Marco Minnemann is a talented man comfortable wearing many hats. renowned for his drumming in many high-profile projects such as The Aristocrats, Steven Wilson, Joe Satriani, Levin/Minneman/Rudess (LMR), and countless others, Marco is one of the most respected musician in the world. His solo career has been equally fulfilling and affords him opportunities to be in total control of the creative process, playing all the instruments as well as handling production duties. His new album Celebration (Lazy Bones Recordings) has just been released, and we conducted a Q & A interview over email, to learn more about his creative process, how he deals with challenges in the studio, and the sound of the next album from The Aristocrats.

 

Celebration is a great title that conjures a lot to mind. What does the title mean to you and what creative frame of mind were you in when you began to write the album?

It started off as a writing process for an album with a fairly dark vibe around it, which I wanted to name ‘Above the Roses’. After re-listening I just didn’t feel that the album was complete the way it sounded like. So I kept writing songs and then basically made a selection of songs I thought would make a statement. And all of a sudden, voila. I had one album that I called ‘Celebration’, leading through aggressive, sparkling and into film music like vibes and missions. And then there’s the more vocal laden, dark song focused ‘Above The Roses’ I just finished now, it will come out as a special vinyl and download edition, but more of that later. ‘Celebration’ just got released and needs the attention now.

Since the topic is partially about Roses, in songs symbolically and in artwork, I thought that Celebration might be a good title.

The album is definitely diverse, but has some of your heaviest songs of your solo albums. Is that a by- product of some of your other bands you are in, rubbing off on your solo work?

That clearly would be a no, as I think that some of the material on Celebration is actually heavier than what we do with the bands I currently play in.

I mean, if we’re playing the category game, maybe then Joe Satriani could be Rock, Aristocrats instrumental Rock/Jazz, And Steven Wilson more well, prog and ambient pop/rock.

On my albums I just really compose for what is needed for ‘the mission’.

 

You have definitely “arrived” on Celebration as a vocalist and lyricist. Do you think this was an important step for you artistically?

Thank you. But if you look into my solo back catalogue that so far holds 14 albums, I wrote, played and sang as well. But thanks again for appreciating.

 

As you have become more hands on (creating, playing/tracking, producing/mixing/mastering) with each new project is it more troublesome to wear so many hats, or a relief to be able to oversee it all with confidence?

It’s great I think, because when you know exactly what you want and are able to translate it, instrumentally and production wise, then it’s a fairly seamless and rewarding process. See, my studio is pretty much dialed in to my needs. So once I have a sound in mind I really just record, then add tracks, basically mixing while doing this, and soon the ‘house’ comes together :-).And honestly, it’s so cool that meanwhile you can carry amazing production softwares in your note book. Then along with a few good audio interfaces and outboard recording gear, you can do deliver a great production, that would’ve costed a fortune about 20 years ago.

Is there a style of music you have yet to incorporate into your solo work, that you haven’t yet, but would like to try?

Hmm, I don’t really think that way. I really just do and play what I feel fits the vibe of the composition.

 

On Celebration, is there a single performance you can name as most gratifying to you?

Hahaha, well, I was doubling my vocals to that guitar solo I recorded on ‘How Can I Help You?’ And I’m not really a trained singer, so fuck, I was punching in numerous times in order to nail that thing. And then later I listened back and couldn’t help laughing, because it came out quite cool, and I wasn’t sure if I could pull it off at first :-). Also, I’m quite happy on how the vibe in ‘4000’ succeeded. I used the chains at the port in Marseille, sampled them and then put them in to additional reverb, undermining the vibe of these fairly ‘evil’ and dark vibes and chords in that song. I wanted to create a haunted environment. And that one came out quite intense I think, as I wanted to achieve it..

 

You have an intense touring schedule this year with all of your many projects. How do you keep your sanity on the road?

Girls :-). hahaha. What can I say…. well, seriously, with a good and professional organization you learn to feel at home on the road. Good and comfortable travels and schedules are important.

 

What can you tell us about the upcoming new album from The Aristocrats?

It’s pretty much contains compositions more focused on song structures, rather than soloing, well, hat happens of course too in places, hahaha. But Tres Caballeros is a tad different once again from the last album. Actually, the difference is that this time we have a Spanish album title and wore hats in the desert :-)).

Necrophagist is like the Loch Ness Monster of metal! Do you ever have contact with Muhammed (Suiçmez)? Do you think we will ever hear from that band again, or any other project from Muhammed and yourself?

Well, can’t say too much there. Necrophagist is Muhammed’s project/band, he’s a fiend of mine. But the rest about any release can only be assumed. And I have a lot of things going on myself here, that occupy all of this and next year as well, which is a good problem to have I think 🙂

KEITH CHACHKES