It’s been roughly five years since Canadian virtuoso guitarist Dave Martone released his critically acclaimed album, “A Demon’s Dream”, so a fourth solo album has been long anticipated by many. Fortunately Dave released an amazing live DVD to tie his audience over until now… because the new studio album, entitled “When The Aliens Come”, is finally available!

Joining him once again are drummer Daniel Adair (of the band Nickelback and formerly of 3 Doors Down) and David Spidel; both of whom are absolutely top of the line musicians who have proven themselves countless times on the previous albums and the live DVD. Should I ever record an album, Daniel is definitely the first drummer I would approach. His progressive style fits in with Martone perfectly. Spidel is equally fun to listen to, because anytime you focus in on the bass something interesting is going on. There are also some guests, such as drummer Gene Hoglan (who filled in for Daniel on the track “Fumble Fingers”), Cassius Hhan (on tabla’s), Neah Barkley (vocals on “Double FF’s”), and various guest guitar soloists that I’ll mention further on in the review...

 

 

 

 

 

 

 

From the very opening sounds, you can tell this is going to be the wildest, most atmospheric and brilliantly textured album Martone has released yet. It’s getting harder and harder to tell just what the hell is going on, because of all the wild sounds Dave pulls out of his Parker, not to mention the seamless mixture of drums and percussion, bass, keyboards and various computerized sounds that are somewhat reminiscent of Squarepusher. This is a studio album in every sense of the world. I pity the group if they have to reproduce this kind of complexity for a live show! “Starz Scarz” goes from an ambient style opening with scattered vocals into a techno sounding stuttered guitar part, followed by some very heavy harmonies which are reminiscent of the opening track on the last album, an interesting acoustic section, some weird ambient wails, a crazy two-handed tapping solo, back to the staccato guitar theme followed by some heavy riffage, and a pulsating guitar and drum climax which closes when the sound is suddenly torn away as if having been sucked up by the vacuum of space.

The playing on this track is as sick as its title! When I turned this one on I thought my expensive computer speakers were on the fritz, because these short static bursts were switching between the left and right channels, but then the metallic opening riff kicked in and I realized it was all part of the show! A funk rhythm follows with some interesting bass lines woven in, which transforms into the joyous main theme that reminds me of “Lips Tulips” or “Pain of Wisdom” from the first Martone album, “Shut Up 'N Listen”. Both of those have long been favorite Martone songs of mine, and I think “Flatulation Farm” has just joined the club! … Back into the funky rhythm playing, some whammy pedal sounding “yee-haw’s”, the metallic / ambient noises, heavy riffs and electronic guitar sounds mixed together, more funkdified licks, the happy main theme and a screaming guitar that sustains for a lifetime until the song finally fades.

An eight and a half minute long piece, and a great excuse for lots of exciting guest solos. Chris Buono, James Hogan, and Terry Syrek each take three solos, but Dave’s signature tone weaves in and out of the song unconfined. Out of all three guest soloists, Syrek is the only one I’m familiar with, but they’re all undoubtedly scary players. When the solos hit, they hit hard and fast, but there’s usually still plenty of time to breathe in between.

Martone fans may remember this song from the DVD. Well it’s finally made its studio-version debut on this new album. The memorable muted opening riff is followed by the main melody, which is entirely tapped. Martone has such a distinctive sound to his two-handed tapping… it’s immediately recognizable. Then we get into some death metal sounding power chords, which suddenly transition into what I suppose would be considered the solo (sometimes it’s hard to tell when the music is all instrumental guitar driven). If it is the solo, it wasn’t improvised for the studio recording, because it’s practically note for note with the DVD’s live version. Regardless, it’s a fantastic solo that contrasts greatly from the power rhythm that it begins and ends with. Near the end of the song there’s another signature Martone tapped bit, with some really nice volume swells as the background for awhile. Even eventually all the backings drop out and Dave continues to tap his way into oblivion!

 

 

This song debuted on the “Shawn Lane Remembered - Volume I” tribute album. It’s never been one of my favorite Martone songs, but it’s still good to see it here as added content. I won’t get into it too far, but it is somewhat similar to some of the flamenco acoustic songs found on Dave’s duo album, “Synesthesia”… only, perhaps with more of electric element.

 

Recent InstruMentalCase.com interviewee Prashant Aswani takes the first and third solo on this track. The crazy main theme and the extremely fast drumming by guest Gene Hoglan really helps ramp up the intensity. This is the kind of stuff you listen to when you’re trying to psyche yourself up for skydiving or something!

 

Martone plays bass! (Extremely well actually.) This is perhaps the mellowest song on the album. It’s simply unaccompanied bass guitar, and it provides some needed breathing room at just the right time.

 

 

Martone’s cover of the popular Hendrix tune. It’s just as unpredictably original as his previous cover songs, such as “Crush of Love” by Satriani, “Higher” by Jason Becker, or Charles Mingus‘s “Goodbye Pork Pie Hat”. This version of “Angel” previously appeared on the Jimi Hendrix tribute album, “The Spirit Lives On Vol. 2”. I’m happy to see it was included here as well.

 

Quite possibly my favorite song on the album. It reminds me a bit of “Country Maniac” from the last album. The first half is like futuristic country / bluegrass guitar, and the second half is strange percussive ambience. I especially love the main melody.

 

As I mentioned earlier, Nenah Barkley (Brainworks Productions recording artist) contributes her vocal talents for the backing to this song. This track also features one of my favorite solos on the album. A climactic ending makes it all the better!

 

 

Written by the group’s drummer, Daniel Adair, this song definitely stands out from the rest on the album. Sweet bass guitar melodies lead this entire track… only – according to the album credits - it’s Adair on the bass! I had no idea he was so accomplished on the instrument. Unfortunately this song is somewhat dragged down by the Napoleon Dynamite soundclips that appear quite often. It’s not that the quotes aren’t funny, it’s just that they’re really dated already, and you need to have seen the movie to understand what’s funny.

Martone’s version of ever popular “Flight of the Bumblebee” by Nikolai Rimsky-Korsakov. This piece is definitely overdone in the guitar world, but Dave manages to bring something new to the table with his exciting interpretation. Haha, then again, maybe he’s been hanging out with Jennifer Batten too much.

 

The title track, and probably the hugest sound on the album. Lot’s of strange counterpoint going on. It’s a very wild sounding song in general. Sudden changes in intensity happen quite often, and the song can be a bit difficult to dig into because of it. The echo-tone of the solo is quite refreshing though. “Futuristic avant garde metal!”

 

I’d probably have to say this is the heaviest Martone album yet, and it certainly seems to pay little attention to convention.  If you're a fan of progressive instrumental guitar music, consider this a must-hear album.  When the aliens come to get me I'm taking this music with me!

 

 

 

 

 

 

... and don't forget to buy "When The Aliens Come"!