Cyberbow

Cyberbow is a collection I put together because I wanted to show what happens when you stop treating violin and metal as opposing forces and just let them collide. These are tracks where the violin isn't decorative—it's leading the charge, trading licks with distorted guitars, bending notes over blast beats, carrying the melodic weight that a vocal would in another genre. Some of these were written specifically as violin-first riffs; others came from guitar ideas I rewrote through a string lens. Violin Egoist and Soul King sit at opposite ends of that spectrum—one is pure shred, the other weaves shamisen alongside the metal framework like they've always belonged together.

“What ties these together isn't aesthetic consistency but a shared obsession with modal melody.”

What ties these together isn't aesthetic consistency but a shared obsession with modal melody. Most of these run on Celtic scales or Japanese pentatonic shapes rather than the straight major-minor axis, so even the heaviest moments (Doomsday Calling, Shattered Crown) have this lifted, almost ancient quality underneath the distortion. I used a lot of tremolo and rapid position shifts to get that edge that metal requires, but also kept space for the guzheng and shamisen to add texture instead of just rhythm section filler. The production is intentionally dry on the strings—you hear the bow noise, the finger slides—because that rawness cuts through better than polish when you're competing with a wall of guitars.

This collection plays like a conversation between what violin can be and what metal needs: precision and aggression, elegance and weight, all in the same breath.