I really do already have the next three albums charted out.
Yeah, I haven’t even finished SMOAR, a gargantuan 20-track effort, yet and I already have concrete concepts for the next three releases. But that’s what zykos do.
I have no compulsion towards keeping them secret either. My preference in terms of artistic secrecy is that I don’t like to share the music itself before it’s finished. Teasers, demos, previews, snips… those things are not for me. However, I have zero problem with sharing the conceptualization and drafting of my albums (as clearly evidenced by just how much of SMOAR I’ve shared already). Soooo without further ado:
The first project after SMOAR will be my second fully instrumental original album titled “Deep Structures”.
When I wrote and recorded Metamorph back in 2006, it was a forced endeavor. I had very tragically lost my only electric guitar at the time (an epic custom relic of an instrument), had very little experience or skill in crafting entirely tracked music. None of it was done very well.
Fast-forward a decade and I’m obviously at a different stage of my musical life cycle and have been eagerly looking forward to an opportunity to utilize a skill set I’d long tapped into for my videogame remixing work in operating in an entirely instrumental environment, freed by the “shackles” of lyrical vocals as a centerpiece.
The concept behind this album is presently simple. Heavily inspired by modern minimalist composers like Philip Glass and New Age artists like Vangelis, Kitaro and Deuter, I aim to tell an origin story of a fictitious as-yet-uninhabited planet somewhere deep in an alternate timeline. And of course, as per the zykO usual, it will also double as a metaphor for the “deep structures” within ourselves as lifeforms on any given planet.
Also. this might end up being a collaboration with a certain someone that is much better at musicing than I am and, if so, you should be excited. Either way, though, it should be fun.
I’m also going to release a covers album titled “zykO Plays His Favorites”
Which is a boring title but will have to do for now.
I’ve been planning this one for a while; it first crept into my head a couple years ago when I released my cover of Dredg’s Stamp Of Origin: Take a Look Around and then shortly followed it up with Frank Sinatra’s take on It was a Very Good Year. I had hoped to include them both on there although I’m not sure exactly what I’m going to do with this cover album stylistically so they may or may not need to be refashioned accordingly.
The songs I grew up loving didn’t only shape my music but really did lay the foundations for a lot of the ways I perceive the world and others (for better or for worse). I had something of a confusing childhood feeling torn between two distinctly different cultures and since I wanted very badly to fit into both, I turned to the only avenue that made any sense to me: music. As a result, I listened to a random (not necessarily eclectic, just random lol) combination of musics that I would really like to explore myself. I already have a lengthy list of semi-finalists ready to go.
So don’t be too alarmed when you find Tool, Frank, Abdel Halim Hafez, The Doors and Pac all on the same compilation; because it’s all going to be there.
There’ll eventually be a zykO Blues album
One of my wildest secrets is my clandestine life as a bluesman.
I very rarely delve into the blues with any of my released music although elements of it crop up all the time, scattered throughout my work and recognizable to the discerning ear. But I’ve never outright gone and done a blues project and I couldn’t even tell you why. Of all the genres that I dabble and babble in, the one that arguably comes the most naturally to me is in fact the blues. Granted, as a form, it is one of the simplest, most straightforward genres out there so its predictability for an experienced musician shouldn’t come as a surprise to anyone and, on its own, shouldn’t act as qualifying proof that one is adept at the genre.
Rather, there is something else that separates the bluesman from a dude who plays the blues; it is the voice of the blues artist that makes it the blues. And you almost always know it when you hear it. By voice, I don’t mean the singing voice, of course. I mean the inner voice, one that emits from a hardened center where the blueness actually resides. It’s that body high you get when you walk into a dank, dimly lit bar and there’s some grimy swamp shit playing and you cozy up to a pool table with a brew and tick hours off the clock. That’s the very kind of blues that has always worked for me and in those few instances when others have witnessed me playing it, begged the question: “How come you don’t play more blues??”
Well, that’s coming.
All in all, I’m excited for my future musical endeavors if only because I’m a bit burnt out on the style and tone of SMOAR. I’m shamelessly in love with the album, don’t get me wrong lol but I am starting to get tired of only strumming away on my acoustic guitar and would like to return to exploring the entire breadth of tones and textures I am familiar with and proficient in.
But yeah; I’m three steps ahead of ya.