Marty Friedman |
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Genre(s): | Neoclassical, Progressive Metal, Shred |
| Instrument(s): | Electric Guitar, Acoustic Guitar | |
| Trademark(s): | Virtuoso guitarist, purist neoclassical compositions that are melodical and accessible, blazing speed, articulate precision, awesome sweep picking, exotic scales, pioneer of the neoclassical genre. | |
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Marty Friedman is one of the original pioneers of the neoclassical genre. In the late 1980's he originally distinguished himself as a virtuoso guitarist and talented composer who could invent accessible themes with exotic scales and outside harmonization. Friedman has balanced a duality of purist neoclassical instrumentalism and aggressive progressive metal styles, often switching venues back and forth between the two. Though he is probably most commonly known for his guitar work with MegaDeath, Marty's instrumental albums are recognized as world class in the neoclassical community.
In 1988, Marty Friedman followed up his collaborative effort with Jason Becker in Cacophony, with his first solo effort, Dragon's Kiss. This album marked a departure from the metal-vocals oriented music to a more pure form of instrumental music that demonstrated his true capabilities on guitar. Though this CD still deploys heavy texturing and saturated tones, Friedman focuses on inventive themes that are founded in exotic scales and outside harmonization.
In his 1992 release, Marty Friedman's teams up with producer Kitaro to explore Eastern-based musical directions. Friedman composes a number of superb, and now classic, Asian-flavored compositions, such as "Tibet", "Angel", and "Valley of Eternity". Friedman makes another departure on this album, this time from heavy-texture based tones to more clean toned accompaniment, as well as a combination of clean toned guitar work and a more refined style of saturated tones.
Review pending.
Marty Friedman, True Obsessions
Marty Friedman's 1996 release, True Obsessions, finds Marty once again changing directions. Friedman this time sets his sights on a more flavor of progressive rock that integrates many of the other elements from his other experimental excursions. The tracks "Rio" and "Intoxicated" are both excellent tracks, and "Rio" makes the entire album worthwhile, demonstrating that Marty still can produce singeing themes that captivate the helpless listener.
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