Hello Jonathan! Let me congratulate you on Zen’s new terrific album. As you might know we have named it best album of the month on our site and I personally think that it belongs among the best releases of the year so far. Where did this magnificent album derive from?

J: Hey, thanks for liking it. It’s always good to hear from someone who likes your stuff. It derives from the fact that if I don’t write and play music, I start to become dysfunctional.

Before getting down to the rest of the questions, I’d like to know the story behind the group’s weird name!

J: It comes from “Zen and the Art of Rock and Roll” which was a name I was thinking about. But I dropped “and the Art of” to get rid of the Robert Pirsig rip off – plus it sounded too pretentious. I chose the name to remind myself that to me the point of the music I am making is not fame, money, or to give anybody the music they want, but is to pursue my art my way in spite of what other people think about it.

Now, would you like to introduce us to the band? Is it in essence your solo project?

J: It is completely me, except occasionally I finish up songs that were started by defunct bands I was in. I might have a saxophone player on the next record. I haven’t decided yet. Another reason for the “Zen” name is that it’s all solo, since Zen is a lone internal pursuit.

It seems that Zen have loads of influences. From traditional prog rock of the 70’s to Broadway shows and Elton John. How did you come up with this mixture of different styles?

J: I have listened to a lot of different styles of music from some shameful stuff I won’t mention to the good stuff. My favorites are Genesis, Yes, Gabriel, Tony Banks, and late Romantic art music. The older I get the more I like Bach. I was a kid in the 80’s. I think I have almost purged my mind of most of that music. Fortunately I discovered Genesis in 1986 because of their “Invisible Touch Fame”. I’ve definitely been influenced by growing up in America. That’s probably where the jazz, pop, American minimalism influences come from. The Broadway must be because I come up with Americanized romantic melodies. I played some Elton John in a band once. I generally don’t like musicals.

I have noticed lately a new trend of Prog groups adding some AOR/melodic rock elements to their music, trying to make it more contemporary. Do you think that it might be good for listeners to return to some more “technical” and progressive musical styles?

J: I don’t think too much about all the sub-genres of music. I try to make the music I want to that is meaningful to me during the period I’m making it. If the song comes out 4 minutes or 23 minutes, so be it, as long as the song works as what it is. I would hope that other artists are true to the music that’s best an extension of themselves, short verse/chorus or long tone poem types, because I think that ends up being the best music. I would hope that listeners are open to many types of music and they would listen to something they don’t like at least a few times to try to find what is good about it, if anything. I didn’t like the music that is now my favorite the first time I heard it.

Are there any details about the album that you would like to share? Funny stuff, way of recording it?

J: My studio was invaded twice by termites. It flooded an inch deep (2.5 centimetres?) once. I think I have reached the limit of how many instruments my brain can remember how to play.

What is the first response for the album so far?

J: I think all the reviews are positive. I haven’t read any of the reviews of “The Birthright Circle”, except yours. It’s weird reading other people’s opinions and interpretations. Plus it tempts me to cater to what people seem to want, which remember is not the point. The first printing is almost sold out, so it’s going good.

I bet you know that “Thanatos” (the title of the first song of the album) is the Greek word for “death”. How come you used the Greek word?

J: Yeah. Is it the modern Greek word? (interviewer’s note: Well it’s the same… modern Greek are very close related to the ancient Greek). It’s also used in psychology to mean “death wish”. My friend Ken wrote the lyrics. He was getting a PhD in psychology before he was corrupted by rock and roll. It’s about a young man who is in a bad relationship but doesn’t want to die bad enough to escape it. Definitely a bad relationship.

Can you tell us some things about the three other songs of the album?

J: I generally don’t like to talk about my pieces, and generally don’t read other people’s reviews or interpretations of music. I haven’t read anyone’s interpretation of “The Lamb Lies Down On Broadway” or Straus’s program notes for Alzo Sprach Zarathustra – two of my favorite pieces. I think a piece is separate from the artist once it’s fixed and out in the wild, and I prefer to discover things in the music myself. So, I’ll say this about the songs. “Anthem” just happened without me spending a lot of conscious thought on it. I wrote “Richard” because a friend of mine named Richard killed himself when I was 18. “Circle” is a circle of life kind of thing. It’s a bit more complicated than just that, so I will leave you to discover.  

What’s the meaning behind the album’s title?

J: It’s taken from the fourth song “Circle”. It suggests the circle of life theme from that song. A person’s birthright is his property that is his because it was his parents.

I’m curious to find out how you’ve worked within the studio. Are all those instruments and choirs samples or natural?

J: Secrets! Some of it is real. Some is samples. Wouldn’t want to burst anyone’s bubble (look for that in “Circle”). I’m currently changing out the gear in my studio. The next record may sound different. There will still be some real and some samples. Just trying to eliminate the things that caused problems last time.

It was really a surprise that you released a CD with 4 songs… in the way that prog albums were released in the 70’s… why did you decided to do that? Do you think that this may seem strange to some people?

J: I originally planned to have 7 songs on “The Birthright Circle”. But “Circle” ended up being 23 minutes. I wasn’t trying to write a long song. I just had so much material that fit together so well into 23 minutes. I had even more material than the 23, but the 23 laid out the way it is worked best. 40 – 45 minutes for an album length seems to be all I ever have time to listen to when I play a record, so that’s the length my last two records have been. I don’t know what people around the world think of the 20 minute prog epics. I grew up in Tennessee where no one knows anything close to prog other than “Owner Of A Lonely Heart” and “Invisible Touch” – yeah right. I’ve never played old Genesis for anyone around here who liked it. Except for two friends. That hated it at first but stuck it out. One told me she really did not like it at first, but then couldn’t stop listening to it. I think most people just don’t give it enough of a chance. I have a few friends that liked it when I met them.

Have you delivered this complex material live on stage? If yes, how was it? If no, are you planning to tour?

J: Nothing live yet. I have played live in several bands and do not want to do that again right now. I have hours of unfinished composition plus more coming to me all the time, so I want to get that out before I get old. Plus I have two young children and do not want deal with being away from home. I don’t know if I will ever go on a tour. It’s just so freaking hard to swing it financially and still have a comfortable life. I think that’s one reason musicians do too many drugs. It’s to kill the pain. I know a few people that can handle this music live and when I play out it will be probably be in Nashville first. I played in a band that did “Supper’s Ready” and “Close To The Edge”, and I think my stuff is easier. I’m not in to playing fast or being flashy anymore, so my stuff shouldn’t be that hard.

Are you totally happy with your co-operation with Prog Rock Records?

J: Yes! Well, I’m never totally happy with anything. There’s always room for improvement. But ProgRock Records has been great and has exceeded my expectations. They give their artists great freedom and respect, and have done a great job getting my music out into the world. I would love to see them grow more and more and keep their great attitude about music artistry.

What are the expectations from this album and your future plans?

J: I do not know how many Prog fans are in the world, so I do not know what to expect. Both of my records have done well by my standards and this encourages me to make even better ones in the future. Not purely “Zen” no, but it’s hard not to feel positive about the acceptance. I think I have settled on what my next record is going to be in terms of which songs and how I will record it. I have spent the down time changing out equipment and solving technical problems that got in the way of an ideal musical experience with the last recordings. I want to concentrate more on the performance aspect and having a simple pleasant recording experience. The writing seems to come easy. I have about four or five records of unfinished material plus more ideas coming all the time. I have a stack of paper scrapes with tunes and ideas written on them, some as old as twelve years. I will probably die without getting everything out.

And some weird Questions to relax somehow!!! Do you prefer rock n’ roll or prog rock music?

J: I prefer Prog to straight rock n’ roll. This may sound weird, but I’m starting not to consider myself a true Prog fan. I like songs and pieces from several types of music including Bach, Wagner, Tchaikovsky, Rachmaninoff, Ravel, R. Strauss, Steve Reich, Pakistan, Bulgaria, Scriabin, early Stravinsky, Ligeti, Genesis, Gabriel, Banks, Yes, King Crimson, Queen, Rush, The Smashing Pumpkins, Jon Anderson, Brand X, Led Zeppelin, Arvo Part, did I miss anybody – and even some pop, which I won’t specifically list to avoid being accused of heresy.

What would you tell to someone to convince him to buy your album instead of hundreds others that are being released every month?

J: That’s tough. I think if something is good and is the kind of thing that is going to stick with you for years, you have to get through the initial couple of unpleasant listens where you don’t know what’s going on yet. To Prog fans, I would say it’s like Genesis or Yes but is different because I’m not them, and of course to go to: www.ProgRockRecords.com, click on their internet radio link and one of my songs will come by. To people that don’t know Prog I would say it’s not like anything you’re listening to and if you want something different, get it and listen to it at least three times, and concentrate on it while you listen – don’t talk to people, or eat, or browse the web. I’m mostly just trying to make the best music I can. If it sells or not, so be it.

Do you earn your living from your music, or do you have to resort to other jobs too?

J: I have a “real” job – computer programming. I could be a professional musician, but not by doing Prog or whatever else I might want to do. I briefly lived the pro musician life and hated making the compromises. Programming keeps me eager to get to my instruments and I think actually keeps my mind sharp and helps my writing.

How do you imagine that the music world could be, one thousand years from now? And why?

J: The human race will either be extinct, tribal, or enlightened in 1000 years. If tribal, lo-tech drums and singing. If enlightened, Prog of course.

What would you do, if you had supernatural power?

J: Do I get to choose the power? Omnipotence? No, I choose teleportation, including all items or persons touched, to any place in any dimension without error or possibility of harm and across or through any substance, energy, or dimensional barrier known or not yet known to science except time. I would visit Scotland because it was magnificent, the beaches of the Greek Islands because of the same, and Jupiter’s moon Europa. I would go to some concerts because most of the ones here are pretty lame. I would do the world tour we talked about because then it would be easy. Then I would go some other places. Maybe NASA would employ me.

Which band do you consider that can take a leading part in prog rock music in the future?

J: Me.

Which are the things that piss you off from today’s music industry?

J: I don’t get as mad at the music business as I used to since I have found a way to do what I want. I have my current gripes. The focus on the celebrity and body parts of artists instead of the music I find annoying and boring. The recording practice of pushing the digital volume of a recording as loud as it can possibly get into the 0 digital limit and/or cranking the bass and highs beyond good taste is absolutely horrible, terrible, very bad and annoying. I think the point of this is make the listener perceive the music as loud without it actually being loud and for the recording to sound better through our tiny computer speakers. The human ear doesn’t perceive highs and lows very well at quiet levels so they jack the bass and highs so we can listen while talking in our cars or for people who are afraid of legitimate music volumes. Music is supposed to be loud. A symphony orchestra at full blast is quite loud. A Marshall or drum set doesn’t sound right in rock unless they’re loud. I prefer the 70’s recordings with minimal master processing where you can listen to it at legitimate volume levels and not be blown away by highs and lows and not have your ears wear out from constant loudness. The human ear can handle a wide dynamic range but gets tired with constant loudness. I have a Smashing Pumpkins CD that sounds like they ran it through a Sonic Maximizer with the highs and lows all the way up. The songs and the raw sound of the band are great, but sound of the recording is horrible, and I can’t stand to listen to it. I don’t know if you have these problems in Europe but these are my current gripes about the US record industry.

Which is the most overrated band today?

J: The Beatles.

Imagine that your wife/girlfriend is selling your whole album-collection just to buy for herself an expensive ring. How would you react? J

J: Hmm, not cool. I guess that would give me the excuse sell all her books and stuffed animals and get that Leslie 147 and Arp 2600 I’ve been eyeing.

Is there anything you would like to be asked, but I didn’t ask you?

J: Can’t think of anything. Feel free to send follow up questions if you want.

All the best with your work Jonathan! Thx very much for your time… Leave a message to Grande Rock readers for the end…

J: Thanks for the interview. And thanks to fans of Zen in Greece and readers at Grande Rock. It’s great to have my music out in many parts of the world and to hear from people outside the US. Feel free to drop me a message at: zrnr@zenrockandroll.com.

Jonathan.

by Alex & Thanos