At the time of this writing, my debut album Christendom Reborn is still quite new. I would describe the album — and my style more broadly — as a fusion of early music (Medieval, Renaissance, and Baroque) with hard rock guitar.
The album features some blistering tracks like Templar, which channel a kind of visceral energy that’s both powerful and fun to play. But among my personal favorites is a quieter piece: Brothers.
Unlike more technically commanding tracks like Legacy of the Red Priest or Templar, Brothers draws its strength from something more subtle — a deeper modal quality that captures what music, at its best, should do: it carries the listener on a journey, blowing him hither and thither on mysterious winds that echo with ancient modal wonder.
There’s also something sonically special here. I think I nailed the Strat–Marshall tone on this one — no distortion pedals, no effects beyond a touch of reverb. Just pure single-coil sparkle. Clean, raw, and expressive.
Brothers roots in a Renaissance lute piece, and I think that influence shows — not in mimicry, but in spirit.