Dallas based guitarist, producer and songwriter Krishna Peri is about to launch his debut album “Across the Horizon” on August 15th, a release where the musician explores different music styles and adapting them to his own experimental formula.
Peri spoke for Progarchy about the album, but also his influences, writing process, and more.
What made you decide to release “Across the Horizon” under your own name? Does it feel more personal that way?
I am like a musical sponge and I like to absorb different genres that I come across, whether it is metal or anything else. I felt like if I am playing in a band, I have to stick to one particular style, for example, if you play in a death metal band, you can only play that and can’t really add extra quirkiness to it. Of course, I do enjoy playing in a band like that too but as an independent artist, I felt like I can touch base on multiple sounds and it would still be acceptable.
How do you usually describe your music?
I try to do two things – play heavy, memorable riffs but at the same time, focus on the underlying melody. To me, melodic playing and attention to the notes goes a long way and I try to incorporate the same in my music.
What is your writing process like?
I usually have a bunch of demos recorded on my phone, whenever I am just in a relaxed leisure mood. I would go back and listen to these raw clips from time to time whenever I need some inspiration. Once I find the right one, I create a session in my DAW, program the drums and lay down the guitar parts. By this point, the song starts taking its shape. Once finished, I send the demos to my drummer and bassist, who listen to it with a fresh pair of ears and give their comments. Once we polish the whole thing, the final drums are recorded in a studio. And then, I lay down my guitar tracks in my home studio. Last step would be sending these stems to the bassist, who does his part. I look over certain things from a producer’s perspective like, if the song needs any additional layers, keys etc. Finally, the whole thing gets mixed and mastered.
Who or what is your inspiration, if you have any?
Joe Satriani, Marty Friedman, Dimebag Darrell, Plini, Nick Johnston and John Petrucci – these are my main influences when it comes to instrumental music and soloing.
What is your favourite piece on the upcoming album and why?
“Stained Glass Memory” is my most favorite song on this album because it has these ambient sections followed by crushing heavy parts. The entire song jumps back and forth from 7/4 to 15/8 to 6/8, which gives it this mystical feeling. We’re working on releasing a music video for this particular track with a concept behind it, so stay tuned for that!
What makes “Across the Horizon” different?
I would say, complex time signatures, intricate solos, solid drumming and bass work, and the exploration of different genres like Viking metal, black metal, death metal etc.
What should music lovers expect from the album?
They should expect some expressive melodic playing. If you are a fan of modern instrumental music like the Intervals or Plini then I guarantee that you would dig it!
What kind of emotions would you like your audience to feel when they listen to your music?
Instrumental music is a tricky market to break in, just because there’s no vocals to convey anything. Which is why, we have to be very diligent in coming up with phrases because the guitar itself is treated like a vocal part. I would want my audience to feel the same thing and enjoy the tension and release of some of the songs that I am trying to present to them.
Pick your three favourite albums that you would take on a desert island with you.
That’s such a difficult question because there’s so many! I’ll try my best – Rust in Peace by Megadeth, Shockwave Supernova by Joe Satriani and Remarkably Human by Nick Johnston.