DEAN CASCIONE — Shred Crusade (review)

DEAN CASCIONE — Shred Crusade album cover

Album · 2015 · Progressive Metal

5/5 · 2015-11-11
Steve N. Mavronis

American neoclassical guitarist Dean Cascione is back and he’s on a personal “Shred Crusade.” Following up his acclaimed Guitar Chop Shop (2008) and Neoclassical Fire (2011) albums, the just released Shred Crusade (2015) slashes through today’s hard rock instrumental music landscape with ‘Axe’ in hand. I highly recommend you hear it and hope you enjoy it as much as I do. Here are my personal impressions of Dean’s third self-produced solo album song by song:

01. The album starts with “Neoclassic” awaking you with huge church bells, thunderous piano bass and chimes, unleashing a series of tasty pedal tone licks, descending harmonic minor patterns, and fast arpeggio progressions, all representative of the genre. This short track makes a statement and undoubtedly is meant as a tribute and nod to the amazing style brought to us by the one and only Yngwie J. Malmsteen.

02. Next up is the title track “Shred Crusade” with the feel and aggression of determined ‘holy warriors’ in the midst of a do or die battle with no time to lose. The main theme has a rapid fire rhythm like a military cavalry war horses in full gallop yet interspersed by melodic legato lines, single string interval picking, and decorative flurries and bursts of action. You really get the feeling of being in the fight with this fast paced tune.

03. “Arpeggio Assault” is an aptly named Shred anthem. It begins with sets of very fast arpeggio progressions, with subtle variations in between to keep things interesting. This is followed with heavy rhythm and melody lines, rolling speed licks, finally resolving to the beginning arpeggio sequences to finish things off. You have been brutally assaulted and put through the shredder in the most beautiful and musical way.

04. Dial back the shred to hard rock on “Rune Stone” for some Devil's Interval power chord riffs influenced by Black Sabbath, the pioneers of Heavy Metal. Plenty of fist pumping \m/ in the air moments abound. There are some neoclassic elements mixed into the lead work, along with open harmonics setting up a tribute to Jake E. Lee with a riff variation based on his classic Bark at the Moon solo flurry.

05. Spider Gates” is inspired by the mysterious and legendary Friend Cemetery of Massachusetts, located in Dean’s hometown. Paranormal and occult believers claim it is the Eighth Gate to Hell. The song oozes furious neoclassic riffs that build a web of musical intrigue and tension, combined with a slow spooky melody used throughout. David Shankle guest solos, burning up his fretboard with the frenzy of a demonic exorcism. Warning: Don’t listen to this one with the lights off.

06. Keep the torch burning because you’re going “Subterranean” with Paul Ranieri on bass and Rich Kelly on keys. Dean merged their individual contributions in a one way passage into the depths of the Earth. Paul’s bass solo takes you deep underground echoing through the maze of caves, while Rich’s haunting reversed harpsichord effect implies a claustrophobic feeling until the Minotaur finally catches you.

07. “Megalith” is the album’s masterpiece. The heavy power chords gives it a Blackmore’s Rainbow kind of vibe complete with an infectious drum beat and bass groove. The mighty Joe Stump uses volume swell melodies for a violin-like effect and plays a blistering neoclassic guest solo worthy of the shredlord crown. From Dean’s sweeping arpeggio progressions, pedal tones and soloing, to joining Joe on dual twin lead harmonies reminiscent of Iron Maiden, this has everything going for it. I can only imagine them playing it together live at Stonehenge someday, celebrating the Solstice of neoclassic brotherhood until the Equinox when the day meets the night.

08. March out “Into Darkness” passing through a heavy keyboard intro melody that slowly builds faster into Dean’s strong driving 2-note ‘diad’ chord rhythms with a theme melody motif that takes you into battle. Dean shows his mentor Joe Stump’s heavy influence on him. Arpeggios and melody lines relentlessly maul the landscape and David Mercado’s guest solo swarms like bees defending their Queen.

09. “Victory” is an upbeat composition based around a cascading series of neoclassic arpeggios that drape the song like flowing curtains across a wall of sound. The single note melody line brings back Dean’s memorable earlier work from his first solo album, Guitar Chop Shop. His pedal tone riffs and short expressive solo act almost as a bridge to the main melody again and resolves back to a wall of arpeggios to finish.

10. The only acoustic track is “Kindred Spirits” which Dean plays using his ‘DC21S Pilarte’ custom cutaway classical guitar, hand-built for him by Nicaraguan luthier Luis Pilarte. This soft classical song is inspired by “Dee” of the late Randy Rhoads. This is a special lullaby of remembrance by Dean, and the eerie vocal sounds included at the beginning and end of this raw studio recording seem to invoke his spirit and influence.