JJ: What is your formal music background, if any? (i.e. were you self taught, lessons, college, etc.)
GH: I actually don't have any formal training with music or playing guitar. I learned and continue to play completely by ear. I took some guitar lessons early in high school and theory classes in college, but it didn't further me as a musician or song writer.
I simply did not luck out with guitar teachers. I wanted to learn scales, and I ended up teaching one of my teachers how to play Gin Blossoms songs. The other teacher told me the music I loved was devil music. The three semesters of theory were great for expanding my outlook on music in general, but it didn't affect my playing or writing. I also took three semesters of class piano, but I always ended up learning the pieces and embellishing while pretending to read the music! That's my own fault though.
I do wish I could read music, but I'm quite happy being a song writer. If I started on paper, something like Metroid Metal may have never happened.
JJ: Why Metroid?
GH: It was an accident. I love Metroid, and there really isn't any other music like Metroid music, but I stumbled into the project. I did the Metroid NES theme first, and it was only supposed to be a single track. The response was so positive, I just kept going. The goal was then just the first NES soundtrack, but I was reminded how amazing Lower Norfair is, and it just snowballed from there.
JJ: Could you describe how you generally go about planning and recording a Metroid Metal track?
GH: It always starts with drums. Back when I was using my cassette 8-track, I had to program all of the drums first, because I had to put them on my drum machine and lay them down on my 8-track before I could continue. That methodology remains the same. I always start with the rhythm section. I'm a guitar player first, but I'm very rhythm-oriented, and I play mostly rhythm guitar. It may sound strange, but coming up with rhythms take priority.
From there, I just layer until it's done, and then hand it over to Dan the bass player to do his parts, which always sends the song soarint in a slightly different direction. It's my favorite part. I'm lucky to have such a good friend that thinks about music in a similar way. He was only going to guest on a single track -- Maridia -- but the style fit so well we just kept it going without even acknowledging that there were other options. He's been my partner in the project for so many years, and I couldn't imagine doing a track without his expertise. I play bass like a guitar player, and that is not a good thing!
JJ: What inspired you with the idea of programming drums instead of playing them?
GH: I'm a somewhat competent drummer. I've played drums in a few small bands, but I don't have the gear to make them sound good. I started with an 8-track, so I only had 2 tracks for drums, and I certainly didn't have a drumset, mixer, and mics available to play all the parts. It evolved from there, and now I use multi-layered drum samples in an attempt to program the most realistic drums possible.
It's funny, because most engineers spend so many man-hours fixing mistakes on drums, while I spend time literally programming in mistakes, missteps in tempo, and the occasional rimshot for realism. I still don't have a kit or mic set up, so I don't plan on changing that process. Programming drums has become a part of the songwriting process.
JJ: Is there any piece that you're particularly proud of? Why?
GH: I'm very proud of the Super Metroid Ending music because it's the most orchestral piece -- complete with movements. It's almost a summary of the entire Super Metroid experience. It's not the most metal track, but it's the most complex as far as composition goes, and I literally lost my mind trying to finish it. I hit the wall several times. I think the Bryyo / Prime3 Theme track has a momentum and song structure that worked out well. I'm always a fan of the Metroid NES Ending music, because so very little was done. It's a statement to how amazing the original material is. I really didn't need to do much at all.
JJ: What Metroid game was your favorite? Did its soundtrack influence your overall playing in any way?
GH: My favorite Metroid game is Metroid Prime. Most people say Super Metroid, but I played it way later than everyone else. I thought Prime was perfect. The Prime soundtrack has a lot of dynamics across the entire soundtrack, which definitely influenced my style from track to track. Phendrana forced me to go space rock, Downed Frigate let me bring in a piano player (Kareshi) and try my hand at down-tempo sludge metal, and the Prime menu theme rocks.
JJ: What guided your eventual decision to record your music with a live band? (i.e. Varia Suite)
GH: Dan and I decided to attend MAGfest, and we met up with many people we'd known online for years. I had already convinced myself that a Metroid Metal live band was impossible, because none of the great guitar players I knew locally were into video games -- let alone Metroid.
At MAGfest, we saw Temp Sound Solutions, and I didn't realize that these guys practiced from afar and came together for the live shows. That really gave us the idea. So we approached danimal and Kirby from Arm Cannon and Temp Sound Solutions (respectively), and asked if they would be interested. They were good friends already. Both were into the idea, so we played our first show at the following MAGfest, practicing for the first time the day before.
We recorded Varia Suite because we realized that the songs took on a different shape with the live band, and we thought it made sense to have SOMETHING to offer people at the Penny Arcade Expo. So we put it out on the same record label as my Stemage album, which contains original material – not game-related music. Since then, we've played the Penny Arcade Expo and MAGfest several times, and we have other shows planned as well. It has been a very surreal and fulfilling ride.
JJ: In your experience, what have been some of the pros and cons of recording alone versus with a live band?
GH: Recording alone lets you have complete creative control. I wouldn't call myself a control freak, but I'm all about details. It lets me take each track in a specific direction, and I try to change it up with each new song. OK, I'm DEFINITELY a control freak.
We haven't recorded anything from scratch with the live group, but I give the boys complete freedom to add any embellishments that they see fit and I never shoot them down. What comes out on those albums is 100% collaboration. It's quite fun. You have a real drummer playing drums like a drummer should, and you have acrobatic guitar players that can add a level of supreme talent and knowledge of scales that I simply cannot offer. Both scenarios are rewarding for their own reasons. It's ALL Rock n Roll though.