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 Composer and guitar virtuoso George Bellas is the master behind the new album from Palace Terrace, and has a reputation that has been growing considerably over the last few years. Uli Jon Roth invited him to take part in his latest Sky Academy performance, and Bellas has a solo album already finished for release next year.
He's a busy man!
Komodo Rock's Mike Elliott recently caught up with Bellas to find out more about Palace Terrace, Uli Jon Roth, and how he works.
Mike Elliott: Palace Terrace is a new project for you. Can you give us a little background to it?
George Bellas: This particular album started a few years back, right
after doing my Venomous Fingers album I had a vision to do a vocal
oriented album. I had the "Flying Through Infinity" concept in mind
before ever approaching the other musicians and knew I wanted to
produce something massive and unlike anything I had ever done or heard
before. Due to the extreme demands and nature of the music the
musicians involved had to be no less than top notch, the cream of the
top crop. There was only one singer I had in mind to do the album
with... Jonathan R. Marshall, and he was the first and last person I
called.
What was the inspiration behind the band's name?
Both Jonathan and I were standing around
my studio in between recording vocal parts trying to think of a name, I
was suggesting "something royal sounding"... "Music made for a Palace
or something" then John mentioned "Terrace"... and the name PALACE
TERRACE was born.
'Flying Through Infinity' is released on November 16th. Can you tell us a little more about the albums concept?
The essence of the album is about the
journey of a soul travelling through the infinite universe and other
dimensions within it. The story is really about all of us here on Earth
and the wonder of what happens after we're gone. The spirit in the
story is just a character that represents any one of us... wondering
who we are, will we find loved ones on "the other side", feeling the
need to complete unfinished business after we pass away... The soul's
journey includes visiting loved ones on earth and reflecting on
cherished memories all the while searching for its way to eternal peace
and trying to find its ultimate purpose. At the end of the story the
spirit finally finds inner peace, its ultimate purpose and a place to
call home.
The culmination of the story really came to be as a combination of both Jonathan's words and my own.
Could you take us through some of the important tracks on the album please?
The Tenth Dimension - A progressive epic
that begins with an entity awakening for the day ahead and ends with a
soul in another dimension. Lots of odd meters and dynamics.
Chaos Theory - An uptempo driving neoclassical song with a wide range of dynamics, orchestration and ripping guitar.
 Time
Will Tell - A powerful progressive tune that begins in 5/8 time and
traverses through many changes and different moods. Big vocal harmonies
throughout this song.
I Know You're Home - Medium tempo Neoclassical song. This song showcases classical chorale vocal arrangements.
Who Am I - A ballad written in a Melodic Minor mode. This song reflects on the wonder of who we are and what are purpose is.
Declaration - A progressive song that begins with a heavy odd meter motive and then drops down to a dynamic verse.
Lights Fall Down - Super fast neoclassical song. This song contains classical counterpoint vocal arrangements.
From This Day Forward - A commercial progressive song with a mesmerising deep feeling verse section.
End Of Time - A moderate tempo, very dynamic progressive song with a
dreamy middle section filled with intense emotions and soulful guitar
work.
Mesmerized - A slow progressive song. The story concludes with the main
character realizing its purpose and finding its way home.
What inspired you to write the album?
I constantly have ideas for composition,
it is non-stop actually. Astrophysics, the Universe and all things
contained within and out of it were the source of inspiration for me.
Earth and all the stars, matter and living beings in the known universe
are "Flying Through Infinity". It is one thing that we all have in
common and no known escape from. Musically the inspiration comes from
both classical and modern music principles. The music on the album
contains extensive odd meters (with one section in 99/32 time), melodic
vocal lines sung by John Marshall and rich vocal harmonies sung by
myself, along with big orchestrations and guitar solos that are
drenched in feeling. The album is filled with a very wide dynamic
range. Some of the vocal arrangements were written in a classical
strict 4-part chorale style and others using imitative counterpoint.
The album is very diverse in different types of songs, it contains
progressive songs, neoclassical and even simpler commercial forms.
What do you hope listeners will take away from the experience the album gives them?
A good positive feeling, as well as a sense of awe from the emotional
content. The album definitely came out sounding rather spiritual and
deep in emotions -- I can't imagine it not coming across with those
feelings reflected onto the listeners. Lots and lots of emotion in that
album!
 You're
credited as the composer for 'Flying Through Infinity', does that that
mean that you approached this project in a different way than you would
if you were just writing for an album?
I composed this album just as I do with
all my other albums; literally one note at a time on staff paper. Every
single note was meticulously chosen and placed very carefully to work
melodically, harmonically and rhythmically with every other note. I
always have, and always will, pay close attention to detail with the
eyes of a hawk.
How did Jonathan Marshall and Sasha Horn become involved?
After I had all the music composed for
the album I contacted Jonathan and asked if he would be interested in
doing an album together. I described to him the body of work that I had
created and asked that he add words based off of the themes I was going
to send him. I immediately sent him the album and then some time later
we got together to start the vocal production of the album. At first it
was difficult scheduling recording sessions, so the process took a bit
longer than I originally anticipated, but I am very pleased with the
end result. Jonathan is really an awesome singer and lyricist. His
lyric writing and emotion that he injects in his performances are
nothing short of superb. It is an understatement and very obvious fact
that Jonathan and I are a perfect blend of styles, which when combined
create a unique and very powerful listening experience... the album
definitely wouldn't be what it is without Jonathan's talents. We have
actually always wanted to do an album together and this was the perfect
opportunity to do so. I discovered the talents of Percussionist Sasha
Horn much later on. I told Sasha that I had every single note for the
drum parts composed and was ready for and needed somebody to play live.
Sasha is a very nice person and super easy to work with, not to mention
an outstanding drummer.
Are you considering taking Palace Terrace out on tour?
It is a strong consideration. With the proper support and promotion there is a good chance that it will happen.
Any plans to record videos to accompany the album?
We have talked about various ideas in
regards to doing videos for segments of the album; maybe straight band
footage, maybe having some of the story line played out, we'll see.
You've also recently announced the completion of a new solo album
'Planetary Alignment', set for release next year. Can you tell us some
more about this?
PLANETARY ALIGNMENT is the most
progressive body of music I have ever written. The album contains
elements of composition that I have never used on any previous albums.
Unlike my neoclassical writing this work is ultra-modern. I've used
scales, chords and complex rhythms most people have never heard before.
Getting the drum tracks performed and recorded set out to be quite a
challenge, as is usually the case with my music, but I eventually found
Marco Minneman and he wound up doing a fantastic job.
Back in August you took part in Uli Jon Roth's 'Sky Academy'. How was it?
It was great. Performing with a talent like Uli was a real pleasure,
along with all the other tremendously talented musicians that were
there too. The first concert we did was well over 4 hours long and
ended with a very climactic version of Johnny B. Goode... On stage for
that song, in this order from left to right, it was Uli, myself, Johnny
Highland, Michael Batio and Joe Stump all up on stage jamming through
this classic tune. We each took a solo and then in the middle Uli had
the whole song come way down really soft and then he did a real quiet
type of guitar line, then me, then Johnny, Michael and Joe... we slowly
brought the volume back up and all 5 of us were soloing at the same
time, yet it was clear and in harmony with each other; it was actually
totally screaming! We got off stage and Uli was like " Wow(!), that was
THE most intense version of that song I had ever heard". It was pure
madness!
 Do you feel the internet has significantly changed the way you, as a musician, work?
My underlying core method of composing
and playing hasn't changed at all because of the internet, in fact I
think it can take good practice and writing time away, but I don't get
caught up in hanging out in the forums and other related types of
sites. But the networking and meeting of other musicians sure is a lot
easier.
Musically, who has been your major influences?
J.S.Bach, Beethoven, Paganini, Franz
Liszt, Carl Orff and Walter Piston have been a non-stop source of
musical inspiration for me all throughout my life. There have been many
other significant sources, but those few are at the very core of my
heart.
What has been the highest point of your career so far?
Getting together with vocalist Jonathan Marshall and doing this PALACE TERRACE album is definitely an extreme high point.
Also, having the ability to compose
fluently based on any ideas I may have, which are endless and the
process extremely effortless, is another high point for me. Give me
paper and pencil and I am good to go. It is not a popularity contest
for me, it is all about the quality of music.
And the lowest?
Realizing the vast number of people
stealing and downloading music illegally with no regard to how it is
affecting the creators and labels.
Are there any musicians that you haven't worked with before that you would like to in the future?
Mike Mangini is an unbelievable talent that comes to mind.
Jonathan Marshall is another, I know you asked who I haven't worked with, but there you go.
Could you give us any important weblinks, and details of where our readers can purchase your music.
The album is being released worldwide through the LION MUSIC record label, their website link is listed below.
www.LionMusic.com
www.GeorgeBellas.com
www.PalaceTerrace.com
www.MySpace.com/GeorgeBellas
www.MySpace.com/PalaceTerrace
You can purchase my albums directly from Lion Music, GuitarNine,
Amazon.com, Shrapnel Records and many other sources on the internet, a
google search will bring up hoards of distributors.
Thanks for talking with us!
It was my pleasure sharing some insights
into my latest musical works. From Jonathan, myself and Sasha -- thank
you Komodo Rock!
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