New Album!"NEW METAL FROM OLD BOXES".
Available now! It's my first release in over ten years.
"...this guy is really onto something here and is helping me (and any other heavy music fan willing to check this album out) to prove yet again that guitars aren’t the only way to get it done" — Prog Metal ZoneClick or tap here to get yours.
Grab an EP. It won't cost you a dime.
FiveSix tracks from the NMFOB sessions in a special EP.
Free to stream and download.
This is what people are saying...
“Powerful, aggressive prog-rock that puts viciously articulate piano, synthesizer, and organ in your face... a calculated aural assault with something to say (clearly, with perfect annunciation) before it bashes your head in.”
"'A Burden of Secrets' is one track that stands out to me with some beautiful piano solos and brilliant melodies. The skillful playing by Jason on this album is impressive!"Hear what they're talking about.
A new single for the summer! "Walking On Hot Sand"Some friends and I recorded a screamin', heavy rock/fusion song. Click here to take a listen!
August 5 2014
NMFOB Gets 9/10 From Prog Metal Zone!
One of the things that I’ve always loved about much of early progressive rock was not only how adventurous it was but also how damned heavy it could be. The music often had as much to do with Jimi Hendrix as it did with classical music. I ain’t talking about Yes’s flights of fancy or the pastoralism of Genesis but more along the lines of King Crimson’s angularity or even the early grittiness of Emerson Lake and Palmer. Yeah, I hear ‘ya, ELP??? Sure, just give a listen to that first album of theirs way back in 1970 and tell me that Knife-Edge, The Barbarian and Tank wasn’t some damned heavy shit! And heavy without being metal and often the heaviness came from the keyboards – mostly just Moog synthesizers and Hammond organs. The Italian bands from that era (remember Goblin?) also relied on keyboards to really knock you on your ass and many hard-core rockers from that era dug ELP as much as they loved Black Sabbath and Led Zeppelin. So why do I bring this up now? Well giving a listen to keyboardist Jason Rubenstein’s new album (and first in over 10 years), New Metal From Old Boxes has not only struck a heavy prog chord in me but has really made me realize how great it is to hear an all-keyboard album be one hell of a great and totally heavy instrumental experience.
Check it out.
It's a detailed interview, and Nick asked some excellent and smart questions. We talked not only about New Metal From Old Boxes
and how it was created, but also about how the process of making music has evolved, the challenges of doing all of the parts myself,
and the future of progressive and heavy rock.
Check it out.
While I work on the next album (planned for release in 2015), I've been recording some "singles" throughout this year. There are
a few in the works, and this is the first one. "Walking On Hot Sand" is a composition written by drummer Tom Hipskind. We invited bassist
Shawn Sommer and guitarist Brian Kahanek to record their tracks - and the result is a rocking, screaming fusion song. Give it
a listen and let me know what you think.
Listen to it here.
New Metal From Old Boxes is now
available at Nightmare Records for sale and for distribution.
Nightmare is one of the last "REAL RECORD COMPANIES” out there
that champions quality music over trends. Nightmare is the best location
to find the worlds finest in rock and metal music.
There's more about them here.
June 26 2014
A gleaming review from Progarchy music blog.
"Almost effortlessly, Rubenstein employs classical jazz, noir jazz, prog, metal, classical, and jazz fusion. If I had to label it, I’d called it “Cinematic metal prog.” At times, it’s downright frantic, always extravagant, but never campy or over-the-top. While this is certainly Rubenstein’s creation, he is never shy about borrowing styles from those he clearly admires. I hears lots of The Tangent, ELP, King Crimson, Cosmograf, Cailyn, Tool, Dead Can Dance, and even Wang Chung (only from their spectacular To Live and Die in LA soundtrack)."
June 22 2014
Want to hear a great mix of progressive rock?
Check out "Experiments In Mass Appeal", program #118.
You'll hear a great mix of classic and new progressive rock. This program features a great block of instrumental songs.
June 22 2014
See what this music blog has to say.
"Energetic and Heavy is right! The distorted guitars and rockin’ synths create a unique sound that takes multiple listens to fully appreciate. There are also some soft piano parts and lots of nice little grooves throughout the album.
A Burden of Secrets is one track that stands out to me with some beautiful piano solos and brilliant melodies. The skillful playing by Jason on this album is impressive!
(Jeff Nixon, "Can This Even Be Called Music?")
June 5 2014
A gleaming, insightful review of the album.
Check out this insightful, fantastic review of "New Metal From Old Boxes" by the blog of Unsound America.
"...a calculated aural assault with something to say (clearly, with perfect annunciation) before it bashes your head in."
Read it here. They really get what this album is. If you want a track-by-track detailed review, you have to read this.
"New Metal From Old Boxes", Eleven original songs and one cover, recorded last October, mixed in January by the amazing Niko Bolas and mastered by Capitol Mastering's Ron McMaster. Listen to them all here. There is a digital download (with PDF versions of the liner notes) and there is a physical CD, designed by the brilliant Toshi Onuki.
Apr 13 2014 I've got a couple of great things going on right now.
The first is that one of the songs from my new album will be included on the next Progstravaganza compilation, titled "Transforma". Man, I can't tell you how excited I am. The previous compilations are excellent, and to be included with some of the best progressive rock and progressive metal bands in the world is an incredible feeling. Check out the progstravaganza website for more information this and next month.
The other huge news is that my new album "New Metal From Old Boxes" (a.k.a. NMFOB) will be released at the end of May. Pre-orders are open now, and there will be physical CDs available. The album of 12 tracks was mastered for CD and it sounds great. I'm freakin' excited -- this is my first complete album release in a long time, and I couldn't be happier. It sounds great: epic, loud, angry, noisy, and intense as hell.
The last news for now is that I've started working on the next album. I'm updating the blog with work-in-progress missives, so please check it out. Leave a comment -- I'd love to hear from you.
That's it at the moment. If you follow my Soundcloud page, you'll be able to hear (and comment about) the music I'm working on, experimenting with, etc. It's completely free, so what's the worst that can happen?
“Powerful, aggressive prog-rock that puts viciously articulate piano, synthesizer, and organ in your face... a calculated aural assault with something to say (clearly, with perfect annunciation) before it bashes your head in.”— Unsound America, @UnsoundAmerica unsoundamerica.wordpress.com
"In terms of sound quality, this album is perfection itself...its production is immaculate. Even the packaging is a work of art. Like the music, it is dark, brooding, and industrial."— Brad Birzer, progarchy.com
"...this guy is really onto something here and is helping me (and any other heavy music fan willing to check this album out) to prove yet again that guitars aren’t the only way to get it done"— Jeff Stevens, Prog Metal Zone
"A Burden of Secrets is one track that stands out to me with some beautiful piano solos and brilliant melodies. The skillful playing by Jason on this album is impressive!"— Jeff Nixon, Can This Even Be Called Music? canthisevenbecalledmusic.com
"What I enjoy most about this @jasonrubenstein set is how melodic and listenable it is, while being both heavy and proggy... This one demands you to turn it up."— @LinerNotes, Musings on Music
"Cool progressive music!"— Metal Topics, @MetalTopics
Behind the epic music.
Jason Rubenstein is a progressive rock and ambient keyboardist. Influenced by heavy progressive rock and old synthesizers, Jason creates modern, heavy instrumental music. The influences of King Crimson, ELP, Philip Glass, NIN, and Moog synthesizers are clearly heard. The style is loud, heavy, melodic, complicated, modern.
Jason RubensteinKeyboards, computers, programming
Jason Rubenstein has been writing and producing music
since 1995. His latest release, “New Metal From Old Boxes” is
a return to his progressive-rock roots with a loud, heavy,
energetic and modern suite of instrumentals that evoke King
Crimson, Emerson, Lake & Palmer, Nine Inch Nails, and classical music.
Written, performed and produced by Jason, it is a change in style from his previous mixed-genre CDs. “I love progressive rock.”, Jason said, “I grew up on it, and I was in a prog-rock band in the 80s, back when prog really was not cool. Recently, I needed to hear new music that carries forward the heavier, 20th-century-classical progressive-rock sound. It was a challenge; nothing felt quite right to me. For “New Metal From Old Boxes”, I just wrote what I felt, and used a limited set of classic textures: piano, Hammond B3, huge drums, Oberheim and Moog synthesizers, and bass & guitar.” “New Metal From Old Boxes” features classic, loud rock production and a movie-like tension-filled soundtrack vibe. Imagine if King Crimson, ELP, NIИ, Wendy Carlos, and Philip Glass got together to score the soundtrack for a heist movie. Jason Rubenstein’s music has been heard on National Public Radio, NBC Television, Soma.fm, and in the film “Replicant”. In 2000, he was featured in an EQ magazine article “Adventures in Sound Design”, and his sound design was used in ABC’s television series “Lost”. In March of 2014, Jason released an EP titled “This is Not a Love Letter”. “New Metal From Old Boxes” is his sixth release. Rubenstein, who’d previously worked as a software engineer at Google and at Pono Music, suddenly found himself unemployed in late 2013. He started working on “New Metal For Old Boxes” the next day, writing one song per day for 30 days. “I’d been running the engineering for Pono Music for three years when the whole project hit its nadir. We all got laid-off. The very next day, at 7am, I fired up my home studio and started writing music. No wasting time. I wrote one song every day, not worrying about whether it was any good - I just wrote whatever I wanted to hear. Every day, I literally asked myself ‘What do I want to hear? What am I feeling right now?’ and I went and wrote whatever that was.”, Jason said. “A lot of the process for writing came from the process for writing genre fiction: ‘What happens? And what happens next? And what happens after that?’. Every song tells a story of some sort, regardless of whether it has lyrics. My songs don’t have lyrics, but they’re either stories, or a series of vignettes, or a scene. For example, there’s a story about a heist in there, and one about a barbarian horde storming-in from the steppes. I’m a genre-fiction geek, what can I say. And I didn’t give a damn what anyone else thought about the music. As long as I liked it, I was happy. I trust my taste in music - I figure that if I like it, there will be others out there who will as well.” The music is heavy, cinematic, relentless. There is not one ballad or slow-moving track on the 12-song album. Even the breakdowns are heavy, like moments of Steely Dan with King Crimson’s terrifying rhythm section. “The mix engineer, Niko Bolas, called the project ‘Jason-R-Schizo’ on the first day of mixing. My everyday personality doesn’t match the music. It’s a divide - there’s my meet-me-on-the-street personality where I try to be as decent a human being as I can, and my musical personality, which is heavy, dark, brooding, angry. I’m pretty sure that if I didn’t make this music, my personality would start to corrode. I’d be a short, angry man yelling at clouds and dogs and minivans.” Jason’s history is uncommon for a child of the 1970s. He discovered computers at the same time he discovered synthesizers. “While that’s common for children these days, in 1975 both computers and synths were rare.”, he said. His elementary school had an IBM computer terminal where he and his friends taught themselves FORTRAN, a computer programming language. A neighbor owned an Arp Odyssey monophonic synthesizer, and a school field-trip brought Jason face-to-face with a giant Moog modular synthesizer. “When I was 4 years old, I discovered my parent’s stereo and an LP of “Switched-On Bach” by Wendy (at the time Walter) Carlos. It blew my little mind. So coming face-to-face with the type of machine that made those sounds was life-changing. I knew right then that I needed to make music with one of these monsters.” The combination of technology and music came naturally to him, and the local record store became a source of education. He bought and borrowed LPs by Vangelis, Jean-Michel Jarre, ELO, ELP, Rush, Yes, Jean-Luc Ponty, Keith Jarrett, Chick Corea, Gary Burton, The Beatles, Black Sabbath, Steve Miller, Kraftwerk, Bruford, Allan Holdsworth, King Crimson, Brian Eno, Peter Gabriel. Then a degree in computer science, a gig with a Chicago-area progressive rock band (“We sounded too much like Rush and not enough like ourselves”), jobs as a consulting programmer for Fortune-500 companies, and music school at night. “I’d hang out until 4am with the jazz & rock students from school at Chicago jazz clubs. How the hell I made it to work the next morning is still a mystery to me.”, Jason said. Finally leaving Chicago for Los Angeles in 1995 after failing to get traction in the local music scene, he produced his first CD in 1996, and the second in 1998. These were eclectic, downtempo rock/electronic/jazz projects that immediately opened doors for him to produce music for television and film. It took ten years for Rubenstein to get back to creating music and produce “New Metal For Old Boxes”. “For a long time, I wasn't writing music for myself”, he said, “and it turns out that was a problem. For a few years I was writing what I thought other people wanted to hear, or writing what a media producer needed for a deadline. And the music I was writing had nothing to do with what I was feeling, or with what I loved to hear. So I got away from it in 2004 and started a software company, and then moved to San Francisco, and then had the opportunity to work at Google, and then with Neil Young on Pono Music. It was an incredible experience to do all of that, but now it’s time to have new experiences creating new music. Through all of that geekery I learned to just write the music that I wanted to hear and feel. I need to keep getting it out of my system, and it turns out that I'm simply unable to quit music. A ten-year break was too long. It’s either I keep creating music like this, or I start standing on the streetcorner and yell at the clouds and the passing hipsters.”