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MP3 Barry Cleveland - Hologramatron

A modern-day “protest album” that draws inspiration from a musical continuum spanning art rock, psychedelia, avant-metal, ambient, global fusion, trance, and funk—with two early-’60s pop covers tossed in for kicks.

13 MP3 Songs in this album (64:42) !
Related styles: Rock: Avant-Prog, Rock: Progressive Rock, Featuring Guitar

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Largely a response to contemporary social, political, and even spiritual realities, Barry Cleveland’s Hologramatron may be viewed as a modern-day “protest album” that draws inspiration from a musical continuum spanning art rock, psychedelia, avant-metal, ambient, global fusion, trance, and funk—with two early-’60s pop covers tossed in for kicks. Cleveland is all about sound—from his guitar playing to his compositions to his production—and it is the deeply layered, highly nuanced, and cutting-edge sonics that unify this wildly eclectic material.

Hologramatron features Michael Manring (arguably the most innovative bassist on the planet), Brazilian drummer and percussionist Celso Alberti (Steve Winwood, Airto Moriera), and pedal-steel iconoclast Robert Powell (Peter Gabriel, Jackson Browne), along with “avant-cabaret” vocalist Amy X Neuburg, and guest vocalists Harry Manx and Deborah Holland (Animal Logic). Additional musicians include Turkish electro-acoustic guitarist Erdem Helvacioglu, percussionists Gino Robair and Rick Walker, and the infamous Artist General.

Besides playing acoustic and electric 6- and 12-string guitars on Hologramatron, Cleveland employed a prototype of the revolutionary Moog Guitar and both acoustic and electric GuitarViols—hybrid bowed instruments tuned like a guitar—along with myriad effects processors and alternative playing devices such as a Chinese erhu bow, Masley Bowhammers, and the Ebow.

Other than the two covers—Malvina Reynolds’ anti-nuke anthem “What Have They Done to the Rain” and Joe Meek’s iconic “Telstar”—Cleveland wrote all of the songs on Hologramatron. Bonus tracks include remixes by Evan Schiller (“Lake of Fire”) and Forrest Fang (“Abandoned Mines”), as well as an alternate mix of “You’ll Just Have to See It to Believe.” Grammy Award-winning engineer John Cuniberti mastered the album.

Artist Profile:

Barry Cleveland''s guitar playing is rooted in progressive and psychedelic rock, branching into ambient, experimental, funk, and "world music" styles, and he employs unorthodox playing techniques and electronic processing to further expand his expressive vocabulary. His latest work also features the new Moog Guitar and both acoustic and electric GuitarViols.

Cleveland released his first commercial album on Larry Fast''s Audion Recording Company label in 1986. Mythos combined layers of guitar with Bob Stohl and Kat Epple''s woodwinds, synthesizers, and light percussion; and Michael Masley''s otherworldly bowhammer cymbalom. The CD received glowing reviews in Option, Jazziz, Stereo Review, the Stereo Review Compact Disc Buyer''s Guide, and numerous other publications.

Voluntary Dreaming, released on Scarlet Records in 1989, also met with critical acclaim. The music had an electronic edge—Cleveland played samplers and synths in addition to electric and acoustic guitars—but also encroached upon world music territory with the addition of Michael Pluznick''s African and Middle Eastern percussion. Michael Masley''s bowhammer cymbalom, and Robert Powell''s pedal-steel guitar added exotic harmonic and melodic touches.

During the ''90s Cleveland began a parallel career in journalism. Between 1996 and 2002 he worked in various editorial capacities and wrote dozens of articles and product reviews for Mix, Electronic Musician, and Onstage magazines. In mid-2002 he joined the staff of Guitar Player magazine, where he continues to serve as an associate editor. Cleveland''s first book, Creative Music Production: Joe Meek''s Bold Techniques, was published by MixBooks in the Fall of 2001.

The ''90s were a busy time musically as well. Cleveland performed with the improvisational quintet Cloud Chamber, a group that included multi-instrumentalist Michael Masley, bassist Michael Manring, cellist Dan Reiter, and percussionist Joe Venegoni. Cloud Chamber performed throughout the San Francisco Bay Area over a period of several years, and released its critically acclaimed Dark Matter CD (produced by Cleveland) in 1998. During this time Cleveland also recorded material that would eventually appear on Volcano and Memory & Imagination.

Volcano is an explosive mixture of African and Afro-Haitian rhythms and progressive, jazz, ambient, and world music elements, featuring Michael Manring (bass), Michael Pluznick (percussion), Norbert Stachel (winds/reeds/EWI), Michael Masley (cymbalom/original instruments), and other extraordinary artists. The 2-CD Memory & Imagination features the very best of Cleveland''s critically acclaimed Voluntary Dreaming and Mythos albums on one disc, and nine loop-based improvisational guitar and percussion compositions, performed almost entirely by Cleveland, on the other.


"Cleveland has a full command of his instrument, both as a player and a shaper of sound, utilizing all manner of processing to create sounds that are at times distinctly un-guitarlike. But what is most revealing about his approach, as evidenced by Volcano, is that Cleveland sees the guitar more as a means to an end rather than the end itself." —John Kelman, All About Jazz

"Barry Cleveland’s highly imaginative and resplendent guitar playing incorporates elements from a panoply of sources—including, but certainly not limited to progressive rock, psychedelic effects, ambient and new age soundscapes, world, jazz, funk and other (re)sources. Like Jimmy Page,
for instance, he sometimes bows his electric guitar. To that, add Cleveland’s keen command of digital and analog recording studio devices and techniques. All told, you’ve a pretty talented cat on your hands." —Robert Kaye, Abstract Logix

"Much of Cleveland''s work doesn''t sound like the work of your conventional guitarist at all, but rather a far-reaching compositional visionary who uses whatever instruments and processes necessary to achieve his ends." —Peter Thelen, Exposé

"Barry Cleveland''s third album as a leader finds the renowned guitarist and composer exploring the nuances of rhythm. Drawing from a varied palette of traditions, timbres and tonalities, Volcano bridges the impressionist leanings of his previous releases with a more audacious, kinetic approach. Listeners will appreciate the disc''s pulsing rhythms, inter-weaving melodies, and layers of evocative atmospheres." —Anil Prasad, Innerviews

“Sometimes spacey, oftentimes jazzy, this fascinating take on ethnic-flavored progressive jazz brims with an Afro-Haitian multi-rhythmic undercurrent that is nothing short of infectious, beguiling, and ultimately seductive. Guitarist Barry Cleveland assembled a crack team of musicians that really goes to town on Volcano, including bassist extraordinaire Michael Manring, conga player/percussionist Michael Pluznick and vocalist Lygia Ferra. Flute and sax add to the mind-bending mix, full of complex little instrumental nuances and clever twists of melody. The multi-dimensionality (hmm, first time I''ve used that term) of this album is impressive. Not only is there a lot going on most of the time, the music also has room to breathe. Things open with the happy melodicism of "Makanda" and flow through varied tones and moods. A favorite to these ears is "Secret Prescriptions of the Bedroom" featuring Ferra''s sensuous vocals. Other contrasts include the spacey ambience of "Obsidian Night," and the head-trippin'', psychedelic swirl of "Dervish Circles." Yet, whatever stylistic shift is hinted at on this disc, you''re never far from its jazz/ethnic foundation. Cool stuff!” —John Collinge, Progression

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