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Industry Insider: Interview with Rollin Weary of Cealed Kasket PDF Print E-mail
Tuesday, 28 August 2007 07:12
Image By John McGlasson - GJD Contributor
The Midwest band, Cealed Kasket continues to gain new fans with touring and great shows that appeal to a broad spectrum of folks; from musicians to students to hipsters to aging metalheads, to fans of medieval...anything! (For the sake of context, it'd be a great idea to visit www.cealedkasket.com to get an idea what CK's all about before reading this interview)

Guitarist Rollin Weary's sound is the driving force behind CK. With a love for 70's and 80's BC Rich and Moonstone guitars, boutique amps and cabinets, Morley pedals, solid, educated technique, and strong production skills, Rollin delivers unique, fun songwriting and diverse styles with every track.

With their second release, "Penetration," engineered and produced by Rollin and mixed at Chicago's famous Gravity Studios, (where Rollin now works) by Manny Sanchez, Cealed Kasket continues to build a fanbase the old way; one fan at a time.

JM - I hesitate to call Cealed Kasket a "parody" or a comedy act, but the Spinal Tap/Gwar comparisons are warranted. Please describe for those unfamiliar what CK "is" and "is not" in your opinion.

RW - It's a blood-soaked, wench driven medieval Rock and Roll spectacle. Four power-glam-metal prodigies poking fun at the outrageousness of brutal music. Certainly not a couple guys in t-shirts and jeans. Imagine Metal not taking itself too seriously, then doubling up on the swords, blood, booze, and sex.

JM - Describe Sarsicus, your character for the folks.

RW - He is a five hundred year old wizard, spoiled rotten, afforded every opportunity by his power of black magic, and all he can manage to pull off is playing guitar in a bowel-curdling rock band. He loves guitars that look like Bentley dashboards made from endangered timber. He has a few nice muscle cars and prefers to track on Neve consoles. Kinda like a new American dream but he's from the streets of London.
sarspic1.jpg
JM-describe how the band came to be, and how you have such an ability to grasp and exploit cliches from music from days gone by? What were you listening to as a kid, and who influenced you as far as what you do with CK? Otherwise?

RW-The band just came together. I have no idea how it happened other than we all were hanging out at the same bar and had one too many laughs over ridiculous arena rock props, dragons in metal, and the sexual appetite of rock stars. Pretty soon we started writing these songs that people really enjoyed-got a good laugh from. The sound and the stage show just evolved naturally, and we tried to steep it in sex, drugs, and laughs. The power metal/blues rock influence was certainly not before my time. I tried to listen to everything as a kid. I loved all genres of Rock and Roll to Metal when I was young, and always paid attention to what was on the radio in my mom's Volvo. A lot of what I was playing in 7th grade is what has shaped the sonic-cock-mockery of Kasket's music. Chicks back then wanted you to play 'Sweet Child of Mine' for them, and maybe after you got a little kiss you'd go rock Hangar 18 with your buddies.

JM - What's your playing background and education?

RW - I started on alto sax when I was eight, played that for seven years. Fell in love with guitar when I was eleven. Took private lessons from a Berkeley grad for five years and played in Concert and Jazz band throughout High School. When I was about sixteen, I started sitting in with a local cover band five nights a week for several years which really kept my chops up. My most important experiences have always been working with other people and learning techniques from other players, listening and asking questions at appropriate times.

JM - Describe your set-up used to record the new album, then describe your live set-up.

RW-I used a few cool guitars on this record, mostly my old Mockingbird and this crazy old Moonstone guitar. The cool thing about the late 70's BC Richs are the gonzo electronics, mainly just the phase switch. You can coax some bratty p-90ish tones if you dial it in right. The Moonstone guitar is called an Earth Axe and was made in 1974. It has a 24.5" scale and an almost flat fingerboard which was very comfortable to play solos, even after the 30th take. I have a few old Koa Mocks and another Moonstone Flying V that I take on the road. Amp wise, the rhythm guitars on the record had a few layers, most were a combination of a Bogner Ecstacy 101b and an amp made by a company called Fatboy. The Fatboy is a two channel combo with a very dark and textured dirty channel, extremely firm bottom end. The brighter rhythm layers were all the blue channel on the Ecstasy. The solos were all Bogner. I'll take either amp on the road with me, they're both built like tanks and fulfill the application. All my effects are the old chrome Morley pedals that operate with a photoreceptor cell and a light bulb. How can you not have pedals?! I have a phaser, power wah fuzz, and an echo chorus vibrato. All of them offer control of the pedal via the treadle, as well as sucking a hell of a lot of high end from the signal. That's old school though. I try to keep it simple on the road and in the studio.

JM- I know you're a diverse musician, what are your plans for the future outside CK?

RW - I love to record records for bands. I am currently finishing tracking on a crazy hip hop full length record for an artist named Ron Physical and a Prince-y electro funk record by bassist John Cwiok. I will be mixing them at Gravity in September. Beyond that my plans would be to keep making great sounding records that people love to listen to. And maybe buy more guitars.

JM - Thanks for your time Rollin. Good luck!

RW - Thanks ya'll. Keep it tight!

 
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