INTERVIEW w/GTA’s Prog Metal gems, Pyramid Theorem, release their 3rd album, and a new live album performance video.
I was pleasantly pleased to have made the acquaintance of the booking manager of Pyramid Theorem, during the February 2021 Screen X Screen Indie Week’s 2nd online Conference. This interview opportunity with the deliciously enriched metal sound, Pyramid Theorem, features brothers Stephan Di Mambro (guitar, keyboards, vocals), Christian Di Mambro (bass) with Sam Ermellini (guitar, vocals), and Vito De Francesco (drums). Exciting news too, they just released in August 2020, their 3rd album, Beyond the Exosphere, along with a brand new video that is based on this stupendous album, which was just recorded as a live performance of the complete album, and they will be sharing it this Spring.
Undoubtedly, the Canadian quartet Pyramid Theorem, is an exception to the norm. Founded in the late 2000s, the band has already established themselves. They are an unquenchably imaginative, determined, and skillful act that have two other full-length albums (2012’s self-titled debut and 2017’s Element of Surprise) out and in fact, Edwin Van Hoof of HeadBangers Lifestyle praised Pyramid Theorem as “perhaps one of the finest bands in progressive rock today,“ with other outlets—Prog Archives, Metal Kingdom, and Metal Music Archives—showering them with comparable praise. As stellar as those records are, however, Pyramid Theorem’s latest master piece, Beyond The Exosphere, surpasses the other 2 in every respect and this new releases was produced and engineered by Rich Chycki (who’s previously put his stamp on releases by Rush, Dream Theater, Aerosmith, Pink, and Def Leppard, among others).
So, how did four young guys from the GTA get to this point? Well, as Vito shares, it all began around 2006, when he and Stephan “met at a mutual friend’s cottage” and “instantly bonded over” their love of Canada’s biggest prog-rock band, Rush. Meanwhile, Christian (who’s Stephan’s brother, of course) and Sam were playing in a different ensemble. One night, Stephan took Vito to see them play, and the pair were “blown away.” As fate would have it, Christian and Sam left their band in early 2007, so they started jamming with the other duo in Vito’s basement. Sam declares: “I can still remember seeing all of the Rush memorabilia—the records, CDs, cassette tapes, and a Neil Peart replica kit—there. Being a fifteen-year-old kid, seeing all of that was inspiring, to say the least. We developed our sound in that basement, so it holds a special spot in my heart.” Stephan concurs, adding that “you have to understand the visual and auditory experience that that basement presented at the time. Vito had a whole lighting rig set up down there, with strobes, fog, and more. It was pretty easy to just get lost in it all sometimes.”
As all artists should, Pyramid Theorem, always aims to satisfy themselves first and foremost; that said, there’s little doubt that listeners will similarly value Beyond The Exosphere as not only the crowning achievement of its creators thus far but also as a thrilling new entry into the genre overall. “I’m sure that it will connect with any true music lover on some level. It’s one of those records that gets better with each listen,” Vito rightly claims. Likewise, Stephan promises followers a disc that “will tear right in your soul. It’s four different interpretations of the human condition, condensed into the most powerful expressions we can capture.” Even more rewarding and touching, however, is the group’s hope that the collection “gives people goosebumps and that feeling of connectedness that we’ve experienced listening to our favorite records,” as well as the motivation to “pick up a guitar or a set of drumsticks and just play.” Thus, Pyramid Theorem, really gives their all to motivate, gratify, and surprise their audience at every opportunity; with Beyond The Exosphere, they fulfill those goals beyond any expectations.
DEB: Q. 1. When you first started out in the business in 2006, how old were each of you? As well, did you ever imagine that your career would unfold the way it has and that your original masterpieces would influence the music realm as they have?
VITO– “We were between the ages of 15 and 17 when the band first started out in 2006. At first, we were just kids making noise in the basement playing cover songs from our favorite artists. After a while, we decided to really focus on being a band with original music and to get out and play live and really hone our craft as musicians.”
CHRISTIAN – “When we started I don’t think any of us could have imagined our career unfolding the way that it has. We’re very grateful for all the opportunities we’ve had to record music and perform alongside excellent artists and for some great audiences. I am very excited to see what the future has in store for the band.”
SAM – “When we all started this project I was a 15-year-old punk. Ever since I picked up the guitar I always imagined playing and entertaining people, so to actually follow that dream and make it my career has truly been a blessing! It’s a bonus when people understand where the guys and I are coming from musically. It’s a tight-knit group, this thing called progressive rock. It’s wonderful that I can be a part of it.”
STEPHAN – “Vito and I were about 16 years old and the others were a couple of years younger. We simply started out playing music that we would love to listen to. It’s still the same way today. We play the music that we think is awesome and that’s it. The goal from the start has always been to inspire others to pick up instruments and start their journey. That’s what happened to us listening to our favorite artists and we are forever in their debt for that.“
DEB: Q. 2 Your new album surely dives deep into your masterful musician’s extensive talent, walk us through your 3rd album, Beyond the Exosphere, which was released in August of 2020.
Their five-song sequence sees the group setting new benchmarks for their ability to fuse impassioned and memorable songwriting with mind-blowingly sophisticated, diverse, and virtuosic arrangements. Beyond that, it flows as smoothly and sleekly as anything being made by their stylistic peers, further cementing why this third album should catapult Pyramid Theorem into the mind of every progressive metal aficionado. As for how Beyond The Exosphere builds upon the band’s tried-and-true formula, it aims for more stylistic cohesion and succinctness that solidifies the full realization of Pyramid Theorem’s identity. Vito notes that Element of Surprise was designed to give each of its eight tracks “its own flavor and appeal” so that listeners were literally surprised at all of the “many different musical moods”; in contrast, and according to Stephan, that “growth record” allowed them to take “a much more decisive direction” for this third LP. Rather than divvy up certain approaches for certain tracks, the album possesses a stronger amalgamation of the quartet’s multifaceted aesthetic from start to finish. A major reason why Beyond The Exosphere sees them as maturing musicians, Sam divulges, is also the fact that it’s the first time they used a professional producer (rather than simply overseeing it all themselves). Indeed, Chycki’s knowledge permeates the record’s heightened sense of focus, unity, and technical quality. Take, for instance, the wonderfully melodic, dynamic, symphonic, and heroic opening title track. It undeniably conjures Rush, Spock’s Beard, and Dream Theater (circa A Change of Seasons), but it’s very idiosyncratic as well, with a level of performance, production, narrative, and songwriting quality—including fluid, emotional, and cosmic transitions from movement to movement—that many of the most established progressive metal outfits can’t match. It really is a tour-de-force of everything Pyramid Theorem has been working toward thus far, and at just under eighteen minutes in length, it deserves to be regarded as one of the greatest epic tracks of its generation. Of course, the remaining four tunes earn their place alongside that triumphant beast. Specifically, “Under Control” offers a more concise slice of glorious density (with the superb interplay between guitar and keyboard) whose 1980s-Esque multilayered chorus is ripe for stadium sing-alongs. Afterward, “Freedom” is gruffer and more sinister, yet it still packs enough moving respites and inventive effects (namely, bells) to keep it satisfyingly flexible. Next, the penultimate “Closer to the End” works as a chameleonic ballad, juxtaposing flamboyant theatrics, hard-hitting intensity, and plenty of haunting atmospheric introspection with expert precision. Naturally, “Intonate” serves as a breathtaking finale that coats its brutal core with stirring vocal harmonies, empowering strings, calming acoustic guitar strums, and poignant piano motifs. Its larger-than-life jam fades away patiently during its final moments, leaving you with the sense of awe and catharsis that comes from completing a life-changing journey.
VITO – “We began writing some of those songs as early as 2017. Sam usually brings a bunch of musical ideas to the rest of us and we start gluing and piecing them together and changing little things here and there to turn them into a PT song. With BTE, our producer Rich Chycki was very instrumental in shaping the songs to make them more progressive. He was there with us during pre-production and had us rearrange some of the songs to better suit the overall theme and direction of the record.”
CHRISTIAN – “For this record, we took the elements we enjoyed from our previous work and improved on them. We wanted to make an album that was heavy, progressive and that would allow us to continue developing our songwriting skills. The result is an album we’re all very proud of and it was a lot of fun to write and record. The opening track “Beyond the Exosphere”, is an 18-minute musical journey that explores a wide variety of musical ideas from heavy riffs to orchestral segments to atmospheric spatial sections to jazz fusion bits, classic progressive rock, and everything in between. A track like this gives us a lot of freedom as musicians and anything goes. Long songs are a staple in progressive music and provide a unique, almost cinematic experience to the listener unlike other sub-genres of rock and metal. It’s always challenging and exciting to play and it’s awesome that people enjoy listening to it as well!”
SAM – “This album pushed the band’s creativity to new heights in terms of our songwriting and craftsmanship. Each song represents a different flavor in the recipe of “Beyond the Exosphere”. This album reflects a more mature Pyramid Theorem sound. With that being said, there is the crazy wonky hectic wild stuff that we always do, but with a refined slick attitude. There’s something on this album for everyone.“
STEPHAN – “So with this release, we decided at the outset that we wanted to do something more focused sonically, heavier, more progressive with some big choruses. Beyond the Exosphere was originally going to be an instrumental track, omitting the whole middle section. We intentionally wanted this to be a longer track. The intro chords alone gave me a Rush ‘Hemispheres” vibe the first time we played them. We knew it was going to be an epic. The vocal sections were added in after our producer, Richard Chycki, said we need some vocals. We had some alternate versions of the song with parts that we omitted from the version we played for Rich. So the five of us took a couple of older parts and played with them for a bit until they felt like they were supposed to be there. With respect to the remaining tracks, we had sections kicking around for a while and finally got the chance to dive into them and flush out the tunes. For Pyramid Theorem, this was the first time we worked with a producer. We were always afraid of letting someone else into the inner circle but with Rich it was different. We felt that he really understood what we wanted to do with this record and so it was a no-brainer to get him on board.”
DEB: Q. 3 Share with us your iconic songwriting process and how your newest songs, Freedom, Closer To The End, and Under Control came to be?
VITO – “To my recollection, Closer to the End was written relatively quickly. It’s one of the more straight-ahead efforts on the record. It’s very standard when talking about the song structure (intro, pre-chorus, verse, chorus, verse, chorus, bridge, solo, verse, chorus, outro) and lyrically, it also came together swiftly. We were trying to give the listener a sense that things may not always seem the way they appear; to pay close attention and to not take things so literally, maybe read between the lines as to what’s happening around you, and to ask questions. The same goes with Under Control… it deals with not believing everything you see and hear and that things may not always turn out the way you want them to. That was one of the general themes with this record… to have your own voice, and to make your own choice and to not bow down to the powers that be…something that we North Americans can easily take for granted. Musically speaking, the chorus to Under Control was very straightforward initially – no odd-times signatures – which didn’t sit too well with Rich! He had us completely rewrite the time signature for the chorus to make it more ‘Prog’. Thankfully, it ended up making the part stand out and we couldn’t be happier with the outcome.”
CHRISTIAN – “These two songs were written in a very similar fashion. Sam has the ability to write some really catchy riffs that are the main driving force on these tracks. It’s all very organic – the four of us get in a room and grind out the arrangements for hours until we have something we are all happy with. Once we have a musical arrangement worked out we will record demos and begin work out the vocal melodies and lyrics. Having worked with a producer for the first time, it was very helpful to have a fresh and objective ear listen to the songs and present some really great ideas. I think these songs showcase our development and maturity as writers. Being able to write direct and powerful tunes while still adding in the progressive elements that our listeners gravitate to is very gratifying and gets us excited as musicians.“
SAM – “I was feeling very creative and knew I wanted to write something epic, and badass. I had the idea of Ozzy Osbourne and Rush teaming up haha – that’s what these songs sound like to me! In addition, we hired Richard Chycki to produce the album and I think his contribution added another dimension to the album.”
STEPHAN – “Sam always has a magical bag of riffs to pull from and get a jam started. Sometimes he will bring a more flushed-out idea and sometimes it’s just a riff. Either way, they always manage to inspire the rest of us to dream up every possible outcome for the track. If we collectively decide there is something there we beat the hell out of it until we feel like it’s ready for world domination. Under Control was the first song we completed for the record. I think it really set the tone for the rest of the tracks sonically as well as lyrically. I cant remember exactly when we finished it but it was a year or two before this whole lockdown nonsense. I remember sitting by the fire writing lyrics thinking about where the world was headed and the state of mind that allowed all this to happen. I brought the lyrics back to the guys, we made some adjustments and that song was complete until we tried the chorus in a different time signature. The basic process of writing in a group is to leave your ego at the door. If an idea is shit it doesn’t matter. Most of us have a bunch of really bad ones before something great happens. But if you get shut down and let that affect your thought process you will never get to the good stuff.
DEB: Q. 4. Pre COVID-19, had you felt a major shift in the music industry compared to when your career began in 2006?
VITO- “Definitely. The music industry has gone through so many shifts the last two decades and in some instances, I feel that it is leaving artists scrambling to come up with new ways to cope with the future of the industry. The one thing that hasn’t changed, at least pre-2020, is that live music is the best way to connect with people. In the 70s, 80s, and 90s, artists would release an album and go on tour to promote it. Fast forward 30 years and it’s completely reversed… Now, artists are releasing an album to promote their tours. Given that traditional album sales have gone the way of the Dodo bird, it’s no surprise that artists are relying heavily on touring to make ends meet. Thankfully, a band like us has never wanted anything more than to tour everywhere and anywhere and as soon as this whole ordeal is over, we intend on hitting the road and not looking back.”
CHRISTIAN – “The industry is always changing and presenting new challenges and opportunities. Now more than ever artists are able to take their careers into their own hands and there are a plethora of new technologies that make marketing and promotion easier and more efficient. We are now able to connect with our fans directly on a much more intimate level than ever before. There have also been massive improvements in recording and video technology that have made creating music and media content much more affordable and accessible for artists. It can be a bit overwhelming at times to keep up with the rapidly changing trends and technology but exciting as well.”
STEPHAN – “Honestly those early days we didn’t pay much attention to anything except jamming together. The business was never top of mind. I think we started with the illusion that some fairytale label was going sweep us off our feet and fly us around the world on a magic carpet. It didn’t take long to realize that that’s not how this whole music thing worked anymore. For a band like us that dedicates a massive amount of time to perfecting our craft, it was really difficult to realize that we also had to be businessmen and somehow balance the two different personas without sacrificing one or the other. We’ve dealt with the rejection and the critics and Covid 19 is just another obstacle to overcome. Since our inception, we’ve always mutated and adapted to a rapidly changing industry. We really don’t know what the landscape will look like when this is all said and done but we will be ready to adapt when the time comes.”
DEB: Q. 5. Who influences each of you the most musically then and now.?
Obviously, other joint influences—Dream Theater, The Beatles, Ozzy Osbourne, Pink Floyd, Yes, Deep Purple—helped bond the boys even more and make it clear that they were meant to create together. Naturally, PT, already had been perfecting their playing for several years by that point (always encouraged by their parents and often with schoolmates or other friends). Christian, Vito, and Sam were set with their instruments from the start though Stephan didn’t add keyboards to his arsenal until he joined Pyramid Theorem. “I’d be playing guitar and I kept hearing different sounds around me. I thought, Where the hell is that coming from? Is it only in my head?” Stephan recalls. Those mysterious timbres, coupled with the transcendental power of Vito’s basement, led him to “buy a Roland V-Synth and slowly start to incorporate it into their sound.” Over the next few years, they worked tirelessly and excitedly to harness their “invigorating mix of classic ‘70s prog-rock and more modern heavy metal tonality,” as Christian describes, ultimately discovering their essential ability to—as Vito puts it—“stay on the same wavelength” while “constantly pushing [themselves] to be the best musicians and songwriters possible.” Expectedly, they also built their chops and reputation by playing as many shows as possible along the way. Vito readily admits that Pyramid Theorem “never really had a chance to hit the road properly” but they’ve already shared the stage with some impressive artists such as Sonata Arctica, Finger Eleven, Periphery, and Fates Warning. That said, the standout moment for both Vito and Sam remains their first time playing in Montreal (back in 2011), when they opened for one of the genre’s biggest bands, New Jersey quintet Symphony X. “I remember the reception we got after that first song and it still gives me chills,” Vito reflects. Sam expounds, “They were a big inspiration for us in the early days, so having an opportunity to play with them was surreal.”
VITO – “For me, it has always and forever been Rush. I’ve been a Rush fan since I was in diapers and 30 years later, I’m still completely infatuated with the band and their music. Over time though, my musical tastes have shifted and I listen to anything and everything under the sun. I can easily listen to a 15-minute classical piece with strings and horns and woodwinds and choirs and the next song that comes on can be a 4-minute brutal metal song with screaming and double bass and riffs and solos. Following that can be a country song with banjo and acoustic guitar, followed by a rap song from the 90s…it just doesn’t matter to me, there are no boundaries when it comes to music. If it speaks to me, I listen.“
CHRISTIAN – “I’ve always been a huge fan of Progressive rock and classic rock in general. Groups like Rush, Pink Floyd, Led Zeppelin, The Beatles, etc. have all had a massive influence on my playing and writing. Bands like that have set such a high standard that we are always striving to achieve that level of excellence when it comes to recording, performance, and songwriting.”
SAM – “For me, it’s got to be Rush. Their tale is so mirroring, and to see the hustle they did just goes to show me that hard work surely pays off. They also kick absolute ass.”
STEPHAN “For years it was the standard Prog Rock/Metal legends, the bands who brought us together in the first place. I still find myself listening to them quite a bit but I like to mix it up with some ethnic sounds or film scores and such. If I think of a sound I want to produce I will search for an artist that I can kind of blend together in my head. The music that I listened to for years is now ingrained and flows from me naturally. I guess I like music now that is a bit more primal and speaks to me without even understanding the lyrics if there are any. My musical taste changes rapidly. As long as it’s a well-written and well-performed piece I am all ears, regardless of genre. In the earlier days, it was Rock and Metal or death. I evolved a bit I guess.”
DEB: Q. 6. What was the best advice you were given about the ins and outs of the music industry back in the day, as well, what advice would you offer to up-and-coming artists trying to break into the biz in this day and age?
VITO– “We’ve been fortunate enough to have friends in the industry that have been nothing but helpful and have guided us in the right direction. As much of a cliche as it is, it really is true. Don’t listen to the naysayers, keep your head down, keep plugging away and PRACTICE PRACTICE PRACTICE. I feel that most musicians nowadays are so caught up with the bullshit of being famous and what’s popular that they forget about the music. For us, it has always and will always be about the music first. I feel like that’s becoming somewhat of a lost art with a lot of musicians from the younger generations. I feel like most of them are looking for shortcuts to get to the top instead of putting in the time and effort it takes to hone your craft as musicians and songwriters. Plain and simple…practice, get good, get lucky and good things will happen.”
CHRISTIAN – “The best advice I received regarding the music industry was to not compromise when it comes to our musical integrity. Don’t try to fit in with trends or give in to the pressure of what others want you to be – to just be the best band that we can be. I would tell up-and-coming artists to learn as many skills as they can that will help advance their careers, always put the music first, and don’t listen to people who tell you that they can’t do it. Work really hard and good things will happen.”
SAM – “The best advice I got was not to take crap from anyone. You don’t get anywhere by being a pushover. Especially in this industry. If I can offer any advice, it would be to not get pushed around. Know your worth, practice, and kick ass at what you do and things will happen. “
STEPHAN – “Back in the day we weren’t really given much advice that was worth listening to. A lot of our success comes from the connections we made along the way. At the end of the day, there is no set formula for breaking a band so it’s a lot of trial and error. Don’t get hung up on all the little hurdles and never lose sight of the big picture no matter how far away it seems. We still have a long way to go, maybe I’ll have more insights for you then.“
DEB: Q. 7. What would you say is your claim to fame and secret to longevity?
VITO – “When our claim to fame presents itself, we’ll let you know!! As for the longevity of the band, it is as simple as finding like-minded individuals who are ready to do whatever it takes to make their dreams come true. Practicing in the same room as the boys and making mistakes together is how you evolve as musicians and songwriters. There just isn’t a shortcut, unfortunately. Liking each other’s company helps immensely. Also, I think people underestimate the value of laughter and to be in a band with a bunch of goofballs who can’t stop laughing with each other is a great way to keep that creative spark alive and not get bored of each other’s company. Those points and not sucking at your respective instrument helps too!”
CHRISTIAN – “I think the secret to our longevity is the fact that we are very passionate about the music we make. Writing new music and performing live are such rewarding experiences for us and what gets us through difficult and strenuous times is knowing we always have something to look forward to on the horizon.”
SAM– “I think my claim to fame is being a member of Pyramid Theorem, we are pretty limited edition! In terms of longevity, keep creating, don’t give up, and don’t stop.”
DEB: Q. 8. What does success mean to each of you?
VITO – “Success can be measured a million different ways. To me, being successful as a musician is to let your music do the talking. If a song that you’ve written can get through to someone who doesn’t speak your language halfway around the world, I would say that is a success. To be able to reach someone through song is such a powerful way to connect with someone. People really take for granted what music can do to someone’s soul. It is an art form that has always touched people in ways that words can’t capture. I’ve been a victim of it for as long as I can remember and to hear people tell us that our music has done the same thing to them always humbles me and I am so glad to be a part of something so powerful.“
CHRISTIAN– “For me, success is to be able to continue doing what I love which is to write, record, and perform live. As long as I can do these things, I’ll be a happy guy.”
SAM – “Success for me means the ability to tour, write, and recording in a continuous cycle. – It’s what makes us and our fans happy.”
STEPHAN – “This day in age I don’t think you can really have any expectations because the world is changing so rapidly. So I would consider success just to have a completed record. Whatever happens after that is just a bonus.”
DEB: Q. 9. Some of the most historical and revered music always plays a deeper role in the transformation of societies. Some consider how their work relates to the current sociopolitical landscape or how the music can address these themes. Do you think some of your masterpiece originals touch on current social or political issues?
VITO–“I can talk about this topic for hours as the current state of the world is so perplexing, but I’ll leave it at this… Beyond the Exosphere was written well before it was released and was recorded in March and April of 2019 in Toronto. Although we ended up releasing the album in August of 2020 during the pandemic, it was recorded one year prior to the current state of affairs. If you read the lyrics, you’ll see the subject matter is eerily similar to what is currently happening in the world around us. When we were discussing potential lyrical themes for the record, we were all on the same page that something felt weird about the current state of society and that something monumental was probably going to happen to potentially change that forever….boy, were we on to something! The long and short of it…. A planet is in serious turmoil and some of the inhabitants are looking for a way to get off and start a new life far far away before it’s too late.”
SAM – “I’m not one to get political or get involved with that, but this album oddly foreshadows what is going on in our world today.”
STEPHAN – “I think the album as a whole is a simple reflection of society at that point in time as we saw it to be. BTE represents our hope for the future. It represents a regenesis if you will. A chance to start again without all the mistakes we made but then realizing that we, as humans, cannot escape ourselves. On the surface, it may seem politically relevant but the deeper meaning is that we must strive to find a balance within ourselves as individuals before we can try and change the world. I look out into the world and see a bunch of people so rich with conviction that they are unable and unwilling to talk to a fellow with a different opinion. Luckily music transcends all that bullshit. I can only hope that this record can help people work through their own shit and realize that they are entitled to think for themselves.”
DEB: Q. 10 Some artists seem reluctant to speak of just how frustrating and baffling the whole experience of navigating the general music realm is, let alone add in Covid-19 and how hard they try to still be ambitious about getting their artwork seen, heard, and or sold. Outside of your up and coming May 28th, 2021 premiere live Beyond the Exosphere album performance video release, what are some unique ways you’ve chosen lately to engage with your legions of fans, whether that’s within the top echelon of international art circles or based on your involvement with your local community, despite the challenges of trying to bring your art to the new formatted audiences at home thanks to the Corona Virus?
VITO– “A lot of things are still in the works to adapt to the current state of the industry and some of them I can’t disclose as it’s too early to say. But without giving too much away, we are going to be doing a few things in the next coming weeks and months that will further propel our online presence. If things in Canada don’t get better before we’re able to hit the road and perform live across the country, I would say that people will be treated to at least one more live concert of PT music. But let’s hope for the best and say that we will be hitting the road for a tour at some point in the latter half of 2021.
SAM – Unfortunately, everyone has been hit with this pandemic and has had to navigate their way around this disaster to make it work. For us, we have been trying to extend our fan reach via, Instagram, Facebook, radio, press, etc. Anything we can get our hands on to raise awareness of Pyramid Theorem. Using social media is a fantastic tool to directly speak with the fans, I personally love that I can chat a fan if they have a question or just want to say hi! Personally, just recently launched my twitch channel so I’m hoping to connect with fans on that platform as well.”
STEPHAN – “It’s been frustrating, to say the least. Just trying to get this live show recorded was a hassle. I think it got canceled 1 or 2 times before we were able to actually get into the venue and record it. As for social media, I couldn’t deal with all the negative news and bullshit on my feeds anymore. I took the opportunity to completely unplug from socials. We have some things in the pipeline currently. We have taken this opportunity to look within and build a more solid framework for ourselves to launch when this is all behind us.”
Perhaps more than anything else, the quartet pride themselves on being a tremendous live act, so ideally—and justly—Beyond the Exosphere will finally allow them to go bigger and broader by touring all of North America, if not even further, once live music becomes a viable option again.
“Pyramid Theorem fleshes out their harmonious metal melodies as they created their 3rd album, Beyond The Exosphere, which is profoundly rich in complexity/tranquility. Their memorable mind-melting metal moments deliver instant soon-to-be classic hits that surpassed their last 2017 album, Element of Surprise, and is a perfect treasure of musical genius, their most compelling expression to date. The combination of cerebral songs that sink deep into your brain with their superbly executed production truly makes for a very strong album. To capture the true essence of the Pyramid Theorem is like capturing an infinite measure, both a creative workbook and an authoritative musical reference. Their stage presence is profoundly moving and a pertinent one. As we are well into the 21st year of the 3rd millennium, and you can tell we are in the 21st year of the 21st century with unique artists like PT, because they blend in an ancient metal sound with futuristic style, a back-to-the-future feel if you will. I haven’t had the pleasure of seeing them live thanks to COVID-19, but their compelling and tight attractive sound inspires fans as does their drive, and rare overabundance of musical passion and dedication to their art. In my eye, they are a valuable industry team player, with an all-around musical presence of perfected intoxicating and hypnotic sound measurements of rhythm and supportive harmony. Pyramid Theorem, plays a crucial role in defining the sound of Prog Metal, totally ensuring their nostalgic sound unions with their eager legions of fans worldwide that will forge strongly forward with a futuristic feel for years to come.
CONGRATS Pyramid Theorem, on all your achievements thus far, and thanks for your time today guys!
BTW, fans, you can stay in tune with Pyramid Theorem, by visiting their social media platforms!
Stay safe and keep the musical faith.
Deb Music Editor, Photojournalist, Columnist – The Wire MEGAzine http://www.thewiremegazine.com