Through trial and error, through experimentation, through perseverance, Lanes Laire has come full circle to the core of his being… his musical roots. Originally from Los Angeles, Lanes started his musical career playing in various bands while still in high school, performing all over Hollywood and the famed Sunset Strip. However, he always stood out from the crowd musically, bringing a moody progressive edge to his songwriting. He was the “Peter Gabriel” to Genesis. And like Peter, he eventually moved on as a solo artist.
Earlier this year Lanes released an album titled “Resurrection of Black,” which features drummer Gregg Bissonette and his brother, bassist Matt Bissonette.
Read below what Lanes had to tell us about the record, his beginnings, and more.
Tell us more about your musical beginnings.
When I was 12 years old I found and old guitar stuffed away in our hallway closet. It was a Kay f-holed acoustic my dad’s dad gave to him when he was a kid but he never played. We took it to a local guitar shop to get it fixed up and I started teaching myself how to play guitar. The first song I taught myself was Day Tripper by The Beatles. Eventually I had formal training and studied contemporary and traditional jazz. I think I was 13 when I joined my first rock band and knew that’s what I wanted to do.
How did you go about forming this project?
When I began working on this album I tried out a few musicians but wasn’t finding the right combination. I was talking with my good friend Wally Minko, who’s a great session keyboardist and arranger about the project and he said “I’ll get you the right guys.” He hooked me up with drummer Gregg Bissonette and his brother, bassist Matt Bissonette. This was exactly what I was looking for. They provided a solid foundation and brought that musical intangible I needed to build upon.
Which bands or musicians influenced your works at the most?
I’m pretty eclectic when it comes to music but there are a few that have stood out. I grew up listening to The Beatles so they have always had an influence. When Gary Numan’s Replicas album came out, that really grabbed me. The moody rawness and synth heavy album was something I had not heard before. It was because of Numan I got into synths. Still a fan to this day. Pink Floyd is a huge influence. When I was first starting to write serious music I didn’t know much about Pink Floyd. Being the dumb naive kid that I was, when I heard them I thought, “damn, these guys sound just like me!” Of course they were the masters of their craft so I had a lot to learn. Jean-Luc Ponty was a huge influence. It was his music that exposed me to jazz fusion. I also got into Al Di Meola, early Genesis, ELP, and other progressive bands. But Numan, Pink Floyd and Ponty were the biggest influences.
Lets talk about your new studio album “Resurrection Of Black.” Describe its music and tell us about its sound.
The music is definitely moody but rockin’. Maybe moody crossover progressive is the best description. I wanted to create a soundscape with this album and make sure it flowed from beginning to end. I used sound effects and did guitar experimentation to create unique sounds throughout the album. I like utilizing drone bass notes as the foundation to set the mood. There’s a lot of Moog Taurus pedals on this album. Those original pedals have such a great sound. The songs themselves deal with topics ranging from the state of the world, corporate greed, to cliques and not being part of the “cool” crowd. It’s not necessarily a concept album but there is a common underlying theme.
How did the creative process of “Resurrection Of Black” go?
Resurrection Of Black actually has its roots going back when I was still in high school. Most of the songs were written back then. I performed these songs in various bands but never seriously recorded them. After putting them aside for a while, I decided it was time to bring these songs back and do them right. Though the songs themselves were already written, there still was plenty of room to mold and craft. I had the freedom to do what I wanted, which is great to not have restrictions on the creative process. The album came together fast and ideas for the songs just kept coming. I felt fortunate for such a smooth creative flow.
What was the hardest moment at the recording phase of the album?
Laying down intricate guitar parts were probably the hardest moments. Whether a technical riff or a soft string bend, it had to be perfect. I’m my toughest critic, as is the case with most artists so striving for perfection can be very frustrating. However, you do have to draw the line. So, there are imperfections on the album but that’s what makes it human…what makes it real.
Are you satisfied with where “Resurrection Of Black” landed?
Yes, I’m very satisfied. I feel I accomplished what I set out to do with Ressurection Of Black.
If you have to pick a song that in the best way describe your work, which tune would that be?
Two immediately come to mind – The World Around Us and Justifiable Condemnation. But if there had to be one definitive song, it would be The World Around Us. It pretty much encapsulates my style.
What does the future hold?
Great things, of course! Always thinking positive. I’m planning to do some live shows in 2016. I’m excited to take Resurrection Of Black on the road. Also, I already have songs put aside for the second album so I’ll be starting work on that next year.
Is there anything you want to share with our readers about your new album?
The best way to enjoy Resurrection Of Black is to sit down and listen to it from beginning to end. It’s rockin’ as well as provocative.
Give yourself an aural orgasm… Enjoy!