drop.kick.pop

Strat-O-Brother Chris 'The Guy' Schreiner checked in recently to update us on his activities. We first featured Chris in Dec. '09, promoting his Only Human release, where we also include a video of his 2008 Guitar Player Magazine Superstar performance, in which he was a finalist. Click here to check out Schreiner's Berklee laboratory dissection of Jeff Beck technique.

These days The Guy is dipping his toes into Electronica, and wanted to share a snippet. Some of you might think this is weird... no wonder, it's not exactly normal, but what the fu*#, so long as it doesn't cause a murder. Even Jeff Beck and Billy Gibbons are known to engage in this sort of behavior behind their garages. Gets 'em out of the box!

- Strat-O-Blogster

Strat-O-Brother Chris 'The Guy' Schreiner checked in recently to update us on his activities. We first featured Chris in Dec. '09, promoting his Only Human release, where we also include a video of his 2008 Guitar Player Magazine Superstar performance, in which he was a finalist. Click here to check out Schreiner's Berklee laboratory dissection of Jeff Beck technique.

These days The Guy is dipping his toes into Electronica, and wanted to share a snippet. Some of you might think this is weird... no wonder, it's not exactly normal, but what the fu*#, so long as it doesn't cause a murder. Even Jeff Beck and Billy Gibbons are known to engage in this sort of behavior behind their garages. Gets 'em out of the box!

- Strat-O-Blogster

By Jim Fusilli

The fourth contestant, from Norwalk, Conn., performs as "the guy." His spacey approach is quietly flashy and intense...

Full Article:

http://online.wsj.com/article/SB122152806462940463.html?mod=article-outset-box#articleTabs%3Darticle
- Wall Street Journal

Known in some circles as simply "The Guy", guitarist Chris Schreiner submitted a seven song instrumental CD-R under "The Guy", entitled mystically His First Seven. Anyone who has read "The DaVinci Code" and solved all the puzzles in that book has already figured out that His First Seven, coupled with the fact that there are seven songs on the CD-R, mean that these must be his first seven compositions. We learn from Steven Vai that the number seven has some important qualities - Vai went to Berklee, Schreiner went to Berklee - quod erat demonstrandum. Beyond the proof, Schreiner composes some very listenable stuff on this demo - it keeps you interested, and he doesn't constantly hammer you over the head with technique, even though he possesses plenty of it. Hey guy, nice job!

Chris was born on February 16, 1983, and began playing the guitar at age 9, shortly after his older cousin Justin started playing the bass. �I had a dream that Justin and I were running around the house trading licks with a pink Flying V (what would Freud say!?). In the Dream we played amazing and fluent runs effortlessly. When I awoke I had fallen in love with the idea of being extraordinary and proficient at the guitar.� While studying at the National Guitar Summer Workshop he attended classes under the guidance of Terry Syrek, Dennis McCumber, David Hamberger and Tobias Horowitz. Attending Berklee, Chris was taught and influenced by Kenwood Dennard and Julien Kasper. Julien introduced his to Steffan Depergolas, the luthier of his D�Pergo strat.

In addition to perhaps catching him on "Extreme Makeover: Alter Ego Edition", check out Schreiner's web site for upcoming live shows scheduled in the Vermont, Connecticut, Massachusetts and New York areas. - Guitar 9

For those of you thinking that Schreiner must be stuck on himself with a A.K.A. like- ÔThe Guy.Õ Schreiner gives this explanation for how he got the nickname, ÒMy fatherÕs name is Christopher. My family and close friends have always referred to me as Òguy,Ó to avoid confusion. Around the time I began playing in my first garage band, ÒThe Assassins,Ó people started to call me Òthe guy.Ó I suppose that referring me in the third person regardless of the context became amusing. It stuck. Occasionally people interpret it as some pretentious declaration of superiority, as opposed to an affectionate moniker.Ó

Only Human is not your typical shredding filled guitar instrumental album. ItÕs complex and mixes jazz, and rock styles with elements of modern and classic sounds. The sound is layered with not only lead guitar it also includes bass, drums, and keyboard parts that work as perfect accents to Christopher SchreinerÕs guitar work.

SchreinerÕs talent really shines brightly in this release. HeÕs no one trick pony. He shows a wide range of styles on Only Human that will appeal to both guitar aficionados and anyone thatÕs a lover of music thatÕs done well.


Full Article Here:
http://cwsplace.wordpress.com/2008/10/17/the-guy-only-human/
- C.W. Ross

For those of you thinking that Schreiner must be stuck on himself with a A.K.A. like- ÔThe Guy.Õ Schreiner gives this explanation for how he got the nickname, ÒMy fatherÕs name is Christopher. My family and close friends have always referred to me as Òguy,Ó to avoid confusion. Around the time I began playing in my first garage band, ÒThe Assassins,Ó people started to call me Òthe guy.Ó I suppose that referring me in the third person regardless of the context became amusing. It stuck. Occasionally people interpret it as some pretentious declaration of superiority, as opposed to an affectionate moniker.Ó

Only Human is not your typical shredding filled guitar instrumental album. ItÕs complex and mixes jazz, and rock styles with elements of modern and classic sounds. The sound is layered with not only lead guitar it also includes bass, drums, and keyboard parts that work as perfect accents to Christopher SchreinerÕs guitar work.

SchreinerÕs talent really shines brightly in this release. HeÕs no one trick pony. He shows a wide range of styles on Only Human that will appeal to both guitar aficionados and anyone thatÕs a lover of music thatÕs done well.


Full Article Here:
http://cwsplace.wordpress.com/2008/10/17/the-guy-only-human/
- C.W. Ross

The artists who send their instrumental albums to Rock Report know very well that only a few get a spot on these pages. We normally donÕt feature instrumental music that much and only a couple get handpicked by yours truly, depending on the qualities of the artist in question and the mood I'm in. This guy, known as The Guy and to his mother as Christopher Schreiner, is one of those exceptions but I have to admit: there were no two ways about his obvious talent.

I could actually hardly believe that this is the manÕs solo debut. What a timing, tone & subtlety! Judging by the cover heÕs still in his twenties, maybe early thirties so Mr. Schreiner still has a long path to travel upon. People that judge an instrumental album by the amount of shredding should turn the other way; this is for admirers of the right tone at the right place, the sort of music that can be enjoyed by candlelight with the misses.

A really extraordinary piece of work, I loved every second of it.



Full Article Here:

http://www.rockreport.be/review.asp?id=2188
- Rock Report

Qui est THE GUY demande subtilement le titre un peu abstrait du site internet en question ? Le guitariste Chris Shreiner serait-on tentŽ de rŽpondre de fa?on un poil prosa•que puisque se cache derri?re ce pseudonyme un nouvel exemple de virtuositŽ diplomŽe du prestigieux Berklee College of Music (comme John Pterucci, John Myung ou Derek Sherinian). Il y a pire curriculum vitae. Pour autant, la compŽtence technique ne suffit pas toujours ˆ rendre les choses intŽressantes ou tout au moins Žcoutables. Au jeu, savant, des sept familles, on dira que cet album lorgne du c™tŽ ERIC JOHNSON et du JOE SATRIANI jazzy cool. Si lÕon glisse sur Ç Intro È, aux harmoniques dÕambiance, Ç Icarus È et Ç An Interlude in Bleœ È envisagent un groove assez inspirŽ qui dŽcollent vŽritablement sur Ç Zebra Club È et son final dŽbridŽ ˆ la wah-wah, puis Ç Youngblood È qui temp?te sans fioritures un rock qui semble chercher la qualitŽ des notes jouŽes plut™t que leur nombre. Le dŽfie dÕŽquilibre entre virtuositŽ et musicalitŽ des ces instrumentales jamais hurlantes porte chaque titre dans un Žcrin fragile, o? les pirouettes ne sont pas absentes (Ç SyeedaÕs Song Flute È o? la basse dodue fait place nette ˆ une rythmique qui dŽcroise les orteils), avec un lyrisme omniprŽsent qui balance parfois dans un blues romantique dŽlicat (Ç Her Hypnotic Heart È). Selon lÕauteur, ce disque refl?te lÕesprit qui lÕanime. Bien produit, bien secondŽ par un solide trio base-batterie-claviers, on y verra surtout les angles prometteurs dÕun instrumentiste qui sÕavance avec modestie sur les pas glorieux des ainŽs citŽs plus haut.


Full Article Here:
http://www.amarokprog.net/critiques_23918_200972.html
- AmarokProg

Exercice difficile que dÕaborder ce style de travail, que ce soit pour lÕauditeur initiŽ ou dŽbutant, mais Žgalement, supposons-le, pour lÕartiste. Un album instrumental totalement cousu de guitare qui reprŽsente un rŽel dŽfi pour les neurones (et les doigts).

Et il serait presque impossible pour le compositeur d'?tre suffisant ˆ soi-m?me en protŽgeant son oeuvre de lÕoriginalitŽ ; la dŽmarche se veut prŽcise et recherchŽe. Il existe, pourrait-on dire, deux Žcoles dans lesquelles on constate, bien entendu, dÕavantage de place pour lÕŽchec que pour la rŽussite. Deux enseignes portŽes par des professeurs tels que Steve Vai ou Ron Thal, pour la premi?re, face ˆ Joe Statriani ou Eric Johnson qui incarnent la suivante.

Certes, un tel dŽcor peut para”tre caricatural car chacun des protagonistes peut exceller aussi bien dans lÕune comme dans lÕautre. Christopher Schreiner a toutefois fait son choix avec une certaine classe et a ainsi optŽ pour la simplicitŽ et lÕunicitŽ. Only Human porte magnifiquement son nom et ne rŽduit en rien les efforts de lÕAmŽricain pour nous transporter chez lui, lˆ o? tout nÕest visiblement que douceur, ressenti et chaleur. Dipl™me de Berklee en poche, The Guy nous prŽsente, sans aucune arrogance, sa ma”trise de lÕinstrument qui nÕa rien de spectaculaire, mais qui sait faire honneur ˆ une certaine vision de lÕexpression, tant le touchŽ est magnifiŽ par lÕauteur et portŽ, qui plus est, par une section rythmique en or massif.

Malheureusement, le voyage pourra en blaser quelques-uns, tant la dŽmarche prŽsente timidement ses limites. La composition se restreint ˆ poser un jeu, certes aŽrien et des plus agrŽables, mais qui n'aboutit ˆ aucun rŽel rebondissement ; car sans parler encore et toujours (et probablement ˆ tort, dans ce cas) du fameux grain de folie absent chez les artistes qui souhaitent chatouiller le xanadu de ses auditeurs chŽris, les structures sont simples et les harmonies convenues permettent ˆ lÕamateur de se focaliser sur lÕinstrument principal. M?me rondement menŽes et domptŽes, les six cordes ne poss?dent pas de si grandes Žpaules et appellent souvent en renfort break et autre arrangements salvateurs.

Mais au fil des Žcoutes, lÕimpression saura sÕestomper et lÕon apprŽciera encore la finesse du jeu (Steve Vai ne sÕy Žtant pas trompŽ), et promet un bel espoir pŽtri de de force et de beautŽ pour le prochain rendez-vous. Bienvenu ˆ Christopher Schreiner chez la petite famille des guitaristes convolant amoureusement avec un style affranchi. - Progressia

Qui est THE GUY demande subtilement le titre un peu abstrait du site internet en question ? Le guitariste Chris Shreiner serait-on tentŽ de rŽpondre de fa?on un poil prosa•que puisque se cache derri?re ce pseudonyme un nouvel exemple de virtuositŽ diplomŽe du prestigieux Berklee College of Music (comme John Pterucci, John Myung ou Derek Sherinian). Il y a pire curriculum vitae. Pour autant, la compŽtence technique ne suffit pas toujours ˆ rendre les choses intŽressantes ou tout au moins Žcoutables. Au jeu, savant, des sept familles, on dira que cet album lorgne du c™tŽ ERIC JOHNSON et du JOE SATRIANI jazzy cool. Si lÕon glisse sur Ç Intro È, aux harmoniques dÕambiance, Ç Icarus È et Ç An Interlude in Bleœ È envisagent un groove assez inspirŽ qui dŽcollent vŽritablement sur Ç Zebra Club È et son final dŽbridŽ ˆ la wah-wah, puis Ç Youngblood È qui temp?te sans fioritures un rock qui semble chercher la qualitŽ des notes jouŽes plut™t que leur nombre. Le dŽfie dÕŽquilibre entre virtuositŽ et musicalitŽ des ces instrumentales jamais hurlantes porte chaque titre dans un Žcrin fragile, o? les pirouettes ne sont pas absentes (Ç SyeedaÕs Song Flute È o? la basse dodue fait place nette ˆ une rythmique qui dŽcroise les orteils), avec un lyrisme omniprŽsent qui balance parfois dans un blues romantique dŽlicat (Ç Her Hypnotic Heart È). Selon lÕauteur, ce disque refl?te lÕesprit qui lÕanime. Bien produit, bien secondŽ par un solide trio base-batterie-claviers, on y verra surtout les angles prometteurs dÕun instrumentiste qui sÕavance avec modestie sur les pas glorieux des ainŽs citŽs plus haut.


Full Article Here:
http://www.amarokprog.net/critiques_23918_200972.html
- AmarokProg

Every now and then there is that one artist you spot on the internet and you think: hey, this is an unique sound I really want to hear more! That exact feeling is something we had with Drop.Kick.Pop. And the best part is: Drop.Kick.Pop has just released his new album and we are very glad that we could have a small chat with him! We also have featured one of his tracks called “Deephaus” featuring Sami Stevens. Drop.Kick.Pop has done his upmost best to make this single one of a kind, and that is something you definitely can hear:

What was your first EDM track you have heard which made you fall in love with this genre? I’ve loved house and Drum and Bass for years, the first “EDM” track was probably Raise Your Weapon by deadmau5 in 2010. The juxtaposition of ballad and “rip your face off” dub step was – at that time, very exciting, and it opened some doors to me with regards to what you could get away with, dynamically. A lot of the Nero stuff was of interest to me at that time as well.

When did you first started with producing music? Probably 2005 while still at Berklee. Although I immersed myself in electronica in 2012 and haven’t looked back!

How did you came up with your DJ name? drop.kick.pop is a 21st century, EDM take on the 1960’s mantra “Sex, Drugs, Rock & Roll!” Some people assume I am implying something disparaging about pop culture or pop music and that isn’t the case.

Which DAW do you use and why? I produce in Logic. I think it is the best in terms of features and ease of use, unlike the shameless sole proprietors behind Pro Tools. If i want to record, I press “R” not “command, space bar” If I need a sound there are plenty there to start with, I don’t have to rewire Reason. And If I want to update I don’t have to re-buy ALL of my Plug-ins! Avid would necessitate using their own machine if they could get away with it… Live I either use Ableton or Traktor depending on the show.

What are your favorite plugins for synths, mastering and effects? I like all of the Native Instruments stuff. SONiVOX’s Wobble makes a few appearances on this album as well. For mastering I really like iZotope’s Ozone! However I do hire professional mix/mastering engineers (Andy Abel/Phil Magnotti). I cannot be any more effusively with praise about iZotope’s Stutter Edit! It is amazing – so much fun to work with! I’ve used it on every track in obvious and not so obvious ways. Many of the sounds you hear on the record are actually my guitar. I use Guitar Rig, a Digitech Whammy Pedal, the Kill Switch in my ESP and a custom loop from Analog Man Guitar Effects to create most to the glitchy EDM-isms we know and love! You wouldn’t necessarily know without watching me do my thing.

If you could do a collaboration with any artist out there, what would be your top 3 (and why)? Bj ork – she’s the Queen, she has such a unique voice/approach. Buckethead – I just really want to meet him! Kool Keith – Baddest MC! He’s a legend! Whatever would come out of that session would be absolutely priceless!

What do you usually drink when you are in the studio to get inspiration? LOL Seltzer water! I’d love to say “A bottle of Mumm and some Newports, but that isn’t conducive to creating anything… except maybe 18 years of aalimony checks.

If you could travel the world as a DJ what would be the three items you will always bring with you in your bag? Testicles, spectacles, wallet, and watch… That’s 4.

2016 just started, what can we expect in the upcoming year from you? Playing shows, new videos, more collabs, and without a doubt new music! - We Want EDM

Connecticut based instrumentalist Drop.Kick.Pop (DKP) has released Plastic Hallway, one of the most creative ambient house projects I’ve heard thus far in 2016 (and I’ve already heard a lot). DKP’s mind is clearly on a whole different planet when it comes to authoring the music he wants to infect people’s ears with. Reminiscent of pioneers like DJ Kurtis Mantronik of the 1980s duo Mantronix, but a bit more experimental, DKP delivers a sound that will push your auditory system to its limit.

From what I gather, DKP named his project Plastic Hallway as a sarcastic way of saying his release goes against everything the music business stands for. “Huh?!” you might ask. Well, the term “plastic hallway” derives from a popular quote that has been attributed to 1960’s journalist, Hunter S. Thompson, who supposedly once said, “The music business is a cruel and shallow money trench, a long plastic hallway where thieves and pimps run free, and good men die like dogs. There’s also a negative side.” Not only is this quote 100% correct, but DKP chose the perfect name to describe his release.

From upbeat kick heavy tracks like “deephaus5” and “Amped”, to jazzy downtempo tracks like “Saudad” and ambient rumblings like “ZMG”, Plastic Hallway, has enough depth to satisfy just the musical cravings of just about anyone with an interest in eclectic compilations of non-traditional music. Of all the songs on the project, my personal favorite is “dude, sweet!” because of it’s heavy hip-hop soul feel. As an avid listener of producers like 9th Wonder and J Dilla, I really go into a “dude, sweet!”, and could imagine great artists like Common and Mos Def peeling back the layers of this monster of a beat. This track is a killer! Check out the video below, and make sure you go get a copy of DKP’s new LP. - I Am Entertainment Magazine