. “It’s not a yes or a no. Everything went very big, very fast, and now this is the instrument they’ve dreamed of.

“Maybe this is why, for now, they want to keep it unique. If we do make a signature version, it won’t be a big production. It will be more of a collectible item that you hang on your wall.”

Not content with merely reinventing technical guitar playing with Animals as Leaders, Tosin Abasi has also ended up changing the face of the instrument itself.

His own brand, Abasi Concepts, has staked new territory with its bold reimaginings of extended-range electric guitars via its Larada and Emi outlines. But the virtuoso has also collaborated with Ernie Ball Music Man on the angular chic of the Kaizen, and now with Cordoba for the Abasi Stage 7 – his long-awaited, groundbreaking ergonomic nylon-string design.

But, as he told Guitar World during a Q&A on his new Cordoba acoustic at NAMM 2026, he had no intention of ever designing instruments. It was necessity – namely the shortage of quality extended-range guitars – that ultimately forced his hand.

“It was never really part of the plan,” he says. “But once you start playing eight-string guitar, especially if we go back 10-15 years, you didn’t really have options. I cut my teeth on the design aspect by having to commission these custom-built guitars, and it really forced me to think about what was important to have in an extended-range instrument, and what wasn't.

“There’s a lot of extended range guitars that basically take an existing six-string and just add strings, and I don’t think that hits the mark, as far as how comfortable and playable these instruments can be.”

Although he’s always had an interest in fashion and design, Abasi has been surprised by the impact he’s had on the industry – something that was perhaps best exemplified last month when his former flame Ibanez dropped its ergonomic new Alpha Series.

Fans – and Abasi’s own bandmate – were quick to point out its similarities to the AAL leader’s efforts. As he says, with a twinkle in his eye, “At this point, we’re even being emulated by other companies…” Imitation, of course, being the sincerest form of flattery.

It’s a mark of how far Abasi has come as a designer, especially as creating guitars has taken on a whole new meaning for the guitarist. It’s no longer just a means to an end. It’s a way to fulfil the musical ambitions of a new generation of players. And he feels like a proud parent.

“There's almost a paternal quality to making an instrument for another musician. It's one thing to make music that people consume. It's another thing to make instruments that other musicians use to make their music.

“There's a totally different relationship when it comes to making instruments, because your guitars go out into the world, and then you see someone producing their own music on it. It's a sense of pride or something.”

You can watch the full Q&A with Tosin Abasi, in which he details the design process for the Cordoba Abasi Stage 7, as well as his classical guitar and design journey, above.

Ibanez’s all-new electric guitar model, the Alpha, is gunning for the currently bustling progressive and metal guitar markets.

Yet one of the scene’s biggest players, Javier Reyes of Animals as Leaders, has taken issue with the design, as comparisons to two other guitars – both designed in collaboration with his bandmate, Tosin Abasi – intensify.

Available exclusively in seven-string and eight-string formats, the Alpha seemingly continues where their signature guitar collaboration that never was with Abasi left off. Abasi spent many years as an Ibanez artist before launching his own brand, Abasi Concepts, in 2017.

Some on social media are claiming they assumed the Alpha was a new Abasi Concepts design and there appear to be some notable similarities between the lower horn and cutaway bottom of the Alpha’s silhouette and those of Abasi’s Larada model.

Then there’s the Kaizen, which Abasi built in partnership with Ernie Ball, and appears to have offered some influence on the top horn side of the Alpha body shape.

Indeed, if you simply splice together the top of the Kaizen and the bottom of the Larada in Photoshop, you get a result remarkably similar to the Alpha’s outline...

That’s all seemingly prompted Abasi’s co-guitarist Reyes to comment a thumbs down emoji in response to Ibanez’s Instagram post launching the guitar, before asking, “What’s Japanese for shameless?”

When pressed for more from other Instagram users, Reyes responded: “I’m just another Yelp reviewer like you. I respect and appreciate your opinion, like my band members' contributions to my life. But be smarter. If you can’t discern that [the designs are very similar]. That’s not on me. You should be smarter, or don’t be a Yelp reviewer.”

Yelp ratings aside, the fact that the Alpha was launched on Tosin Abasi’s birthday was also not lost on some of his fans.

However, other commenters on Ibanez’s post have rightly pointed out how shape copying is no new fad in guitar design. Strat and Tele shapes are incredibly commonplace because, legally speaking, those guitar designs have been deemed generic.

It’s a slightly different story for V- and Z-shaped guitars, with Gibson winning its trademark dispute with Dean, as it successfully argued that those shapes were its intellectual property.

The Alpha, meanwhile, creates a new outline, albeit by splicing two shapes together and tweaking them slightly, which is fairly common practice.

Time (and, we imagine, some IP lawyers) will tell if that’s enough for Ibanez to avoid breaching patents or trademarks held by either Abasi Concepts or Ernie Ball, but it seems unlikely the firm would not have investigated such a possibility prior to the launch.

At the time of writing, Abasi has not issued a response to Ibanez’s first big launch of 2026. His last Instagram post was from the day of the drop, celebrating his 43rd birthday.

In a recent interview, however, he teased the future of Abasi Concepts, with the guitarist set to expand his roster of electric guitars and pedals in new ways.

Meanwhile, we suspect the debate about whether the guitar's design cuts too close to the bone of Abasi's standout designs will continue to divide opinion.

• Guitar World reached out to Ibanez, Ernie Ball, and representatives for Tosin Abasi and Javier Reyes for their response, but had not received comment at the time of publication.

As the creative powerhouse behind both Animals as Leaders and Abasi Concept, Tosin Abasi has helped to redefine the contemporary guitar landscape.

As the CEO of Abasi Concepts, he's continuing to push the boundaries of what a guitar can sound and look like. Naturally, with the brand recently expanding its wares to pedals, any tone conversation nowadays would be remiss not to include amp modelers and plugins.

“Abasi Concepts was always meant to be an umbrella encompassing more than just guitar design,” Abasi tells Premier Guitar.

“We’re interested in solutions across the board. And part of the fun of having the company is that we get to manifest the things we wish existed.

Abasi also has a high-profile collaboration with Neural DSP in the form of the Archetype: Abasi plugin suite, which in turn could influence some of Abasi Concepts' own output in the future.

“We’d love to have an offering in each of those spaces,” he teases. “Software is a territory that we have not really stepped into yet, but it is clearly of such utility that it would make sense.

“But Ivan [Chopik, Abasi Concepts COO] and I are both big fans of tube amplifiers,” Abasi admits. “There’s no substitute for playing an amp in a room. So the amp thing has been a conversation.”

In a Guitar World interview earlier this year, Abasi shared his thoughts on amp modelers – explaining that, for him, it’s very much “a [case-by-case] scenario depending on the gig.

“There are times I will use modelers, and there are fantastic companies like Neural DSP [who make them],” he divulges. “They cloned my tube rig and it's shocking [how good it is]. Our feeling is that modelers are basically perfect, especially at the end of the chain, when you're hearing a mixed record or a mixed band.

“But there's nothing that defeats the experience of plugging into an amp and a cab in the room. And it's not knocking modelers, it's just saying there's literally physical differences between how the sound is being produced. So for me, it's like a love of both, right? It's like, I still like engines but [electric vehicles] have their place.”

Abasi’s band, Animals as Leaders, has just been announced as the sole support act for the SatchVai Band’s maiden U.S. tour.

Joe Satriani and Steve Vai's maiden European tour as the SatchVai Band this past June and July was a milestone moment for the guitar world.

Now, the two are bringing their band to the States for a new leg of the aptly-titled Surfing with the Hydra tour in April and May 2026, with Animals as Leaders as support on all dates.

Speaking about the two’s first-ever collaborative States-wide tour, Vai says, “The SatchVai Band summer Euro tour of 2025 far exceeded anything I could have imagined. Joe and I struck pure jammin’ gold night after night.

“Being in the same band with Joe, playing songs we actually wrote together on stage, in real time, felt like watching a childhood fantasy step out of my teenage brain and stroll onto the stage. And somehow, it was even more rewarding, satisfying, and downright fulfilling than I ever thought possible.”

Alongside Satriani and Vai, the lineup is rounded out by drummer Kenny Aronoff, bassist Marco Mendoza, and guitarist Pete Thorn. They will not only be performing the collaborative releases the duo have put out so far, but also new material from a forthcoming Satch/Vai album and favorites from the pair’s prolific catalog.

Pre-sale tickets for the tour have just kicked off today with an Artist Presale, followed by local pre-sales tomorrow (December 11) and public on-sales on December 12.

For more information, head to the SatchVai Band's official website.

Earlier this year, the electric guitar titans released their sophomore collaborative single, the ’70s-flavored I Wanna Play My Guitar, with Glenn Hughes on vocals, which continued to tease what fans can expect from their upcoming album.

What is it?

It's safe to say Tosin Abasi is already one of this century's key progressive players. This is someone who has made his name through pushing the boundaries of the electric guitar. Thumping, tapping, performing impossibly dextrous clean fingerstyle passages, shredding like a man possessed, and churning out brain-breaking low-register metal riffs, Abasi has spent the last two decades rightly hailed as one of the geniuses of modern guitar.

Such a player requires a special instrument, and Abasi’s latest weapon of choice is the Kaizen, developed with American legends Music Man.

A bold offset design, all angles and points; with fanned frets for balanced tension, plus proprietary pickups and custom shop build quality, in a range of vivid colors. As you can imagine, it’s not a cheap electric guitar - but can those principles be adapted into an instrument that more of us can afford?

That’s the question today, with the new Sterling by Music Man adaptation of the Kaizen. Music Man’s sub-brand needs no introduction, having a lengthy track record of high-quality mid-range guitars and basses; this latest addition to the range will be welcomed by Abasi fans, as well as anyone else exploring the forms that a modern electric guitar can take.

In particular, I’ve got my hands on the seven-string variant, likely to be of particular interest to the target audience.

Specs

• Price: $899/£1,099/€1,229
• Made: Indonesia
• Type: Seven-string electric guitar
• Body: Nyatoh
• Neck: Roasted maple
• Fingerboard/radius: Rosewood, 15.75"
• Scale length: 25.5"/648mm
• Nut/width: Plastic/49.5mm
• Frets: 24
• Hardware: Steinberger Gearless tuners, Sterling two-point vibrato, black finish
• String spacing at bridge: 10.8mm
• Electrics: 2x Sterling by Music Man uncovered ceramic humbuckers, volume, tone, 3-way toggle
• Weight: 6lb/2.7kg
• Options: Kaizen 6-string, $849/£999
• Left-handed: No
• Finishes: Firemist Purple Satin (as reviewed), Stealth Black
• Cases: None included
• Contact: Sterling By Music Man

Build quality

Build quality rating: ★★★★☆

Only two colors are offered - it’s this Firemist Purple Satin, Stealth Black, or nothing; even the purple is a subdued shade that rather downplays the Kaizen’s dramatic shape.

Some glossier, more unapologetic finishes might do wonders for the aesthetics, as it could be argued that this model looks a little undercooked as is. There were a couple of small finish flaws on our review example, too.

The build underneath is not to be sniffed at, though; a smooth, attractively-grained roasted maple neck and well-fretted rosewood fingerboard mated to a lightweight nyatoh body.

The Sterling Kaizen ditches the fanned frets of the USA model, but it’s a comfortable and ergonomic experience that should cater even to those unfamiliar with seven-string guitars.

The USA-built Kaizen’s Steinberger gearless tuners do make their way over here - a plus from functional and aesthetic perspectives alike. It gives the headstock a streamlined, futuristic aesthetic with no buttons poking out from the sides, while the machines themselves are silky-smooth in action. At the other end sits Sterling’s tried-and-tested two-point vibrato.

Playability

Playability rating: ★★★★½

The body might look strange, but the shape sits comfortably and balances well thanks to the long top horn. The neck is slim and subtly rounded, feeling hardly bigger than the average six-string neck despite actually having a slightly above-average seven-string nut width. The vibrato is smooth and expressive, holding tuning well.

On a seven-string guitar, the standard 25.5" scale length can feel like a compromise, not allowing the low B string the tightness it truly needs, but engineering in fanned frets would add hundreds to this guitar's price tag.

Overall, the Kaizen plays superbly and encourages you to put your best foot forward technically; it’s Tosin Abasi’s guitar, after all.

Sounds

Sounds rating: ★★★★☆

Tonally, we’ve two unbranded ceramic humbuckers described as “focused, with an aggressive midrange bite”.

In theory then, ideal for modern metal guitar sounds – especially with extended range, where low frequencies must be tightly controlled. No doubt Sterling by Music Man suspects many buyers will swap straight over to their own choice of esoteric seven-string pickup, maybe even Abasi’s own signature Fishman Fluence set - but let’s give these stock units a fair shake.

Encouragingly, the humbuckers immediately make good on their ‘focused’ brief – there’s decent attenuation of boomy lows, and plenty of punchy midrange to cut through a mix.

Some extreme tone-chasers will still wish for a sharper and more cutting sound, but there’s no lack of good qualities here. It also doesn’t push a cleaner signal into undue breakup, important for those seeking to emulate the frequently clean-toned Abasi on a budget.

Not the most inspiring lower-gain voice, but perfectly usable. Tonally, it certainly stands up to other comparable seven-strings, and the slinky playing experience only enhances the enjoyment.

Verdict

Sterling's take on the Kaizen, necessarily, has to dispense with such niceties as the fanned frets and the custom pickups, but what's left is still distinctive and bears the hallmarks of a guitar that has been thought through very well.

You might want new pickups, and the aesthetics aren't up there with the show-stopping USA model, but the playability and ergonomics of this entry point to the Kaizen model leave many rivals in the dust.

Guitar World verdict: It might not have the full complement of features that define the USA Kaizen, but this Sterling model takes the basic design ethos and morphs it into a very well-executed mid-range model. Scoring especially highly for its superb ergonomics, it ought to appeal to those seeking a highly playable seven-string.

Also try

Hands-on videos

Ernie Ball

SevenstringTV

• “A must-try for fans of guitars that push the boundaries of instrument design”: Sterling by Music Man St. Vincent Goldie review

After first announcing its arrival in January, Sterling by Music Man has finally launched a more accessible version of the highly acclaimed, Tosin Abasi-designed Kaizen model.

Back at NAMM 2022, the Animals As Leaders guitarist surprised-announced that he had partnered with Ernie Ball Music Man to design the Kaizen – a futuristic electric guitar that introduced a new body shape and offered a range of cutting-edge specs geared towards contemporary players.

It first arrived solely as a seven-string guitar, but a year later, it was introduced as a six-string. Both models, however, came with multi-scale designs that – while in keeping with the forward-thinking design approach of the Kaizen itself – distanced itself from regular players. That, as well as the $3,999 price tag.

In the ensuing years, guitar fans have been asking for a Sterling by Music Man Kaizen spin-off, one that would bring the design to a lower price point while also offering a platform for more conventionally inclined players.

Now, Abasi and Sterling by Music Man have responded, launching regular-scaled six– and seven-string formats that make “the forward-thinking design more accessible than ever”.

“I want the guitar to play fast, I want it to wear close to the body, and I want it to communicate a degree of aggression and forward-thinking – and I think the Kaizen really embodies that,” Abasi notes of the release.

“There’s a foundational shape to the Kaizen that’s really bold and impactful, but it doesn’t depart too far from what a guitar should look like. I like when the form is informed by the function.”

As such, the Sterling Kaizen – which slashes more than $3k off the original’s price tag – follows the cues of its source material, with a radical double-cut body built from nyatoh.

It’s joined by a roasted maple – topped with 24 frets – as well as a rosewood fingerboard, Steinberger gearless tuners, a Modern tremolo, and a 25.5” scale length.

There are, as you may expect, a few cost-cutting measures baked-in to the spec. Price-slashing efforts include regular ceramic humbuckers – as opposed to the high-end Heat Treated pickups found in the OG – as well as the 15.75" radius, which is drafted in over the innovative Infinity radius from the previous model.

Nonetheless, the essential spirit – or at least the shape – of the Kaizen seems intact.

“We needed to retain some things from the Music Man model because they’re quintessential to how the guitar plays and feels,” explains Abasi. “And we changed some things that we thought would actually be beneficial. This was an opportunity to give people an option, and I think we really hit a sweet spot.”

The Sterling by Music Man Kaizen is available in Firemist Purple Satin or Stealth Black, and is available for $849 or $899 depending on its string configuration.

Head over to Sterling by Music Man to find out more.

Digital modeling pros Neural DSP love a creative publicity stunt, and they’re no strangers to pairing hotshot shredders together, locking them in a room, and seeing if they can write a song in 24 hours.

We’ve already seen Plini working with ex-Megadeth man Kiko Loureiro and Mateus Asato, and producing magic, but seeing him team up with Animals As Leaders’ madcap genius Tosin Abasi feels like a dream collaboration.

In a surprise to no one, Plini opts for his signature “ridiculous space-age looking” Strandberg, and Abasi his self-made Abasi Concepts Larada, a guitar that Justus West snuck onto Beyoncé's new album.

Straight off the bat, Abasi stumbles upon a selective picking idea that leads Plini to point at him, a lightbulb pinging in his mind, to say, “Does that exist?! Okay, good.”

As they develop the idea, Plini laughs, “This is a part you’ll play, isn’t it?” The Aussie experimented with the technique on his latest EP, Mirage – which fittingly, features a guest solo from Abasi – but he’s regularly professed to being an amateur with it, especially compared to the man who coined it.

Where he excels, however, is with his emotion-draped chord progressions. In fact, he’s the one in charge of giving the song its core progression, and it’s as dreamy as they come. It's fascinating seeing the pair dissect the progression, trading chords for different feels with, at one point, Abasi taking on an almost directorial role.

The pair also show a keen ear for dynamic detail, with Abasi swapping from alternate picking to pure down picking à la James Hetfield for a more “metal” and attack-y approach.

“I rarely do straight down strokes,” Abasi confessed. “I haven't played Metallica in a while.”

As with any strong songwriting partnership, there are also disagreements. While penning the second section – an ascending chordal run that finds Abasi fingerpicking and Plini on lead – Abasi pushes for “a consonant in resolution” before any curveballs are thrown. Plini counters with, “You think, not just straight curveballs?” – a smile across his face the whole time.

Plini’s talents are properly tested when Abasi switches to a thumping part on his eight-string, leaving space for Plini to dive into a selective picking concept.

“Fucking hell,” he exclaims after fumbling his line. “Why do you write things like this?”

The idea is to syncopate the thump with the selective picking, but in a quest to make the Aussie’s part more personable to him, he’s put out of his misery.

“You were about to do a single note thing,” Abasi ponders as Plini battles with the part. “I wonder if it's a better use of Plini to do that,” he says, “and have the loop do a distorted version of the arpeggio,” which is then dialed in on the Archetype: Abasi plugin.

It goes to show that even the world’s best players have humanizing moments – although it seems Abasi comes away from their day’s writing pretty unscathed.

Elsewhere, there are crunchy, octaver-infused chord progressions “that sit right on the balance of an obvious and not obvious,” with Plini having stolen the octaver pedal for Gojira's signature plugin for his reprised edition, Plini X.

Abasi dishes out a key lesson that “sometimes, what a part needs is the most obvious thing,” leading Plini to quip, “Have you heard your music?” And there's also a charming moment as they nail down a harmonized lead line that has Plini musing, “Is this what it's like to be in band?”

The video offers a candid insight into how the two generational talents approach their respective instruments and songwriting processes. And, considering their tight-knit friendship and status as two of the most innovative guitarists born this side of Eddie Van Halen, it seems incredible that this represents one of their only collaborations together.

In other Tosin Abasi news, the trailblazing guitarist and entrepreneur recently released his first signature compressor pedal, the Micro-Aggressor.

Tosin Abasi is one of the 21st century’s most prolific electric guitar innovators. From reinventing ergonomic eight-string design by launching his Abasi Concepts brand to pushing the boundaries of progressive metal through his work with Animals As Leaders, the guitar virtuoso/designer has always been a key figure in the world of heavy music.

However, back in 2022, Abasi teased he was tempted to take a temporary hiatus from heavy music, after he decided to go down the blues rabbit hole and buy virtual lessons from Oz Noy, Josh Smith and even Joe Bonamassa.

At the time, he said he had “flirted with the idea of doing a blues album”, but almost three years on, and there’s been no sign that any such thing will actually happen.

Naturally, when we caught up with Abasi at NAMM 2025 to discuss all things Abasi Concepts, we couldn’t help but sneak in a question about new music he was working on – and that included asking for an update on his elusive blues record.

“This is funny,” Abasi laughs when reminded of his blues promise, “because Ivan [Chopik, Abasi Concepts COO] is a fantastic blues guitarist, and I’d never really gotten into the genre. And there's amazing players like Josh Smith and Eric Gales that I’m like, ‘Okay, I've been missing out.’

“So I had a moment over the pandemic, where I was like, ‘I’m learning the blues,’ and I got really into it, and I said I’d do an album.”

However, the idea of doing a blues album has slightly lost its appeal to Abasi – not because he doesn’t enjoy the genre, but because he respects it too much.

“I gotta respect the art,” he reflects, “and I don't know that I've evolved to the point where I can [do it justice], you know what I mean? But it's fun. It's fun to mess around with.”

It’s certainly an unfortunate update, especially when one considers just how tasteful Abasi’s blues chops are. While studying the genre, he posted a few clips online (see above) and we can’t help but feel we need Abasi to rip through some more blues shuffles on his Abasi Concepts Larada.

Those hoping for new Animals As Leaders music, though, do not fear: Abasi might not be working on his debut blues turn-out any time soon, but he is certainly planning to get the next AAL written and wrapped up as soon as possible.

“We are about to begin pre-production on an album,” Abasi confirms. “We do have some touring – we're headed to Europe in a few weeks – but I want to spend a portion of this year writing the record. In a perfect world, it'll be written and recorded by the end of this year.”

The full interview with Tosin Abasi will be published to the Guitar World website and YouTube channel in the coming weeks.

This interview with Tosin Abasi was first published in Guitar World in 2014.

The Animals As Leaders guitarist has quickly risen to the top of the new school of virtuoso players… and he used to shovel dog poop for a living. But what Guitar World readers really want to know is…

Where does your impeccable fashion sense come from? Some of your outfits are out of this world. – William Best

“[laughs] Well, I go on fashion blogs like the Sartorialist or FaceHunter, and look at a lot of street fashion. My brother is actually a fashion designer and he’s influenced me. I had a girlfriend for close to 10 years, and she was a huge influence on me, too.

“I don’t really separate things. I love music and I love aesthetic art as well. I feel like there’s a thread between visual art and music. Sometimes a designer can give me a similar feeling and impact me as strongly as hearing a really cool song or a really great guitar player.”

I am currently a freshman enrolled in a Jazz Studies Associates Degree program at Berklee College of Music. But I am debating switching to Atlanta Institute of Music because of the significant costs of Berklee. As a graduate of AIM, I was wondering if you could explain what you feel are the advantages of that program. – John Karkosiak

“It’s hard for me to speak in contrast, because I didn’t go to Berklee. But I chose AIM partially because I didn’t want to take any other core subjects, like history, math, or any of that. I just wanted to focus on music.

“AIM is good for that because it’s a condensed curriculum focused on music, and you can complete the curriculum in one year. And I didn’t want to spend four years without touring or gigging. So if you want to get a really condensed, concentrated musical education without being out of the scene for a few years, and save money, I think AIM is perfect.”

Was there ever a defining moment in your life where you felt like you had “arrived” as a musician? – David White-Goode

“Man, I’d say meeting Steve Vai and having him express liking my music. That was pretty… [pauses] I mean, I used to play his signature guitar! This is a guy that basically spearheaded the genre that I’m participating in.

“Just as a person, he’s got this guru vibe. The Guitar World cover that I was on with Steve [September 2012] was a big deal, too. And getting a signature Ibanez guitar is ridiculous. Those three instances have been, like, ‘Oh, this is a real thing!’”

I’ve been a six-string player since I learned guitar five years ago, but now I’m interested in expanding my sound. What advice would you give on how to transition to seven- and eight-string guitars? – Toby Schlitz

“I recommend getting a seven-string first and working on things like octave identification and recognizing patterns on the fretboard. This will help you better integrate the extra string.

“Another cool thing is to practice six-string material while avoiding the seventh string; then, once you’re comfortable, start writing material that incorporates the seventh string. This way, you’ll get used to knowing that extra string is there, and when you start writing your own material, it’ll be coming from an intuitive place.

“You should also learn seven-string music by other musicians and take chord voicings for six-strings and translate and revoice them on the seven-string.”

When you were younger, were you better at hand-eye coordination than other kids, like with video games, sports, and so on? Just curious, because there always seems to be something that separates a prodigy from the average player. – Jon Dallaire

“I don’t know that I was better than at sports than other kids. I mean, I was decent at some sports, like baseball, soccer, football, and hockey, but I just played them for fun. I was actually more into visual art. I would illustrate a lot and do comic books and stuff like that. That was my first creative outlet before guitar, and I guess that’s hand-eye coordination.”

In an interview a short while ago, you mentioned that you practiced yoga. How strongly has that practice affected you as a guitar player? – Broken_Hyren

“I think yoga is amazing. I also practice transcendental meditation. Both those things help to center you. So when you’re thinking about creativity, it comes from a source – an inner source. When you’re meditating, you’re bringing your consciousness to that centered source of creativity and intelligence. I think it’s reinforced my creativity. And even physically, it’s helped my response time and reflexes.

“Being centered and aligned allows you to execute anything physical more proficiently. I still do both yoga and mediation, and I think they’re super beneficial whether you play guitar or not.”

You often talk about how transcendental mediation can jump-start creativity. I’m wondering if you explore any other methods, like smoking herb? – Hong Bit

“[laughs] I have experimented with various substances. Smoking a little weed can definitely get the creative juices flowing. But I don’t know if I’d tell other people to go out and do that. Everyone has their own method, but I think meditation is something that will benefit you holistically. It doesn’t take away from your body; it actually reinforces you. In my opinion, it’s the best way to tap into creativity.”

You’ve been on the cover of Guitar World twice, and you’re always being hailed as one of the greatest new guitarists out there. Does that kind of attention cause you to feel extra pressure? Does it bother you, or maybe motivate you? – Frank Harris

“It’s starting to get a little bit weird, actually. And I’m sure there will be the inevitable negative backlash that comes along. Yeah, it means that if I pick up a guitar in front of someone who knows me, I’d better sound like one of the best guitar players on the planet. [laughs]

“It’s kinda stressful, man! I really appreciate the positive reinforcement, but I think there are so many other super-talented, under-recognized guitar players out there. So for me to be so prevalently appreciated, I think I can start to feel guilty and kinda pressured. But I guess it’s a good problem to have.”

What did you do for a living before Animals As Leaders? And do you still have to work a day job when you’re off tour? – Buddy “Victory Boy” Yarnall

“Dude, when I was going to the Atlanta Institute of Music, I worked at a dog kennel. It was a boarding facility, and I was cleaning up shit and piss in a concrete room with 40 dogs barking at me at the top of their lungs. [laughs] I also worked at a fish cannery in Alaska, where I processed salmon for, like, 16 hours a day. That’s actually how I saved up to buy my Steve Vai guitar.

“I’ve worked in coffee shops. I’ve done a lot of odd jobs. But now I just play guitar for a living. Between the clinics, tours, and lessons, I make enough money to get by.”

Have you ever consider putting vocals in Animals As Leaders? Not saying you need to. I think your sound is awesome. Just wondering. Can you sing at all? – Russell Davis

“I do not sing. [laughs] And vocals? I don’t think so. We like that it’s an instrumental band. But maybe future projects would involve me working with a vocalist.”

I’d love to get some tips on how you structure your practice routine. Do you separate your practice into sections, such as technique, composition, etc.? – Max Liebenberg

“I think it’s a good idea to section your practice sessions. I’ve been playing for 18 years, so my routines have changed. But I used to always warm up to a metronome while doing alternate-picking exercises, then maybe legato exercise and string-skipping exercises.

“Then, I’d spend 20 to 30 minutes reading music. Then I would usually pop in an instructional video and work on something that was cool from the video. But I’d say metronome-based practice is about as structured as I get these days.”

Dream Theater’s Dreamsonic tour – for which they recruited Devin Townsend and Animals As Leaders – recently came to a close, and to commemorate the occasion Tosin Abasi gifted John Petrucci an electric guitar from his brand, Abasi Concepts.

But this wasn’t just any electric guitar: instead, this was Abasi’s radical Emi 8 model, which revived the artwork of one of Trooch’s most iconic instruments – his Picasso-esque Ibanez JPM100 P1 signature guitar.

The JPM100 was first introduced in 1995, discontinued in 1999, and was notably the only John Petrucci Series production model. It arrived initially with five different color schemes, but arguably its most iconic variant came strapped to the P1, which saw action on Dream Theater's Images and Words record.

Fans of the finish will also associate the guitar with Rock Discipline – the Dream Theater virtuoso’s classic tuition tape from ‘96, which saw Trooch wield the technicolored six-string for a series of in-depth lessons.

It’s not an exaggeration to say Rock Discipline – and, by extension, that quirky JPM100 P1 – had a formative influence on countless players (Abasi Concepts COO Ivan Chopik counts himself among that crop), so to see the finish in 2023 makes us very nostalgic indeed. 

What’s more, to see it attached to the okoume body of an Emi 8 – one of today’s most ergonomically crafted and radically designed eight-strings – somehow seems even more fitting.

On Instagram, Abasi shared snaps of the guitar and wrote, “@johnpetrucciofficial has always been a massive source of inspiration for us @abasiconcepts, so we decided to pay homage to the [Greatest Of All Time] by recreating one of his iconic guitar finishes from the past with this sick one-off ēmi 8.”

Chopik went into further detail in a post of his own, revealing they tapped the artist who painted the original guitar, Dan Lawrence, to transform the Emi 8.

“Life definitely came full circle in this very cool moment,” he wrote. “@johnpetrucciofficial has always been a massive source of inspiration to us at Abasi Concepts (for me starting with Rock Discipline about 20 years ago), so we decided to pay homage to one of his iconic guitar finishes with this incredible one-off ēmi 8.” 

We haven’t yet seen footage of Petrucci play his new Emi 8, but now he’s got his hands on the spiritual successor to his JPM100 P1, perhaps a Rock Discipline sequel is in order?

What's more, the two Abasi Concepts leaders have stressed this is just a one-off, but we can’t help but harbor slim hopes that the other JPM100 finishes will also get resurrected.

All we’re saying is the artwork of the two-tone JPM100P3 – which saw action on Falling Into Infinity and Liquid Tension Experiment – would be the perfect follow-up model.

Head over to Abasi Concepts to found out more about the standard Emi 8.

While on the Dreamsonic tour, Petrucci and Abasi shared the stage to serve up spellbinding harmonies on Dream Theater's The Spirit Carries On.

Tosin Abasi was once the poster boy for Axe-Fx and amp modeling, but recent years have seen the eight-string virtuoso turn to real amps and fully loaded pedalboards. In fact, the Animals as Leaders mastermind has been so convinced by the tonal benefits of tubes that he re-recorded latest album Parrhesia with real amps, despite having already tracked the entire thing using plugins.

So, any further sonic switch-ups from the pioneering player and gear savant will be watched with considerable interest, and for Animals as Leaders’ current tour with Dream Theater and Devin Townsend, Abasi has overhauled his tube amp backline.

The Abasi Concepts leader is now using a Bad Cat Amps Lynx – a high-gain, EL34-loaded head and combo designed for highly articulated distortion tones, with a built-in noise gate. This is paired with an unreleased pre-production model named “Jet Black” for a stereo rig.

“When I plugged into the new Bad Cats I didn’t have to look for my sound first – it was immediately there,” says Abasi of the new setup. “I hadn’t heard such clarity and definition before.”

“Working with Tosin is simply inspiring,” adds Peter Arends, CEO of Bad Cat Amplifiers. “His creativity, musical abilities and innovative playing are recognized and admired well beyond any rock genre. We share a passion for creating new sounds without preconceived ideas and we certainly won‘t stop here.”

The Lynx’s high-gain credentials initially made us wonder whether Abasi had ditched his Pathos distortion pedal, which he previously ran into a cleaner Morgan backline. But a closer look at the new Jet Black reveals a built-in tremolo circuit – normally a surefire sign of a cleaner amp – which could potentially still play host to a drive pedal or two.

Given that, we’d wager the Jet Black is simply a new Bad Cat amp design rather than any kind of Abasi signature amp. But a model that combines the best of both amps? Now that would be a smart idea.

However he’s configured his backline, Abasi’s tones are currently sounding mighty fine indeed – as evidenced when he joined John Petrucci to lock fretboards for some spellbinding harmonies on Dream Theater's The Spirit Carries On during their joint tour.

NAMM 2023: Ernie Ball Music Man has bolstered its Kaizen electric guitar range with the introduction of a long-awaited six-string version of the radical Tosin Abasi-designed instrument.

At last year’s NAMM show, the Animals As Leaders guitar titan and Ernie Ball Music Man announced their surprise partnership by releasing the fruits of their collaborative labor – the Kaizen – which was introduced exclusively as a seven-string machine.

The reaction to the forward-thinking creation was overwhelmingly positive, though fans of standard six-string guitars – and those who weren’t particularly taken by the seven-string design – all had the same question on their minds: will a standard Kaizen ever get released?

Well, those guitarists have now got what they wished for, with the arrival of the latest Kaizen model.

Despite arriving with one less string, the Kaizen retains the majority of the flagship model’s appointments, including the multi-scale design that ranges from 24.75” to 25.5”. 

Once again, the custom-designed alder body is paired with a roasted figure maple neck, which in turn is topped with an Infinity Radius ebony fingerboard. According to the brand, the strategically crafted conical radius also utilizes uniquely placed dot inlays to increase comfort and enhance visibility of the ‘board.

The same hardware can also be found, with the Kaizen’s multi-scale design playing host to a modern Music Man tremolo system – an unusual spec for multi-scale guitars that also offers spring dampeners that work to alleviate unwanted noise.

Steinberger Locking Gearless tuners also make the cut, as does a set of Music Man Custom Wound pickups. Specifically, the Kaizen features a HT Bridge humbucker and Offset Mini Neck humbucker, both of which are wired to a three-way selector switch, and master volume and tone knobs.

When the model arrived last year, Abasi said the Kaizen reflected his desire to keep “pushing the instrument forward”.

“Part of the reason we did this is encapsulated in the name, 'Kaizen'. I think a lot of the time, people look at the guitar as fixed. That is totally fine, but I am inspired by pushing the instrument further, and I think this was an opportunity to do that,” Abasi said of the collaboration at the time.

Both the six-string and seven-string Kaizens are available in four finishes: the standard Apollo Black, and the limited-to-60 Indigo, Mint and Chalk.

Because of the absence of that extra string, the latest Kaizen is slightly cheaper, ringing in at $3,799.

For more information, head over to Ernie Ball Music Man.

I call it ‘sharpening the knife,’” says Tosin Abasi, describing the approach he and his longtime Animals As Leaders guitar partner Javier Reyes adopted when recording the group’s super-aggressive fifth album, Parrhesia. 

“On the past couple of albums, we explored a lot of different directions; we got very experimental and we did some fusion-y stuff. This time out, Javier and I consolidated the elements we wanted to incorporate and we went for a more bludgeoning experience.” He laughs. “That sounds pretty good, doesn’t it?”

For Javier Reyes, the decision to operate at this maximum intensity was a no-brainer. “We did the more ambiguous thing, so this album is our way of telling people, ‘Don’t get things twisted – we can still go hard,’” he says. “We like the fusion-y jazz stuff; otherwise, we wouldn’t have written it. But at the end of the day, our roots are in progressive metal. That’s the core of our fanbase – metal fans. So we wanted to go back and continue that train of thought.”

It’s been six years since Abasi, Reyes and drummer Matt Garstka issued an Animals As Leaders album (their last effort was 2016’s The Madness of Many). That’s the longest stretch between records since the band’s 2009 self-titled debut. 

Abasi and Reyes first started compiling demos for the new set two years ago, during the first wave of the Covid pandemic, and they spent six months recording the album – four tracks were self-produced, while the remaining cuts were done in collaboration with the band’s long-serving producer (and founding member of the D.C.-based prog-metal band Periphery), Misha Mansoor. 

When asked if the pandemic’s on-again, off-again lockdowns contributed in any way to the relentlessly belligerent nature of their new music, Abasi says, “It’s nothing we talked about, per se. I don’t think the album relates to the pandemic, but maybe some pent-up frustration came through. Basically, we just started molding the music, and we found that it was heavier than usual.” 

Indeed, the nine tracks on Parrhesia contain some of the most vicious moments Animals As Leaders have ever recorded. Conflict Cartography and Monomyth come at you like battering rams, with eight-stringed wonders Abasi and Reyes set on two modes: intense and high-octane intense. 

The aptly named Micro-Aggressions is a string-skipping punisher, with hot beams of blitzing riffs firing off in every conceivable direction – before you have a second to duck, another fierce salvo is on the way.

Gestaltzerfall – now there’s a mouthful – flies across the sonic spectrum as the two guitarists summersault over each other while trading spiky, meticulously targeted body blows.

There are brief reprieves in the assault – the whacked-out and woozy guitar lines of The Problem of Other Minds float over a rippling, hypnotic rhythm bed, and Asahi is a surprisingly gentle mood piece highlighted by graceful, legato soloing – but for much of the ride, Parrhesia will have listeners gripping their seats for dear life.

For those who have yet to Google, the definition of “parrhesia” is “boldness or freedom of speech” and, in some instances, “to speak the truth.” Abasi admits he thought it was “a cool word that encapsulates our approach to making sounds,” but he also sees it as a metaphor for the band’s philosophy. 

“There’s kind of an iconoclastic element to what we do that cuts against the grain, but it’s true to us. Considering the cultural discourse right now, there’s so much being said, and I think just the idea of being centered on truth and being committed to that has always been a compass we’ve used to direct how we write music.”

As virtuosos, do you two feel a responsibility to push yourselves on the guitar at all times? Do you ever find it a burden?

ABASI: “For me, it is. One hundred percent. The competitive element to playing guitar is a driving force, but it also can be a curse, because the likelihood that you’re 'the best' is going to be pretty low. There can be an annoying element to virtuosity. 

“Let’s say you want to express yourself a certain way in a song, but then you feel like the idea you wrote is too simple because you’re known for writing complex things. So that might mean you won’t go in that direction because you feel locked into this idea that your musical value is musical complexity.”

Sounds frustrating.

ABASI: “Sure. For me, as a lead guitar player, I see so much insane talent in the world right now. It almost makes you go, 'Why even attempt it?' When that happens to me, I have to remind myself that it’s obviously more about unique contributions. 

“I feel like I have some musical ideas that are worthwhile, and they’re more about individuality as opposed to some competition for cleanliness, speed and stuff like that. [Laughs] Not that I haven’t been guilty of participating in all that myself. I just think it can be a double-edged sword, for sure.” 

Two of your first videos from the album, Monomyth and The Problem of Other Minds, featured dance troupes interpreting the music. Do you have any kind of visual component in mind when you’re writing? 

REYES: “There’s no visual component in mind during the writing process, but I think we’ve always wanted to have some type of visual that’s equally as strong as the music. Some of our past music videos haven’t been of the same caliber as the two you mentioned, but we were just kind of following along with what the label wanted. 

“This time around, we wanted to have something very compelling that partnered with the music, but that came after the writing. It’s not like Tosin shows up and says, ‘By the way, when I’m playing this riff in 11/16, I think we should have a video with contemporary dancers.’ [Laughs]”

ABASI: “My partner is a visual artist, and we work together on some stuff – not for Animals As Leaders, but I do think we approached her about doing the album artwork. Then she had some ideas for a music video, and I think a lot of the Monomyth and Problem of Other Minds were visual ideas she already had. 

“In the past, Javier and I talked about getting dancers to do something to visually represent the music, but I think we were thinking more contemporary, as in urban, where it was very rhythmically synced. We thought that that would be fun. But then it took on a different, more high art direction.”

How do you two go about complementing and contrasting your guitar tones? With so many strings to work with, I imagine there are a lot of frequencies bopping around.

REYES: “In the writing process, we don’t necessarily worry too much about our tones clashing. It’s all very section focused. If the rhythm guitar needs more low end, we’ll put more low end on it. Things change a lot with us. 

“During recording, Tosin might play one part and I play another, but when we get on stage, it can be completely opposite. So we’re more focused on just what the song needs and what the recording needs, as opposed to what our individual needs are.”

ABASI: “It’s interesting to me, because as a guitarist your tone is super-personal. Jav has certain amp styles he likes – certain pickup voicings and all that stuff. And, of course, I do too. They’re similar, but they differ in minor ways. 

“When we get together, we take a pretty utilitarian, greater-good approach of ‘I know that’s your favorite overdrive pedal, but it sounds weird in the mix, so we’re going to use this other thing.’ We’re very objective during mixing. Whether you like this or that, it’s all about how it sounds in the end.” 

You’ve worked with Misha Mansoor in the past, and he’s obviously a very simpatico ear in the studio. I’m curious, though – have you ever considered bringing in somebody completely outside your wheelhouse?

ABASI: “That’s a really great question. A few years ago, we were really interested in that. There’s a Norwegian band called Jaga Jazzist; they remind me of progressive bands from the ’70s, but they have horn arrangements and hammered instruments and stuff. Anyway, the main guy in that band [Lars Horntveth] was someone who stood out to me as a potential producer. 

“We’ve considered other people as well, but it’s just never worked out. We self-produce a lot, which has its benefits as far as defining the sound for ourselves. Every once in a while, though, we do reach out for outside influence, just to get some different results. Maybe in the future we’ll end up working with some other producers.”

REYES: “Given the complexity of our music, I think there’s some concern with finding somebody who can understand what’s happening with the guitar and drum parts. That’s been one of the benefits we have with Misha: he gets what we’re doing, 1,000 percent. In a lot of ways, he’s partly responsible for our sound. He and Tosin wrote the first album together, and so that kind of gave Animals As Leaders a habitat to exist.”

There are so many playing aspects to touch on in your new songs – almost too many. In Monomyth, there are these chugging chords at the end. They don’t even sound like a guitar; they sound like a door slamming. 

ABASI: “We’re probably just palm muting. Right, Jav?

REYES: “Yeah, it’s just those chugs. I think it’s a combination of the amp tone with how we’re playing. It’s just a very aggressive chug. There’s nothing too crazy about it, but it is a little sick.”

Red Miso starts out dreamy and soothing, and then it turns super-scary. Did you ever think of just continuing the first mood and letting it be that?

ABASI: “It’s funny, but like I said, we set something in motion and we’re not really always sure what’s going to happen. On that beginning sequence, I was using an Eventide H9 pedal that has a stutter delay. I was just messing around with a clean tone and that delay, and that was the seed of the song. 

“When we tracked it, that’s when we made musical decisions in real time: ‘OK, try this. Let’s add this. Try this section and accent these parts with heavy guitar.’ The song is a bit of a linear journey from dreaming to very aggressive. It could have ended up in a multitude of ways.”

REYES: “We try to think of how to get back to that first section and bring the song full circle, but things just happen naturally. With Red Miso, by the time we got to that crazy part in the middle where it’s just linear and nothing repeats, we were like, ‘OK, there’s no returning back.’ The song kind of just started directing itself at that point.”

Gestaltzerfall and Asahi have moments of beautiful legato playing. Between the two of you, who is the big legato guy?

ABASI: “I feel like maybe Jav is, because he’s got some classical slurs, like left-hand stuff.” 

REYES: “Yeah. I don’t really alternate-pick that well, actually, so I rely on my legato.”

There’s an anxious quality throughout Thoughts and Prayers. Is the contrast to the title intentional, and is it supposed to be a bit of social commentary?

ABASI: “There’s a cynical take on ‘thoughts and prayers’ in that you have these events that are by the hands of men, but there’s this uniform appeal to something that isn’t man. I think at a point it started to just ring hollow. 

“It’s a layered thing, because the intent is one thing – you’re sending thoughts and prayers – but in effect, are you even doing anything? It’s kind of like the intentions there, but is it a way to not really have to do more?

“I think the juxtaposition is about a type of helplessness. Whenever you hear ‘thoughts and prayers,’ it’s because something terrible has happened. The song has a bit of a complex; the vibe of it is slightly off. 

“There’s this cyclical melody that is almost major, but there are intervals that are slightly outside of what you’d expect, and it’s kind of mildly anxious. There’s an energy to it – it’s slightly dark, but it’s also hopeful.

On Micro-Aggressions, every 20 seconds there’s something new to listen to. But there’s one section with this blazing rock chord and some harmonized soloing. It sounded brilliant. Did you ever think of building a song from just that part? 

REYES: “No.”

ABASI: “We’re maximalists. More is more.”

REYES: “It’s like an artist working in front of his canvas. We can think of having the one part because that’s what’s going to be played live, but at the same time, we’re just on this mentality of what the song needs. ‘Does it sound better with a harmony that maybe we can’t play live?’ In the end, it’s about the recording.”

Let’s talk about the guitars you used on the album. Tosin, are you pretty much using your Abasi Concepts guitars?

ABASI: “Yeah. I would say, except for maybe one solo, all my parts were tracked with my guitar.”

REYES: “There’s a few solos on which we ended up using a Gibson.”

ABASI: “Oh yeah, the Les Paul.”

REYES: “Which is very random – there were sprinkles of it. It’s kind of what we were talking about earlier – ‘What does the recording need?’ In a perfect situation, we would have one guitar for the entire thing, but in the process of what’s best for the mix, when we were in the studio, my buddy had a bunch of relic guitars. He pulled out a Les Paul,  we hooked it up, and it sounded great.”

Javier, how about you? Did you mainly use your ESPs?

REYES: “No. All the rhythm stuff is with Tosin’s guitar. Again, it’s more of a utilitarian process. ‘Does the song need this or that, or are we going to add more difficulty by including another guitar and tone and whatnot?’”

By your own admission, you both push yourselves to make things complex. At the end of the day, though, do you ever just kick back and unwind by playing – oh, I don’t know – something like Taking Care of Business?

REYES: “No. [Laughs]”

ABASI: “I’ve been kind of getting into the blues, just like a fun…"

REYES: “By blues, he means Eric Gales.”

ABASI: “Yeah, Eric Gales and Joe Bonamassa and Josh Smith. But obviously, look, if I’m playing a type of music that has three chords, and each chord gets an equal number of beats, and those beats make up an even measure, I’m playing something a lot simpler than Animals As Leaders. 

“That’s a different type of muscle, and it’s relaxing because there’s parts of my brain that aren’t counting complex time signatures. You get to express yourself in a different way. For me, maybe playing classical guitar is how I unwind and play something that is just a different energy.” 

• Parrhesia is out now via Sumerian Records.

Instrumental prog-metallers Animals As Leaders have dropped Gordian Naught, the third single from their forthcoming fifth studio album, Parrhesia.

The track – which follows two previously released singles Monomyth and The Problem of Other Minds – is as technically intricate, mind-bendingly chaotic and time signature-fluid as you'd expect from the Washington DC three-piece, packed with out-of-this-world electric guitar playing from Tosin Abasi and Javier Reyes.

While there are some sublime upper-register runs, the lower strings of the duo's eight-strings are the real stars of the show here. Not only are those rapid-fire slapped lines unfathomably precise, but the tone is as thick as realistically possible without endangering speaker systems. Check it out below.

Due out March 25 via Sumerian Records, Parrhesia is Animals As Leaders' first full-length offering in over five years, following 2016's The Madness of Many. Its track list can be found below.

1. Conflict Cartography
2. Monomyth
3. Red Miso
4. Gesaltzerfall
5. Asahi
6. The Problem Of Other Minds
7. Thoughts And Prayers
8. Micro-Aggressions
9. Gordian Night

“It’s been a while since we’ve released a body of work,” Abasi says. “We’re really proud of this collection of songs as well as the visual components, and are excited to share it with all of you.”

Last month, AAL announced a 19-date US tour in support of the record, which will take place in March and April this year. Commencing at Denver's Summit Music Hall on March 30, the run will stop in Chicago, Detroit, New York and more, before wrapping up at LA's Theater At The Ace Hotel on April 22.

Those lucky enough to watch the band play on the tour will no doubt see Tosin Abasi in fine form. Back in November, before the album was officially announced, Abasi showed he's sharper than ever with a fiery playthrough of Monomyth, which he delivered using his eight-string Abasi Concepts Master Series Larada.

Commenting on the track at the time, Abasi noted that it was composed primarily on the drums first by Matt Garstka, and the guitar was added afterwards. “Writing this way can be a fun challenge and the musical result can be fresh,” he said.

Folks in the States will soon be gathered around voluminous plates of turkey, stuffing, mashed potatoes, pumpkin pie and such. But that’s for next Thursday. 

For this Thursday, we’ve got a blood pressure-lowering ambient-jazz odyssey from Jeff Parker, a feast of light-speed bluegrass pickin’ from Molly Tuttle, an EDM and hip-hop-tinged crusher from We Came As Romans, a grungy, insanely catchy number from Momma, and a whole lot more.

So, before you – if you celebrate – tuck into your Thanksgiving feast, tuck into these tasty new tunes.

Jeff Parker – Suffolk

It’s beyond cliche to say of an artist: ‘they never let themselves get painted into a box.’ If that used-to-death description could ever be applied to just one guitarist though, it might be Jeff Parker. 

Whether playing with Tortoise, in a session, leading his own group, or playing solo, Parker brings with him an ingenious sense of space and a delicate melodic touch.

Suffolk – the lead single from his upcoming album of solo guitar compositions, Forfolks – is similarly borderless in scope, a beautifully freewheeling, guitar-driven expression of joy and musical exploration. 

Built on a series of tape loops and light, airy keyboard drones, Suffolk is chock full of gorgeous improvised playing. There’s some bebop spunk in the looped guitar figure that gives the song its restless, frontier-pushing drive and classic jazz elegance in the chords and some of the lead lines, with the freeform spirit of more experimental influences never too far away. 

With its unhurried pace and quiet demeanor, Suffolk really sneaks up on you as a masterpiece of improvisation. Come for the tranquility, stay to lose yourself in the piece’s many, hypnotic layers of guitar. (JM)

Animals As Leaders – The Problem of Other Minds

It’s been a long time since we’ve had a fix of new Animals As Leaders, and while Monomyth went some way towards alleviating fans's impatience earlier this year, today’s announcement that the celebrated prog metal trio will be releasing their first album in five years next March was enthusiastically received.

The Problem of Other Minds, the second single to be taken from Parrhesia, has somehow succeeded in making a further five-month wait bearable. Spearheaded by Tosin Abasi’s sought-after lead tones and propped up by an unrelenting arpeggiated synth, the three-piece make their way through two-and-a-half minutes of sheer prog bliss.

Delivering the best of what they have to offer – melodic percussion passages, selectively assembled solos, meaty chugs and kaleidoscopic backline soundscapes – Animals As Leaders sound as though they’re on a mission to make the pay-off worth a five-year wait, and we’re already well on the way to being won over by the rhythmically intriguing, deliciously assembled single.

Parrhesia has all the makings of a fierce album, albeit one that requires a little more waiting before its eventual arrival. But heck, after patiently waiting for five years, these next five months will be a breeze… we hope. (MO)

We Came As Romans – Daggers (feat. Zero 9:36)

Rap over metal is a combination we’ve seen work time and time again – think any nu-metal heavyweight: Limp Bizkit, Slipknot, Linkin Park – but on their latest single, Daggers, We Came As Romans offer up their own take on this tried and tested genre blend.

A certified pit-spinner, Daggers kicks off with a crushing riff courtesy of guitarists Joshua Moore and Lou Cotton, and a subsequent pummeling verse and chorus section driven by vocalist David Stephens, before Pennsylvania-born rapper Zero 9:36 adds a verse-long injection of hip-hop/nu metal into the mix.

This one is unrelenting, and we can’t wait to see the Michigan metalcore outfit take it to the stage on their upcoming 2022 tour with Senses Fail. (SR)

Momma - Medicine

One of nouveau grunge’s best-kept secrets, Momma have been quietly building a formidable catalog of sweet-and-sour guitar anthems, and the New York outfit’s latest single – and first for Polyvinyl Record Co./Lucky Number Music – maintains that upward momentum.

Medicine once again showcases the sparkling arpeggiated guitar interplay between Etta Friedman and Allegra Weingarten, but elevates their core sound to new heights with a sky-scraping, downstroke-driven chorus that signals towards big things. (MAB)

Molly Tuttle – She’ll Change 

Owing to her double-helping of cover efforts last year, it’s been a while – almost two years, to be precise – since we’ve heard any original material from Molly Tuttle. That was until today, when the acoustic-playing virtuoso dropped She’ll Change – an energetic two-and-a-half minute bluegrass masterpiece.

With the support of a who’s who of Nashville musicians, Tuttle takes the opportunity to pay homage to “the musical women who helped me find my own voice”, and does so in immense fashion. It’s a Tuttle track, which means the inclusion of awe-inspiring guitar work is a given, though the uptempo nature, paired with the unblemished acoustic tones, makes for one unmissable listening experience.

Listen carefully, and you’ll hear the strings bounce off the ‘board to deliver devastating undertones, while Tuttle plows undeterred into a barrage of rapid-fire licks and melodies, as well as an extended solo populated entirely with impeccably articulated notes.

There is more than one reason to get excited about She’ll Change, though, aside from the bounty of top-notch fretboard work. It is, in fact, the first track to be lifted from Tuttle’s upcoming studio album – her debut with Nonesuch Records – which will arrive early next year. (MO)

Temperance – Diamanti

The three tracks released from their forthcoming LP so far – Pure Life Unfolds, Breaking the Rules of Heavy Metal and now Diamanti – showcase the next stage of evolution for Italian symphonic metal stalwarts Temperance.

The latter track – released earlier this week – is infused with the same enthralling grandeur as heard on the group’s previous album, 2020’s Viridian, with mesmerizingly illustrative string sections and a huge-sounding powerchords from resident six-stringer Marco Pastorino.

Diamanti, at times, plays like a metal-inspired film score – one which would accompany a valiant hero saving the world, naturally. And if so, the breakdown at the 3:05 mark – in which Pastorino participates in a massive call-and-response phrase with the string section – would accompany a carefully choreographed fight between the hero and their nemesis. At least that’s how we hear it. (SR)

Me and That Man – Under the Spell

Those unfamiliar with Me and That Man’s work might be surprised by the sound of Nergal’s side project. The band – which the Polish musician fronts when he’s not tearing up stages and spitting fake blood at crowds with extreme metal titans Behemoth – have just released their latest single, Under the Spell.

Infused with the twangy clean guitar sounds of classic Americana, this track sees Nergal recruit Ghost frontman Tobias Forge, who performs under an age-old moniker of his, Mary Goore.

Forge – who apparently described a rough mix of the track as having a “rockabilly/Motörhead king of vibe” – invited Nergal to his personal studio in Sweden to record the track. And the rest, Nergal says, is history. (SR)

Jamie Lenman - Television Is Not Your Life

Formerly of perennially underrated alt-rockers Reuben, Jamie Lenman is something of a cult hero in his native UK, and for his latest one-off single, set himself the bold task of live-looping a track, in-studio, on all instruments, in one take. Cue some ingenious pedal-operated tambourine and cymbal work and quick-fire instrument swaps.

It’s a maverick move, but Lenman’s ambition is anchored by his ever-reliable quick wit and chunky drop-D riffs, performed on his trademark Yamaha Pacifica and, surprisingly, an Ibanez Paul Gilbert Fireman. (MAB)