The renowned musician was approached by Imhotep reporter Matt Coe, for a chat about his various releases and bands as well as the road to being the quality guitarist he is today.
Prolific guitarist/songwriters in metal come down the pike once in a decade. During the 1980’s David T. Chastain juggled two acts and his instrumental solo album career. In the 1990’s Kai Hansen kept Gamma Ray and Iron Savior afloat along with guesting on many other albums. In the 2000’s, Denmark’s Torben Enevoldsen churns out a variety of albums, be it progressive with Section A, more straight forward power with Fatal Force on to the more classic hard rock sound of his current effort with Decoy. Recently gaining the pleasure of contact with him, I decided it was time to look into this man’s career, seeing what makes his creativity and desire for recording tick away so quickly.
Thank you for the chance to let us know more about you and your various recordings. First off, I would love to know a little background information about how you were as a child, what your family life was like and what some of your initial memories of music were like before you picked up an instrument in your late adolescence /teenage years?
“Well, my family life growing up was fairly normal. My mom was a house wife and my dad was working as a blacksmith. I was heavily into soccer, but I was always listening to music on the radio. I didn't care about genres, but just knew what I liked. My very early influences include ABBA, The Sweet, Shu-Bi-Dua, Gasolin and a lot of other stuff. Later on, my older brother introduced me to Deep Purple, Van Halen and Black Sabbath. Around this time, I got a very crappy guitar and quickly learned how to play the “Smoke On The Water” riff. On just one string I might add J”
I understand that your biggest initial push to pick up the guitar came when you were listening to the first Steeler album (the Ron Keel fronted band, not the German group). How much of an impact did Yngwie Malmsteen have on your guitar technique – and what albums or songs seemed to have the biggest impression for you along with other early influential guitarists like Ritchie Blackmore, Tony Iommi and Eddie Van Halen?
“Listening to Yngwie gave me the initial push to start getting serious about playing the guitar, not to pick it up... Before that I was not serious at all about practicing, but hearing Yngwie's speed and touch, truly turned things around for me. I knew right away that I wanted to sound like him, and I also knew that in order for me to be able to come close to that kind of technical command, I really needed to start practicing a lot! Yngwie has had quite an impact on my guitar technique, that's for sure. The most influential album with Yngwie on it, has got to be Alcatrazz - Live Sentence. I simply love the energy and songs on that album! Other albums that influenced me a lot are Deep Purple - Made In Japan, Van Halen - 1, Thin Lizzy - Live And Dangerous, Boston - 1st, Jethro Tull - Live Bursting Out, Black Sabbath - Mob Rules, Tygers Of Pan Tang - Spellbound, Saga - World's Apart, The Police - Regatta De Blanc, Toto - Turn Back, Allan Holdsworth - IOU etc.”
You didn’t get serious about your guitar playing until you were 23 - what happened in your life to change your motivation from being merely a hobby to more of a full time, life changing work of art? Was it at this time as well where you learned how to play other instruments such as the bass and keyboards or did this occur later on in your career?
“I was stuck in a dead end job and felt a little frustrated with the general state of things, so I took a leave of absence for a year and that really got me going in the right direction. I started writing my own stuff and that made me realize that I had to work towards playing and writing music full time. Playing the bass definitely started at this point, but playing the keyboard came a little later on.”
Was it at this point in increasing your guitar knowledge that you studied many of the better Shrapnel Records guitar albums by artists like Tony MacAlpine, Vinnie Moore and Jason Becker- along with practicing speed techniques through instructional videos? How much time would you spend working on your playing during these years - and were you writing original material or still sticking to learning from the mentors?
“Well yeah, except for the fact that I never really did practice speed techniques through instructional videos. I used them to get inspired, but I have never had the patience, nor motivation, to actually sit down and learn some licks that weren't my own. I simply developed a unique program for myself that I used every day to work on my technique. I practiced approximately 2 hours every day and worked on my music on top of that.”
During the 1990’s you started to play in cover acts - including a Toto jam band where you would learn numerous tracks from their career. What were these rehearsals and live shows like for you- and what would be some of your favorite tracks to play (outside of the normal radio hits)?
“Playing in Toto Jam was quite a ride. The band lasted for about 7 years and I got to play with a lot of great Danish musicians. I actually got to know one of my best friends today through this band, Torben Lysholm, so I gained quite a bit from the experience. The material is very demanding and the expectations from the audience quite high, so you really needed to stay on your toes every night. I think it was a very valuable learning experience for me indeed! My favorite tracks to play were songs like “Girl Goodbye”, “English Eyes“, “Goodbye Elenore”, “Carmen”, “Angel Don't Cry”, “Till The End”, “Home Of The Brave”, “Never Enough”, “Gift Of Faith” and “Slipped Away” to name but a few.”
In 1995 you recorded a few songs that were released as a demo CD. Describe the feeling of finally recording your own material- and how successful were you in terms of publicity and promotion in those early years?
“It was a great feeling to finally have recorded a few of my own songs in a professional sound studio. Finally to hear my own stuff at a great sound quality was very nice indeed. I got a lot of great reviews, but the CD was self-financed and the main object was to get a record deal, so there was no real promotion involved.”
Your second demo in 1997 allowed you to sign with the Dutch label Roxon Records for the release of your first instrumental album “Guitarisma” which came out in 1998. Were there other label deals on the table and how did you feel having to sign with an outside foreign label being from Denmark?
“No, not really. A few labels had shown some interest, but nothing really happened. The only serious offer came from Roxon Records. I had no problem signing with a foreign label at all. Denmark is a very small country and there really aren't any serious metal or hard rock labels to be found.”
The second instrumental album “Heavy Persuasion” came out in 2000 through Lion Music - an album recorded in May of that year at Aabernraa Studios with you producing and the engineering/mixing/mastering handled by Jacob Hansen. What did you attempt to do with this album that satisfied you in comparison to your debut? I also understand that during the recording you didn’t use any headphones when recording your parts- what was the reasoning behind this?
“First of all, I wanted to work with a band and a real drummer. The musicians on “Guitarisma” were all hired guns and the drums were programmed, so I wanted a real band approach. Secondly, I wanted the sound to be more heavy and ‘in your face’. Jacob Hansen is a very well known producer on the metal scene and I personally needed to remove myself from all the Satriani comparisons I got on “Guitarisma“. Working with Jacob, in my opinion, did the trick. Not using headphones in a recording environment was a brand new approach for me. I am a perfectionist and a sucker for details, so for me at least, not using headphones was a big step towards letting go a little bit... The idea was to not go into too much detail with every little thing, rather than looking at the big picture.”
Did Lion Music approach you to develop a vocal led, guitar driving act such as Section A at this point in your career or did you personally have the desire to see where your music could go with vocal melodies behind your compositions?
“Lion Music had nothing to do with that. I had done two instrumental albums and I felt it was time to do something else. I was listening a lot to Dream Theater and Symphony X at the time, so I wanted to prog things up a little and try to add vocals to the equation.”
How did you come into contact with ex-Lions Share vocalist Andy Engberg and Vanden Plas drummer Andreas Lill to start the progressive metal band Section A? Were they your first choices for this new group- and how did your relationship build while working on the songs for the debut “The Seventh Sign”?
“Andreas Lill was at the top of my list of drummers as I had heard him play in Denmark with Vanden Plas, opening for Dream Theater. I then bought the “Far Off Grace” album and he quickly became one of my favorite drummers. I got in touch with him via the official VP web site... I had been a fan of Andy's for a very long time and I contacted a few Swedish guys I know, who provided me with Andy's e-mail address.
A few e-mails were exchanged with both guys and then we were in business. I would say that the relationship between Andy, Andreas and myself, quickly became very relaxed and friendly. Although I am no longer working with Andreas, we are still in contact and very good friends indeed.”
Was it easy to gain two guest keyboard solos from Derek Sherinian on the title track and “Nightmare”- as you obviously have always been a Dream Theater follower… what did you think of his contributions to the album along with the Gunter Werno solo contribution on “Tomorrow”?
“Derek responded very quickly to my e-mail enquiry, and two days later after he got the songs, I received his solos via FedEx. It was truly a blast to get both Derek and Günter to contribute to the debut album and I think that they did an excellent job!”
Reflecting back on this album 4 years after the fact, how do you feel about the playing, recording and overall songwriting aspects of “The Seventh Sign”? Which songs do you feel were the easiest and toughest to get through- any special studio insights that occurred that you would like to share as well?
“I think that the album reflects where I was musically at the time. I never listen to any of my own stuff after it's been completed, but the circumstances surrounding the recordings of this particular album were very special and I am proud of this album for various reasons.”
Following this you performed on a number of Lion Music tribute albums to guitarists like Jason Becker, Ritchie Blackmore, Jimi Hendrix, Shawn Lane and Uli Jon Roth. How do you approach the material that obviously had an impact on your guitar abilities- do you remain faithful to their songs and solos or would you try to add in your own advanced style to hopefully put your stamp on the proceedings?
“I pretty much try to stay faithful to the songs, but I obviously do my own thing when it comes to the soloing. I learned a lot from doing these tribute songs and it was cool to work with guys like Mats Levén, Anders Johansson, Lance King etc.”
In 2005 your third solo album “Flying Solo” hit stores. Were you at this point able to make a full time career as a musician - as I also understand that you are a guitar teacher also? Do you believe your instrumental albums can appeal to more than just the schooled musicians who are looking for playing chops?
“Yes, I was making a living playing music and teaching the guitar when the “Flying Solo” album was released. I personally believe that my instrumental stuff is not just for other musicians. I try to make the songs as melodic as possible, but I'm aware that not a lot of people are into all instrumental music. It is certainly a niche and not the most lucrative road to travel J”
Next in your discography would be the second Section A album “Parallel Lives” - featuring a few member changes as drummer Johan Koleberg entered the fold along with a few new special guests in bassist Pontus Egberg and keyboardist Mats Olausson in addition to some female voices/vocals. Did you trust Andy more in his melodies and lyrical focus compared to the debut? Did this recording go smoother than “The Seventh Sign”?
“I trusted Andy and his friend Conny Welén, with whom he did all the lyrics and vocals on both albums, completely on both efforts. I like to get input from other musicians rather than just telling them what to do. This is by far the best way to do it! The recordings for “Parallel Lives” went A LOT smoother than on “The Seventh Sign”, yes!”
You were able to hook up with another favorite vocalist of yours, ex-Yngwie Malmsteen/At Vance singer Mats Levin, whom you had heard on the self-titled Treat album as well as "Facing The Animal" from Yngwie. Tell us about this initial contact which led to the Fatal Force album, recorded with Mats and drummer Daniel Flores?
“I had worked with Mats on the Deep Purple song “Space Truckin' ”, which we did for the Blackmore/Purple tribute album, so we already knew each other. I simply sent him an e-mail explaining about my new project and he was interested right away. We exchanged a few more e-mails and then got the specific details in place over the phone. That was pretty much it…”
In other interviews you stated that you aimed to have the production values of another favorite singer of yours, Jorn Lande and his album "Worldchanger". What impressed you most about this album and do you think you achieved what you set out to do with the "Fatal Force" disc?
“I have of course known about Tommy Hansen for several years and I have always been very impressed by his productions. I am mainly impressed by the very good sounding and powerful productions that he makes, but also by the way he mixes the albums. I personally think that “Worldchanger” and “Fatal Force” are two very different albums, but I definitely got the signature Tommy Hansen sound that I was going for.”
You've described your work with Fatal Force as being more to the point than Section A. Is there any hope in the future for a second Fatal Force album, given Mats' involvement with Therion (whom he'll be leaving this summer)?
“I am currently very busy working on the second Decoy album and the third Section A release, so I have no immediate plans of a second Fatal Force album. I would however like to work with Mats again, but I don't really know in what context that would be. Let's wait and see what the future has in store for us!”
In 2007 you've released the first Decoy album with ex-Grand Illusion vocalist Peter Sundell on vocals. How did your relationship develop and was this originally going to be the second Fatal Force album or did you think in terms of a fresh, more AOR-oriented album than FF?
“I initially got in touch with Peter a couple of years ago. A friendly e-mail exchange quickly developed into serious thoughts on making an album together. I thought that the direction should be more AOR than hard rock, but Peter wanted to do a hard rock album and I certainly had no problem with that. The material was never intended for a second Fatal Force album, but the overall style ended up being somewhat similar to the FF approach.”
How do you feel about the initial round of reviews for the album- it seems very polarized with many getting what you were trying to accomplish while others being critical of your "fun" lyrical concepts and older musical ethics.?
“I learned a long time ago that you can't please everybody, so I don't really have a problem with that. I think that everyone is entitled to their own opinion.”
During 2001 some of your desert island discs would have included Allan Holdsworth, Dream Theater, Boston, Saga and Symphony X. Would these artists still make the grade in 2007 - if not what changes would you make to your top 5?
“The artists you mention would definitely appear in a top 10, but if I were to bring only 5, I think that my choice of artists today would be: Toto, Allan Holdsworth, Shania Twain, Soilwork and Dream Theater.”
How big is your record collection these days and what artists do you think people would be surprised to find that you enjoy in your collection (I know you've mentioned to me personally Shania Twain and Soilwork for instance)?
“I have approximately 2.000 CDs and vinyl albums combined and I think that some people probably would be surprised to learn, that I some times enjoy listening to: Michel Petrucciani, Michael Ruff, The Corrs, ABBA, Meshuggah, Fear Factory, Backstreet Boys and even Britney Spears. I mainly listen to hard rock and metal, but I do like to mix it up quite a bit, depending on the mood I'm in of course.”
What do you think is the greatest piece of advice anyone has given you in your life- and what types of advice would you give to future generations of musicians?
“Never to give up - and that's actually the only advice I would like to pass on.”
You make a living not only as a recording musician but also as a guitar teacher. What is your philosophy when it comes to teaching- and do you teach metal musicians or a variety of guitar styles?
“I only teach a select handful and this is on purpose. I am very serious about teaching and I only want to teach a few guitarists at a time, in order to not lose track of things. I mainly teach metal oriented guitarists and usually we focus on the more technical side of things.”
Currently you are preparing recordings for a third Section A album as well as a second Decoy record. Are you disciplined when it comes to your writing- do you have a set schedule or do you try to have recording devices around you at all times when the inspiration hits you?
“I am very disciplined and my days are very scheduled. For me, that's the only way to do it.”
Where does Torben see himself in the year 2010?
“On Easy Street! :-) Well, I would love to be a part of a successful band in some shape or form. Just one band that I could give my full attention. I would of course still be interested in doing projects, but they should be just that…”
www.torbenenevoldsen.com
www.lionmusic.com
Composed by Matt Coe
