Sept. 7, 2024
PipemanRadio Interviews Manuel Barbará
Manuel Barbará GUITARIST & COMPOSER, PROGRESSIVE MUSIC
EP Whisper in a Storm in September 2024.
A Different Horizon (feat. Jake Howsam Lowe)
Dead Hand (feat. Jody Miller)
Aphelion (feat. Michael Nystrom Bala)
Whisper in a Storm (feat. Thalia...
Manuel Barbará GUITARIST & COMPOSER, PROGRESSIVE MUSIC
EP Whisper in a Storm in September 2024.
A Different Horizon (feat. Jake Howsam Lowe)
Dead Hand (feat. Jody Miller)
Aphelion (feat. Michael Nystrom Bala)
Whisper in a Storm (feat. Thalia Tymowski & Millisa Henderson)
Whisper in a Storm (instrumental)
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WEBVTT
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Hi, you have done to censure for Wow, crazy young.
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Wake up America.
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It's time for the Adventures of whipe Man on W
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four c Y dot com. West Pompeats is number one
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Internet radio station. Here's your host, the white Man.
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This is the Pipe Man here on the Adventures white
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Man W four c Y Radio. And I have our
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next guest who is man what amazing musician and has
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some great music. I love when you can find somebody
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that really, you know, is into the art of the
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musicianship itself, and that's who we have here. And now,
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hopefully I won't Butcher's name because I totally forgot to
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ask before the interview and I hate doing that, so
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I'm going to say Manuel Barbara close.
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But you know my name has been butchered in more
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ways than you could possibly imagine, so I appreciate the effort.
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Right, I came close, like the American probably couldn't even
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say it the right way if I tried twenty times.
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I'm sure you get it eventually.
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No doubt. So when did this all start? Like when
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did you find your passion for guitar playing and musicianship
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in general?
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You know that's maybe a slightly unusual story because I
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kind of didn't really care much about music until I
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was maybe seventeen, sixteen, seventeen, and I only started playing
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the guitar at around seventeen eighteen, so like late high school.
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Throughout high school, I started.
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Getting really I had some friends who got me really
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into Iron Maiden and Pink Floyd, just classic rock and metal,
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and one of them played the guitar, and I was like,
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I want to do that, So I picked up the
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guitar started playing. I immediately got way into it, you know,
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five six hours a day practice kind of way into it.
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And I managed to get.
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Into music school after what a year and a half
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of playing the guitar, which, wow, probably says more about
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the psychotic amounts of practice.
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Than about anything else.
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That's why take Yeah, yeah, it does. I mean it
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takes it does take time. So I felt for a
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lot of my college time that I was kind of
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behind just because I hadn't done this since I was
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a kid, and a lot of the people who I
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was interacting with were like, hey, I don't even remember
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when I first started playing the drums or whatever it was,
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So I feel.
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Like now I am way more.
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I guess mature is the word as an artist than
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I was back then, but which is you know kind of.
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I feel like this last ep is the best thing
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I've done basically ever so far because of.
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That, and let's hope so right, because as you continue
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to make music, we should hope that gets better and
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better at least for ourselves. Well, we're proud of you know,
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because as a musician, you're your own worst critic.
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Yeah, tell me about it.
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So that's pretty wild. He started so late, and you
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are like, I mean, amazing at the guitar. Like me,
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I started on drums I was a little kid, and
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then I wasn't good at that, and then I went
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to guitar and my you know, lack of better way
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of playing it, idol at that time was and still
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I think is one of the greatest guitars ever was
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Randy Rhodes. Yeah, and I remember reading that he practiced
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eight hours a day. So to your point, that's what
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it takes. And I was like, I don't think I
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have eight hours a day to learn how to play guitar.
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Yeah, you have that when you're when you're fifteen, and
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you don't have that at any other point in your life.
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I think I know right exactly. So you know, it
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is pretty amazing that you put that kind of work
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into it at a time in your life, probably where
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you had to put a lot of work in other
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places as well.
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True, But one thing I will say is that as
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I have, as I have grown, I think I've learned
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to practice a lot more efficiently. So I don't think
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I need five hours to get a good practice session
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in anymore. But especially when you're starting out, it's just, uh.
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There's no like.
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Easing into like what the further that what I built
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my calluses, I was like, I want to play fast,
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So I just started playing a like a like video
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riff for hours until my fingers started bleeding. And I
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was like, I don't have problems with pain anymore. I
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guess I'm just that kind of person. I dive in
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until it hurts, and then I it doesn't hurt anymore.
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Well, there you are. You're natural for playing guitar for sure.
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And and uh, you know, I'm always amazed at people
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when and like like yourself, they are just so proficient.
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And also I gotta tell you that I love the
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spin because I don't think it's a spin and I'll say,
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why have metal and classical and progressive? Because I've always
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said for years that people don't understand metal music comes
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from classical music. It's a derivative of so to me,
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it's just normal what you're doing.
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Yeah, I mean, I don't think it's a spin. I
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don't know if I.
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Entirely agree that it comes from classical music, but I
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think it's like the closest that the pop tradition gets
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to be in classical music. And I think a lot
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of people when they hear oh it's metal and classical,
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they're like, oh, ingva Elmstein or oh it's night wish
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you you know, made a metal song and put some
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strings on top of it.
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And that's not what I do.
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I'm trained in traditional composition, especially like modern stuff like
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when you know the composer started getting real weird with it.
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And I love it, and I think there's a lot
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to be learned harmonically in terms of song structure, in
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terms of just the way you're thinking about putting together
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piece of music from that tradition.
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So what would you say is the difference, you know,
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basically in how you do it or how you learn
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from you who is classically trained to somebody that just
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picks up the guitar and just starts playing.
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There's no wrong or right way to do it. And
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I'm not classically trained in guitar at all. I'm classically
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trained in composition, which is a very different thing. But
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there's no right wrong way to do it. It's just
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a When you learn to write music in a more
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traditional sense, you learn a lot about thematic development. You
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learn all these ways to play with notes that you
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might not come up with if you were just and
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people do you know, like God, the periphery guys come
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up with this stuff all the time, just kind of intuitively.
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But for me, I'm a very rational.
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Analytical kind of person, and I I don't think I
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would have gotten to a lot of the choices that
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I do make when I write without that training. So
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I think it just boils down to how you need
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to internalize these ideas.
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There you go, and so tell us about the EP
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Whisper in a Storm, and you have guests I'm pretty
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much every song, which I think that's pretty cool. So
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tell us a little bit about it, and you know
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a little bit about what made you bring each guest
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for that specific song.
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Yeah, So it's four songs.
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It's, as you mentioned, there's a guest on each song,
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which was something I wanted to do. I don't remember
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exactly where in the process I came up with that idea,
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but I thought it would be cool to just feature
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a different person on each song. And so the first one,
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dead Hand. I actually think that was the last guest
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that I chose. But I was like, I've got guitar
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all over the place, what if I did not guitar?
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And I know this wild proggy bluegrass violin is named
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Jody Miller, and so I got this wild proggy bluegrass
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violin solo and all kinds of you know, creepy horror
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movie violin sounds, and they fit so well on that song,
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better than I expected. Then the second one, Different Horizon.
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It's Jake Low of Plenty, who I take lessons with occasionally,
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and a super cool dude, and I just thought that
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the feel of the song would really fit his playing.
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Love I've loved Jake's playing since I first heard of
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Felix Nebula ages ago. But it's really frantic, and Jake
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has this really cool habit of taking really frantic things
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and then playing solos that make them feel a lot
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cooler than they are over top of them.
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Third song.
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Third song is a different horizon and it features my
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dear friend Mike Bala, who plays in the death metal
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band that I play in, uh Ex Mortis, And that's
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the most like traditional song of the of the lot
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quotation marks because it's just kind of a four riff
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headbang and four riff that gets kind of messed up as.
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It goes along.
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It's funny because I played a really shreddy solo Mike's
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the Mike's the shreddy guy in in ecronomic on but
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I ended up playing a really shreddy solo and Mike
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ended up playing a really melodic solo, and there's some
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wild shread toward the end of it. But it's just funny,
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kind of the role reversal. But I love playing things
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with Mike. I like solos on the same song with
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Mike because we're super different, but we do have some
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shared interests.
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And the last song, the last song I Want.
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I've been wanting to do vocals on something for a
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while and Thalia. I worked with Alia a bunch in college,
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Sally Tamowski, and I'd always wanted to get her on something,
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and I was like, this this song, this is the
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song that needs vocals. So we worked for months to
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get the vocals written and recorded, and I just love
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her voice and how it works in this song. And
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then I got I actually worked with those two guests
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on that song quite a lot together, Thalia and Melissa Henderson,
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who very very melodic player, very.
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Kind of intervals inspired.
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It boils down to I just love how these people play,
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and I thought they would fit very well in these songs.
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See that's the coolest part right there. Like, I think
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that's part of it. You have to love how somebody
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plays to play with them, and you know, to really
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you know, have the passion. I did really really dig
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the violin for sure. Yeah, it's cool.
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Cool.
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So how do you feel like the difference when you're
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playing your music on say this album, compared to playing
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death metal.
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Oh, it's quite different death metal. I mean.
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So the joke we have in Necronomic on is that
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because I don't write anything for Mecerano, Actually that's not true.
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I do write some of the more cinematic interludes, but
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those have almost no guitar in them, but they're both
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very difficult music. It's just that Necronomicon is difficult because
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it's two hundred plus beats per minute and mostly sixteenth notes,
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and my right hand gets tired pretty quickly these days.
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And this stuff is difficult because it's it's complex, it's
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strange rhythms, a lot of interval, like you know, big
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stretches and stuff, and you need to be very kind
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of focused and very on top of your game to
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play it well. For both of them, you need to
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be on top of your game. But it's it's it's
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one of them is like it's a just work out,
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the other one is a musician workout.
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There you go makes any kind of sense.
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It does make sense to me at least. So how
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do people reach out to you on socials? On the
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web check out your music, your merch everything.
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Yeah, yeah, so I've got I've got a website.
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It's it's been about about dot com that has links
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to all of it on it on most of the
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social media.
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I'm at eight String Alchemy.
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So I'm on Instagram, I'm on TikTok, I'm on YouTube
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under eight string Alchemy.
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Uh.
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Then merch is something I'm still working on. I'm intending
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to get some of that done hopefully soon we will see,
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but whenever that happens, it'll probably be up on my band.
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Camp, which.
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Is, uh, what's the link again, It's it's it's on
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my web psyche, go go find it there.
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That's easiest. Yeah.
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So is there anything else you want the listeners to
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know that you have coming up, or anything that we
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didn't cover.
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Yeah, well, I mean we've got necronomicns always doing stuff,
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so go check us out there in necronomic on ex Mortis.
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I think I forgot to mention. All of my stuff
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is available on all the streaming services, so go go
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