### Paul Masvidal

#### 15/09/06 || Lord K Philipson

Remember the album “Human” by legendary band Death? Guitar virtuoso Paul Masvidal played on that milestone and we wanted to know some more about his relationship with the late Chuck Shuldiner as well as his current musical activities, among other things. We thank Paul for being cool. And handsome.

Global Domination: Hey Paul, thanx alot for agreeing on this interview. You played on one of my fave-albums of all time when it comes to death metal, Death’s “Human”. How was it like working with Chuck anyways? Were you guys close?

Paul Masvidal: It was mellow and fun. I first worked with Chuck playing guitar for “Leprosy”s dates and then “Spiritual Healing”. The arrival of “Human” was a natural evolution. We did have a time when we were quite close. He would stay with me at my mother’s house in Miami and vice/versa when I came up to Altamonte Springs, where he lived. Our relationship began as phone friends and that led to drive’s up to hear him rehearse with Death. We were music fans coming together sharing our passion.

I managed to catch “Death” without Chuck (as if there could be such a thing) live in the 90’s where they went “Fuck Chuck!” and everything from stage. What was all this about? I guess you know a little more about this than I do and I appreciate some information on this since it always bugged me.

Ex-band mates pissed off that Chuck didn’t want them in his band any longer.

Being a part of “Human” must feel kinda nice, huh? Did you understand at the time of the recording that you guys were making a truly groundbreaking album that really broke the boundaries of death metal? That album just pushed the genre to a new level, and as you well know, it has a safe place in our Class 6(66) section, with all right.

It feels good to be part of a great Death record. I didn’t know what we were doing, I was busy doing it. No time to think about what it was… just to do my best.

Then we have Cynic and the truly fine album “Focus”. You guys had quite a buzz about you, but not necessarily for creating music IN Cynic but being FROM Cynic while appearing in pretty much each and every band as guests, helping half of the Florida-scene out musicianwise. Do you think this helped you guys to get some recognition or did it, no pun intended, take focus away from what you guys really were about?

It helped a lot. Cynic was considered the biggest underground band of its day. The exposure we got with the other bands was key to this. I knew we’d eventually get an opportunity to make our record and was patient about it.

For how long have you been playing guitar anyways? What’s yer choice of guitars? How many do you own? What kinda amps do you prefer?

I’ve been playing for light years… and still feel like a beginner. For electrics I’m still a Steinberger geek. I have grown quite a collection of guitars over the years and am now looking to sell some. Gibson, Fender, Hofner semi-hollow…. I love Martin acoustics and have a Taylor baby that sounds nice. I like all kinds of amps, from vintage Fender’s and Marshall’s to new technology like the Line 6 stuff, depending on the situation.

Would you mind doing some guest-solo or 2 on my next album? With today’s technology it’d be easy as fuck to arrange and fuck knows I’d be honoured. Hell, Jo Bench of Bolt Thrower appeared on our last album with a spoken part, that should encourage you, right?

Depends on what it sounds like and if I connect to it.

I take that as a yes. You are currently busy with Aeon Spoke. I haven’t heard a single riff by you guys, would you care to elaborate as for how it differs from Cynic, if it does.

Aeon Spoke is a rooted and transparent sound. An expansive melodic approach versus riffs and speed. Aeon Spoke’s intensity is quieter and more vulnerable. More Ghandi than Genghis Kahn. A deeper exploration of the sonic space between thoughts…very specific emotions and moods. Cynic is an onslaught of musical ideas in a tight package. The moods are there too, but are much more volatile and shifting. If you listen closely, you’ll hear much of the same shapes carved with different tools. Check Aeon Spoke out when we hit the road. The live experience is another perspective.

Not only did you do an outstanding performance on “Human”, that very album also made Sean Reinert one of my fave drummers. What he’s doing on this masterpiece is just not of this world. I have wondered about one thing though over the years, and since you were very much involved with this recording I’m sure you can answer it. In “Flattening of emotions”, at the section located at roughly 2:45 and some 15 seconds forward he pulls of this insane doublebass-thing during the solo. Was this played for real or was it added afterwards? I always thought it was an over-dub. I can’t even begin to explain how much that part floored when I first heard it.

Sean did all his parts live. There were no over-dubs on “Human”.

You are obviously a student of Yoga, Buddhism and meditation. How did you get into that and do you think it has any input on what you do musicwise? If the answer is “yes”, how?

My spiritual practice directly affects all the work. It helps me access something closer to the truth, to understand who I am. Meditation teaches me how to surrender to the moment. Writing songs and creating music is no different of a process.

It’s quite obvious that you have worked with some of the creme de la creme when it comes to musicians. Who is single-handedly the most impressive musician you ever had the oppurtunity to play with?

Off the top of my head, probably some of my extraordinary teachers like Dave Weissbrot or Carlos Molina. They are masters. I feel lucky to have had Sean as a drummer all these years.

You have worked with Tony Choy, bassist extra-ordinaire. That guy sure knows a thing or 2 when it comes to bass. What’s yer opinion about him as far as being a bassist goes?

Tony’s incredibly musical and is a natural musician. He’s got killer ears and an amazing sense of rhythm. He can also sing his ass off.

I just saw Atheist, an old fave band of mine, in Wacken, where said Tony was playing, and I was expecting a hella lot more from their gig than what I got. What do you think about these older “classic” bands getting back together though maybe they shouldn’t have since it hardly answers to their glory days?

I think it’s important to not only answer to your history but also deliver on a whole new level… to go beyond where you left off.

Is there any particular album that you feel you shouldn’t have played on? And more, is there a certain solo of yours that always bugged you? Something you feel could have executed better, a piece that you always skip when it comes to your own music?

The Master record was a tough one to let go of. I didn’t have any time to develop any ideas and literally “one-taked” the whole record. It was quite a learning experience. Although I do accept it as where I was that day.

As a guitarist extra-ordinaire, I’d like it if you could rate the following guitarists on a scale from 1-10. Don’t give us any crap about “not wanting to rate them, they have their personal thing going and I respect them for that”. Just hand out some scores and possibly a comment about them to describe their style. 1 is crap and 10 is fucken awesome.

Chuck Shuldiner: Yngwie Malmsteen: Zakk Wylde: Trey Azagwhatever: Eddie Van Halen: Steve Smyth: Dave Mustaine: Kirk Hammett: Scott Ian: Michael Ammott:

I’m not good at this kind of thing… sorry.

I’ll rate them then, since I’m cool.

Chuck Shuldiner: 9. Obviously better than “Scream bloody gore” shows.

Yngwie Malmsteen: 8. Plays the same solo over and over, but there’s no denying the first album of his is feeling incarnated.

Zakk Wylde: 10 for the way he delivers overtones. 8 for the rest.

Trey Azagwhatever: 7. Ass-solos, cool riffage.

Eddie Van Halen: 5. have yet to hear something impressive from him.

Steve Smyth: Ryan Smyth is cooler.

Dave Mustaine: 6. Just becoz he’s played Jackson at times.

Kirk Hammett: 10 for snorting coke.

Scott Ian: 6. His shorts in the 90’s are cooler than his playing.

Michael Ammott: 9. And his signature guitar looks like shit. He shouldn’t play up’n’down strokes when he doesn’t have to though. That just looks lazy.

So now when I covered that, let’s get back to you, Paul. What kind of music are you into nowdays? Seing you have been a part of “Human”, some kind of progressive and technical death metal should be your cup of tea… but I have a feeling you look for more than the usual blastbeat-band when it comes to music. Would you care to mention some of the bands/artists that inspire you when it comes to songwriting in general and guitar playing in particular?

I appreciate many forms of music. It’s always changing, but lately I’ve been listening to Russill Paul, Jeff Buckley, Beethoven, Ravel, the soundtrack to my friend’s score for the film “Tsotsi”, Radiohead, Jon Brion, Ours, Elliott Smith and Jellyfish.

There’s been this talk about a Chuck-tribute album compiled by James Murphy, another excellent guitarist. Have you been approached about this and do you know what the status is on this project coz I haven’t heard nor read anything about it for quite some time.

I believe I spoke to James a few years ago about it, but have no idea what’s going on with it now.

Will there ever be another Cynic-album, you think? If so, how the hell are you going to top “Focus”, and do you think it’s even possible?

If there ever were another Cynic album, it would have to go beyond “Focus”... otherwise it would not be worth doing. Anything is possible.

If you had the chance to record an album with any guitarist, bassist, vocalist and drummer of your choice, which ones would have the pleasure of working with you?

That’s a huge question, and would vary depending on the project. Let’s start with an experimental pop record with Andy Sturmer (drums), Ben Monder (guitar), Jon Brion (bass/keys) and vocals by Andy, Jon and myself.

A lot of people say Cynic were pioneers of taking progressive death metal a bit further than your average band. I agree to the fullest. What do you think about bands like Pestilence, who apparently heard what Atheist were doing on “Unquestionable presence” and completely changed the sound of their band, and sucked at fucken doing so since they turned out terrible. As you guys are to blame for being one of the originators, what kind of bands inspired the Cynic-sound? Don’t mention Watchtower. I fucken hate Watchtower.

I was listening to a lot of jazz, fusion, classical music and other kinds of artists. We grew up inspired by Destruction’s more progressive later records, Kreator, Dark Angel, Slayer, Ludachrist and even some crossover metal/punk. Mix that in with some Pat Metheney, Alan Holdsworth, Robert Fripp, and eventually the jazz, metal and other forms of music created this heavy hybrid sound that was Cynic.

Since you were around when the whole Florida’n’Morrisound VS Sweden’n’Sunlight thing reached its peak, what studio provided the better sounding albums? Everything from Morrisound sounded the same and everything from Sunlight sounded the same to most people and I can’t choose which one was the better between the 2. I always loved the snare sound that Morrisound got while the guitars were the trademark for Sunlight Studios. Any opinions? Or do you even fucken care?

Morrisound definitely had a sound. I’m not aware of what records came out of Sweden’n’Sunlight.

Are you keeping up with today’s scene? Would you agree that all these fucken 3-name bands from the States coming out these days could quite possibly be the reason for the possible stagnation in metal? They are all trying to do what At The Gates did a long time ago and they all fail miserably at it. Jesus Fuck I hate all those bands. Why not try to pursue a sound of their own, some kind of a fucken identity instead of sounding like a fucken K-Mart bullshit product that literally bores people to fucken tears? You guys all individually had your own styles already a long time ago and are rightfully respected for it. What’s the problem with most of today’s so-called metal bands?

Similar to other styles of music the over saturation of a genre tends to kill it. There was something special about how original many of the bands were during that time. The industry has changed too and labels aren’t taking the same risks now. The mighty dollar has scared the shit out of these companies and suffocated their faith in art. The creative risk involved in signing a truly original act is not as common these days. Unique bands are probably around but not getting noticed.

On yer site you state that the tabs for “Focus” took some 2 years to transcribe down to every detail. Jesus Christ, man… Why would you do such a thing? If the stuff is that hard to write down, do you think it’s even possible that people can play it?

I didn’t transcribe the record. Jeff Litvak who runs the site is the incredibly patient and disciplined man behind that hard work. Some people can play it, although I’m yet to hear a band perform a Cynic cover. I wish I could.

This is Global Domination, so naturally we have to ask you: What’s yer fave NHL-team and player? Who’s going to take the cup home for season 2007?

I’m sorry, I don’t keep up with sports at all. Sean Reinert would be better for that question.

The bring me Sean, this is important matters to us. Anyways, it says on the Cynic-site that you, among other things, work as a volunteer accompanying and comforting the dying. Man, that sounds… heavy. What exactly do you do? It sure sounds like a bigger thing than just picking up the guitar and fire off some astonishing solos and riffs.

My job is to alleviate pain and suffering. Sometimes I just hold their hand in silence. Others I have active communicative relationships with. Depends on what the patient’s needs are. I also play guitar and sing to them.

You have apparently worked with drummer Sean Reinert on some soundtracks for television, movies and commercials. Would you 2 have been featured in anything I would know about? Coz fuck knows all we get here in Sweden are American shows.

If you ever watch “That 70’s Show”, I did those guitars. I was also a session guitarist for “3rd Rock From The Sun”. I scored the entire season and main title for a children’s Discovery channel show called “Operation Junkyard”. I’ve also got a catalog of songs written for music libraries floating around on TV. Sean and I did some TV work together and a couple short films, “The Yellow Umbrella” and “A Bride In Black”. Which we’re proud of.

By the way, why is it that you were only on the “Human” album with Death? Clearly, that line-up right there is the best there was.

Cynic was needing attention.

Have you ever felt the need to step back a little when it comes to compose music and just enter some full-on easy-as-fuck death metal band, just to let steam go? Or must you feel a challenge in what you play to be satisifed completely?

I can appreciate simple brutal metal. As a musician, I can also dig a simple, slow heavy riff, and got to experience some of that playing the earlier Death songs.

To throw in something completely different: What genre is the wart on the Ass of Music?

I haven’t heard it yet.

I’m about to round this off. I saw you with Death in Stockholm a 1000 years ago and remembered you having your axe very high up when playing, still headbanging like a muthafucker. What’s the trick when it comes to being able to headbang that much and still play shit so clear? Maybe the fact that the guitar is placed so high up? Why are all the great guitarists playing the guitar like that? It doesn’t look that much metal, now does it? And by the way, do you even remember this gig?

I do remember the Stockholm gig. A great city and I look forward to returning. I choose to wear the guitar higher because it makes it easier for me to access certain notes on the neck and have more control over the instrument. I have more facility with the height. I know it’s not particularly metal or even rock n’ roll to do this, but I’ve never cared. At the end of the day the music survives, not the images.

So, you have been hanging in there for some 30 questions and it’s time to wrap shit up and let you off the hook. I wanna thank you again for being responsible for a part of “Human” and for creating some other killing shit as well. I wish you great luck with everything and I hope you had as a jolly good time as I did with this interview. Now, go play “Human” and have a beer for Chuck. Fuck knows, I will.

Thank you Lord K Philipson for the interview.