Guillory, Matt (Dali's Dilemma) (November 2001)

Mining The Hills Of Memory - An Interview with Matt Guillory

Even if Dali's Dilemma are still busy trying to work with Magna Carta regarding their second album, keyboardist Matt Guillory isn't messing around in the time being, doing nothing. The great work he put into the new Mullmuzzler album shows it. So listen to what he had to say about it, and about his keys passion too...

Igor Italiani: Hi Matt. First of all, I'm a bit surprised that you started the first e-mail (you mailed back to me) with Italian words ... does it mean you know a little bit of Italian and that in the past you've been to my country?

Matt Guillory: Hi Igor. First of all, thanks for the opportunity to do an interview with Metal Force & ProgressiveWorld! Actually, I don't speak Italian. I've never been to Italy, but I'd love to visit someday [you're always invited! - II].

II: OK ... back to music now. Can you do a little biography of yourself for the readers? At what age did you start playing keys and why did you stick with this instrument (even if you probably play other instruments as well)?

MG: Well, I started playing piano when I was very young. I think I was around five years old. My mother and father were very supportive and encouraged me to take lessons. My dream was to become a guitarist, but I had already invested a considerable amount of time on piano already. I didn't pick up any other instruments until a few years ago. Now I play guitar a little bit ... and I'm also working on my voice.

II: The first Dali's Dilemma CD, as well as the stuff you did with Mullmuzzler, shows us your incredible touch on the keys. Is there some advice you wanna give to the ones who are picking an instrument (like keyboards) right now?

MG: I would recommend learning as much as you can about the instrument. Listen to players that can move you emotionally with their music ... not even keyboardists, perhaps. I would also recommend writing, and creating your own identity. Don't allow yourself to create boundaries. Keep an open mind. Learn to appreciate many styles of music.

II: But can you tell me what musicians were inspirational to your playing?

MG: That's a good question. In terms of soloing, Jens Johansson [Stratovarious] was a huge keyboard influence on me early on. Actually, Jens is really the one that gave me the fire to pursue rock keyboards. I used to learn his solos note-for-note when I was in high school. Also, a lot of the technique I've developed is derived from many years of listening to, and trying to emulate guitar players. Lately though, my influences are people who I think are amazing writers. People like Steven Curtis Chapman, Tal Bachman, Nichole Nordeman etc...

II: Well, let's talk about the records, too. The first CD of Dali's Dilemma [Manifesto For Futurism] is a really good one, but was released almost three years ago. What are the latest happenings in the camp? Will you unleash something new soon?

MG: Yes, we hope to have a new album out soon. We're currently trying to resolve some matters with Magna Carta and that is why everything is taking so long.

II: In Manifesto For Futurism there's a bit of influence of the great Dream Theater. Do you think that in your future projects this influence will be hidden more or not?

MG: I think Dream Theater is an incredibly talented band. They are a great group of guys. Regarding the comparisons, I think that when you mix heavy guitars and keyboards, those kinds of comparisons are inevitable. On the other hand, I believe we've created more of an identity for ourselves with this new material.

II: I think that one of the best aspects of Dali's Dilemma's music are the strange, yet captivating, choruses. What can you tell me about that one?

MG: We all share a deep appreciation for music that can move you. There are many styles of music that we enjoy and listen to. I think the "hook" element in some Dali's Dilemma songs stem from our "non-progressive" influences.

II: In the liner notes of Manifesto For Futurism you thank a lot of great bands and musicians, two of which are Zero Hour and Mayadome, quality bands like Dali's Dilemma that unfortunately struggle to have a good audience in the US. Do you know personally the boys in the bands, and what do you think about the modern US music scene?

MG: Yes. I know Teddy Moller as well as the guys in Zero Hour. It's hard to keep up with what's happening currently in the US music scene. However I don't have a dislike for it. There's an artist by the name of BT that's doing some really innovative and cool stuff.

II: The first time I had Manifesto For Futurism in my hands, I didn't notice that guitars, bass and keys were recorded by ace-guitarist James Murphy. How was it to collaborate with a great musician like him, and what can you tell me about his current status? I've read that recently he had a tumour removed from his brain, but the situation is unclear to say the least?

MG: As far as Dali's Dilemma goes, we recorded overdubs at his studio in Oakland, California. It was more of an engineering thing as opposed to musical collaboration. I've worked with James on many projects outside of Dali's Dilemma. James was very easy-going and fun to work with. I actually haven't spoken to James in a few years. I hope he's doing well.

II: OK. Matt, let's talk a little about Mullmuzzler now. You played on the coming record, but also on the first one [Keep It To Yourself] ... what are the main differences between the two works in your opinion, and are you completely satisfied with the songs you've written (with James LaBrie)?

MG: I think there are many differences between the first and second Mullmuzzler record. I think it's safe to say that the biggest difference would probably be that the LaBrie/Guillory collaboration is more pronounced on Mullmuzzler 2. We were happy with what we established on the first Mullmuzzler. With Mullmuzzler 2, we still very much wanted to retain the stylistic identity but we wanted to try some new things and cover some new ground that one wouldn't necessarily expect. I'm thrilled with the way everything came together.

II: But do you think that there will be a possibility to see these songs live someday?

MG: I certainly hope so. If not now, at some point in the future perhaps. I think it really depends on the response it's generated after the album has been out for a few months.

II: Matt ... I have one final question ... I know that, at the moment, the keyboard spot in the legendary prog band Yes is considered vacant. What would it be your response in case they come calling to your house and ask about joining them?

MG: Well, first and foremost ... it would be an honour and completely flattering. Unfortunately, I'm not too familiar with their music. I certainly respect them as musicians/writers and the fact that they were pioneers of progressive rock and experimental music. However I grew up listening to some of the more contemporary rock and metal bands. Based on where my passion is at the moment, I don't think I could see myself relating to them on a musical level.

II: Thank you Matt. I think that's all. Got something to say to the prog fans before goodbye?

MG: Thanks for listening, take care, and I hope to see you all sometime soon!

II: OK, Matt. Goodbye and hope to see you soon in Italy.

MG: Adios.

[Matt Guillory can also be heard on The Explorer's Club's Age Of Impact, and the ELP tribute Encores, Legends & Paradox, both on Magna Carta. {Sometime after this interview was conducted, the band split. Latest word, as of 12/2008, is that Guillory is working on solo material, having posted a demo at his MySpace site last month} - ed.]

Discography:
Dali's Dilemma - Manifesto For Futurism (1999)
Explorers Club - Age Of Impact (1998)
Mullmuzzler - Keep It To Yourself (1999)
James LaBrie's Mullmuzzler - Mullmuzzler 2 (2001)
James LaBrie - Elements Of Persuasion (2005)
Zero Hour - Zero Hour/Metamorphosis (1999/2003)