Benjamin Lechuga is a guitarist from Santiago, Chile. He was chosen by Steve Vai as the winner of the Steve Vai scholarship, and he moved to London to study at the Institute of Contemporary Music Performance. He is a member of the band DELTA with whom he released five studio album and opened for likes such Dream Theater, Symphony X, Stratovarius, Angra, and more. Apart from this, he is successfully pursuing solo career under the name Lechuga, and he’s recently put out an EP called “The Search Part 1: Introspection.”

We talked with Benjamin about his solo work, influences, and more.

Tell us something about your beginnings in music.

When I was a kid I had some piano lessons, I don’t remember how old I was but it definitely helped later on when I decided to pick up the guitar. I started playing guitar at the age of 10. My older brother showed me lot’s of music… Eric Clapton, Metallica, Rage Against The Machine, Iron Maiden, Frank Zappa, and some really cool prog and experimental chilean bands like Fulano, Mediabanda, Congreso, etc. He then took me to a Steve Vai concert and everything changed for me. Then I heard Dream Theater when I was about 12 or 13 and I became a big fan.

What types of change do you feel your music can initiate?

As a guitarist, I feel that my music is not completely focused on the guitar, but in the composition. To me it feels more like an instrumental band rather than a guitar solo career. And also not being afraid of mixing different styles. Maybe other metal guitarists can start focusing more on writing music, making arrangements… worrying about dynamics… and experimenting with different styles and cultures… rather than playing as fast as they can. It would be a nice change.

In December 2014 you released “The Search Part 1: Introspection.” Describe the creative process behind the release.

The creative process behind this album was very free. I wanted to have a clear mind to be able to write without prejudgements. I wanted to leave structure aside… I didn’t want to know how the song would end before I finished writing. I wanted to surprise myself.

I spent lot’s of hours in my studio, mainly very late at night when everyone’s quite and the inspiration comes.

How long did it take you to complete the songwriting for “Introspection”?

I guess it was about 4 months but not in a row… I started the idea of the synths at the intro and then didn’t work on it for a couple of months…. I started building my studio and then continue writing… To be honest I had to force myself a lot to write this album. It has been a year of changes in my life… I recently moved from my parent’s home, built my studio and now I have more responsibilities so it was very difficult to make the time to write music… but in working time, I think it was in 3 or 4 days to write the song and maybe other 3 or 4 days making arrangements.

What were the biggest challenges you faced when working on these songs?

I think The Search was definitely the most challenging song. The fact that it has so many different moods and dynamics made it made it difficult to fit together. I have to thank my friends Rafael Chaparro and Cristobal Dahm that played the saxophones, Tomás Ravassa that played the piano, José Tomás Novoa that did some electronic percussions and Consuelo Schuster that recorded the vocals for the song. I had a very clear idea of what I wanted in my mind but it was their talent that is recorded in the album.

Which bands or artists influence your music?

There’s a lot and in lot’s of different styles. In the progressive area I started listening to Dream Theater and Symphony X. I listened a lot to Mattias IA Eklundh, Bumblefoot and Steve Vai of course. But I also like Pat Metheny, Django Reindhart, Astor Piazzola, Fulano, Mediabanda, Frank Zappa, Paco de Lucía, Emir Kusturica. I love some chilean funk bands like Chancho en Piedra and Los Tetas. I also listen to film composers as Hans Zimmer, Danny Elfman, John Williams. Luckily I’ve been able to listen and love lot’s of new and young musicians. David Maxim Micic and Jakub Zytecki are my favourites lately. I simply don’t think I could ever fit into one style.

What kind of gear do you use in studio?

For guitar recording I use Caparison Guitars, I have some Engl Amps (4×12 pro cab), and the always faithful shure sm57. I love micing the amp… Haven’t yet tried digital amps that sound well. I record into a MOTU 896 mk3 Interface and I also have Universal Audio 4-710d preamps and my Empirical Labs Distressor compressor which I love. My DAW is Cubase 6.

Does spirituality have any sort of impact on you and your songwriting?

Not really. I’m more the kind of guy that writes music because of aesthetic reasons. The beauty in music is immense and I have a desire for searching that perfection in my writing. Luckily that perfection doesn’t exist and it is different everyday. The Search is endless.

How would you describe what you create under the name Lechuga to someone who didn’t hear your music before?

Wow, difficult question. I think Instrumental progressive music for musicians would be a nice try hahaha. It is only a search for the right notes at the right time hahaha. I really don’t know the answer for that question because my music is and always will be changing. The first album is very different from the Search Part 1… and The Search Part 2 will be completely different also.

What non-musical entities and ideas have an impact on your work?

I think that learning from everyone is the idea that has impacted my work the most. I’ve learnt that you can learn important lessons from everyone in the world, teachers, fathers, sons, homeless people, rich people, poor people, ignorant people, intelligent people, your friends, family, people that want to harm you, etc. It’s just the matter of listening and having the right criteria. I love learning and I can’t see myself as someone that has nothing more to learn, and I mean in every aspect of life. The day I feel like I have nothing else to learn I authorize you to shoot me.

What is your viewpoint on the struggle bands are facing today as they try to monetize their output?

I think it has always been an unfair treat for bands. The amount of work and love musicians do is completely unbalanced to the amount of money we receive. But, who cares? Truly musicians don’t do this for money. I’m more worried about letting people know about my music that for getting paid for it. Both of my albums are for free on YouTube.

I hope one day I can tour the world with a proper paycheck, but I won’t kill myself if it never happens.

Is there anyone in the current prog scene that you are into?

Yes, of course! There was a time not so long ago where I was tired of listening to the same bands and couldn’t find any news once that I was really into… It is one of the most depressing things that can happen to me. But since a couple of years I started listening to some new and young musicians. BILO, Destiny Potato, Jakub Zytecki, Plini, Sithu Aye, Widek, Polyphia, Chon… all real good and young! I’m in love with music again.

How do you see Lechuga’s music evolving in the future? Are you already working on the “Search Part 2”?

I haven’t written any music yet. I have the concept in my mind already, It’s only a matter of sitting down and translating the ideas. It is going to be different, that’s all I can say for know! Don’t want to spoil the surprise! Can’t wait to start writing in February/March!

Buy Lechuga’s “The Search Part 1: Introspection” from Bandcamp.

It’s been a while since I put metaphorical pen to paper, but then by the same token it has been a long time since an album, any album, impressed me so much. And by impressed I mean totally and utterly captivated. From the 25 minute long opening epic ‘Nova America’ to the 2 and a half minutes of closing Bonus Track ‘Driver French’.
This is a supremely accomplished debut from the Spaniards and should be required listening for any ‘big name’ bands contemplating releasing yet more substandard product just to boost the retirement pot.
It is incredibly hard to pin down, if you like the comfort that sub-genre compartmentalisation provides. But if I had to give you a steer, sonically, then I’d point you in the direction of Frank Zappa, Gentle Giant, Genesis and Queen with a touch of Pure Reason Revolution heavy electronica. There is the odd bonkers moment (both musically and lyrically) and more melody than you can shake a stick at. If stick shaking is your thing. The musicianship is second to none and the breadth and depth of their compositional inventiveness is absolutely staggering to these hairy old ears. There was quite a bit of social network buzz around it and some excellent reviews which is why I took a punt and bought it on iTunes in the first instance then ordered the CD direct from the band’s BandCamp page.
It sounds great on just the car stereo, where it has resided for several weeks now. In fact I’m still finding new bits to enjoy. It’s on the domestic hifi, though, that it becomes a far more visceral and absorbing experience.
AKG K702 headphones and an Audioquest Dragonfly 1.2 USB DAC have transformed the MacBook into a pretty decent listening platform and this setup happily throws sound effects and vocal harmonies around your ears quite splendidly on the iTunes version of the album. The small ‘Gentle Giant on helium and acid’ (as I like to call it) section of ‘Nova America’ is an absorbing experience shall we say?
The problem for the album as a whole is the first tune is just so eclectic, and dare I say it ‘progressive’ that I invariably rewind (for you cassette tape enthusiasts) to the beginning and start again. Here you will find amazing keyboard passages, soaring guitar solos, upbeat rocking out, weird noodling and avant experimentation. Often happening at the same time and hence the need to listen on headphones I think. Soaring climaxes that The Flower Kings would be proud of and enough heart-wrenching introspection for even the most hardened PT fan And yes, you could quite easily justify the purchase price for this one track alone.
Now when I first heard ‘Nova America’ for the first time I said to myself ‘top that’ but you know what? The album as a whole is a triumph of pacing and they just about did it without the aid of a safety net.
Second track ‘The Driver and the Cat’ sounds like it should be on Hammer and Anvil by PRR whilst instrumental ‘Volcano Burger’ recalls your feel-good Swedish Prog but grounds it in the now with a disturbing captured sound.
‘Teddy Bears’ gives A.C.T and Moon Safari a run for their money. Sounded like The Sweet in places but like all of the album you need to listen to the lyrics. Which you will only get with the CD direct from the band. It’s only when you have the complete package that you realise just how much you miss from a mere (legal) download.
‘Four Guitars’ is another instrumental and as you might have guessed it rocks but keyboards fight their corner manfully.
‘Octopus Soup’ is probably the song every progressive rock band working today wish they had recorded. Yes, it is that good. The folky bit reminds of Ritual, before more amazing Gentle Giant vocal cacophony. It then gets avant, but there’s loads of other stuff going on and a lovely full-frontal Prog out before the track closes with some gentle piano.
A seamless segueway into ‘Fat Frosties’ follows as some lush piano and rampant guitar get together and go out for coffee. And ‘Naughty Boy’ will see you drumming furiously on your steering wheel. It’s an operatic Prog epic in 7 minutes. People in traffic jams will stare but that’s a good thing.
There’s a bonus track on the CD –
‘Driver French’ is vocoder-tastic and as good as anything PRR did back circa ‘Hammer and Anvil’.
So that’s it. My opinion on a record. An indispensable addition to any self-respecting Prog fan’s album collection. Some great album art too.

If Progarchy did ratings then this record would get a ten.