Interviews: AMNÏON

On this new occasion, we have had the opportunity to interview the Progressive Fusion Metal band AMNÏON from Germany. Check out the interview and follow the band on their FACEBOOK PAGE.

1. Where did you get the idea for the band name? Did you plan it or did it just come out like that?

Grant: The band name came from Sanjai and Gernot. It comes from the word amniotic sac, which is the membrane that protects the fetus. To us, it is like the protection of the music as it is ready to be released into the world.

Gernot: For me, the most important thing when choosing a band name was that it would capture our shared creative flow—whether we’re writing songs, rehearsing, or simply thinking about music. It had to give that flow a name.

The idea itself came from Sanjai. He had a list of possible names, and interestingly, both of us instinctively chose the same one—AMNÏON—as our favorite. That decision, too, felt like part of that same creative flow.

Sanjai: When we started the band, it wasn’t even a fully formed project yet—more like a rhythm section experimenting with bass and drums. It grew naturally out of a previous band where we had played together for many years. For a while, we still used the old name, but over time, it began to feel increasingly out of place. The music was evolving, and the way we worked together had changed as well. It felt like opening a new musical chapter, and that made it clear that we also needed a new name.

Around that time, we were thinking a lot about rhythmic concepts and natural cycles or movements—ebb and flow, the circular motion of planets, breathing, waves, or the cycle of life. For us, music has always felt like something organic: something that grows, shifts, and develops over time, much like a human being shaped by experience. So I started brainstorming and wrote down words and expressions that came to mind— things I heard in daily life, at work, or simply phrases that resonated with me. Eventually, I narrowed it down to a small selection, with one clear favorite. I showed the list to Gernot and asked him to pick his own favorite—and by coincidence, we both chose the same one.

As for the meaning behind the name AMNÏON and the double dot over the Ï: Biologically, the AMNÏON is a protective membrane during early human development in the womb. At first, it rests directly against the embryo’s skin like a delicate translucent cover. Later, fluid gathers inside and allows free movement—almost like swimming in a small ocean of amniotic fluid. It protects the developing life from external influence and cushions it from harm. When a child is born, it leaves this protection behind to begin its own independent life.

We liked the symbolic aspect of this idea. Throughout life, people try to build a second form of protection—something more spiritual or emotional, created through love, experience, creativity, and personal growth. In the word AMNÏON, the two dots above the Ï (the “I”, representing the individual) symbolize this second AMNÏON that every person attempts to create over the course of their life.

2. Why did you want to play this genre?

Grant: For me, progressive metal is a genre that truly has no limits. From electronic metal jazz fusion, rock, and so on. There are really no restraints on what you can do. That's why I love the sound so much.

Jason: I like playing in this genre because it gives me the freedom to approach the music anyway I hear it. No Boundaries style-wise.

Matthias: Because I hear a lot of different music genres, not only metal. Gernot Because it comes without limitations, barriers, or predefined rules. In a way, that applies to all music—like any form of art, it represents pure freedom. We don’t feel bound to a specific sound or a fixed way of composing, arranging, or interpreting music. Melodically, harmonically, and rhythmically, the genre we move in offers complete openness. That freedom is what really matters to us.

Sanjai: There was never a tactical plan to create exactly this kind of music. We’re different people with different musical backgrounds, training, and tastes. Some of us had formal lessons, others are completely self-taught. When we play together, we simply notice where the chemistry feels right and where the music starts to come alive. For me personally, it’s important to move within musical territory that feels natural, but at the same time, remain open to new ideas and step beyond typical genre boundaries. That openness has always been part of our approach.

In the past, the process was very traditional—we met in the rehearsal room, jammed together, and showed each other ideas face to face. Naturally, things have changed. We now live on different continents (Jason and Grant in the US, the rest of us in Germany), but we’ve made it work surprisingly well. With modern recording tools, we can exchange tracks back and forth and experiment with arrangements much faster than before. Still, there’s no question that meeting in person and playing these songs live together— songs we’ve worked on for years—would be the ultimate experience.

And to be honest, I would also enjoy creating completely different music outside of metal from time to time. But practical playing ability also determines what you can realistically bring to life. In the end, what matters most is simply having ideas and working with the tools you have. From that, something authentic can grow—something that reflects your personality.

3. Did you know each other before the band was formed?

Grant: We all met through a friend named Santiago Dobles. He gave me a call one day and said that he was working on a project for some crazy German guys, and thought I would be interested once I heard a few of the rough tracks. I was all in. I got to go record with Sanjai, Gernot, and Matthias in Germany. It was kind of strange how easily we got along and worked together so well. Sometimes it just works out like that.

Jason: No, we didn’t. Sanjai reached out to me about collaborating on this project. He sent me some of their ideas, and after listening, I really liked what they were doing. I added my own ideas on top of their tracks and sent them back. They liked it, and that’s how we started working together.

Matthias: With Sanjai, I did my first musical steps as a band and demo recordings in 1988.

Gernot: I have known since the early 90s. In the mid-90s, we formed sHIT for bRAINS.

Gernot: Yes—Sanjai, Matthias, and I have been playing together for years. Sanjai and I have worked together repeatedly in various bands and studio projects, often as the rhythm section.

What feels almost miraculous to me about AMNÏON, though, is how we function as a band across distances. The three of us—Sanjai, Matthias, and I—live close to each other, while Grant and Jason live in the United States.

Grant came to Germany twice for the vocal recordings, but we haven’t met Jason in person yet. We connect and communicate through music. The creative flow is so strong that it works seamlessly across continents.

Sanjai: Yes. Gernot, Matthias, and I have known each other since the early 1990s, and we’ve played music together many times—sometimes in bands, sometimes in smaller projects, sessions, or studio recordings. Back in the mid-90s, we even had a record deal with our very first band. So it’s safe to say that we know each other extremely well and understand how each of us thinks and works musically.

Jason and Grant joined later during the search for musicians who would be interested in contributing to the album. This was after 2021. Of course, we already knew Jason from his work in Cynic, Portal, Gordian Knot, and earlier Monstrosity—but only as listeners, not personally. So we simply reached out to him directly. Through that connection, we also got to know Santiago Dobles, who helped us during the early stages of the project.

Grant Petty was recommended to us by Santiago, and I think simultaneously by Tony Choy. Interestingly, I had already been in loose contact with Tony since 2019 through a pop/rock/soul project where he recorded bass tracks.

In the end, it turned into a very interesting international constellation of musicians spread across the globe.

4. Each band member's favourite band?

Grant: I'd probably have to say my favorite band would be Soundgarden. I've always really liked Chris Cornell's voice.

Jason: It’s really hard to pick just one favorite—there are way too many incredible bands and musicians out there.

That said, I’d love to shout out a good friend and incredibly talented musician, engineer, and producer: Vishal Singh. His current band, Serpents of Pakhangba, is creating some truly amazing music that blends Avant-Garde, Fusion, Metal, and World elements. It’s definitely worth checking out!

Matthias: When I started playing guitar in 1984, it was Iron Maiden, Scorpions... later followed by Slayer, Metallica... and the golden 90s Pantera, Machine Head, Fear Factory, TOOL. Nowadays there are a lot of bands who sounds the same way.

So I listen to music of different styles, which are really interesting for me. It can be black metal or ambient music. It just has to catch me.

Gernot: That’s a difficult question for me. I listen to a lot of different music across many genres, and I don’t really want to limit myself to just one favorite.

But what am I listening to right now? Flea’s solo album impresses me with its deep musicality—every note feels meaningful. For me, Puscifer – *Normal Isn’t* – is one of the coolest albums of 2026 already. The vocals, songwriting, production, and unique artistic identity are simply outstanding.

Jan Blomqvist – *Mute* – is an introspective concept album that blends reflective lyrics with dancefloor energy and deep-house aesthetics.

And I have to admit: there’s one composer I listen to when I wake up and when I go to sleep—Johann Sebastian Bach. He’s always in my head. *The Well-Tempered Clavier* and *The Art of Fugue* would be enough for me on a desert island.

Well... maybe I’d also take *The Dark Side of the Moon* and *Wish You Were Here*. And that would really be it.

Sanjai: I can’t name just one favorite—mood often drives it. In metal, I gravitate toward classic US thrash and technicality: Exhorder, Solstice, Exodus, Testament, Malevolent Creation, Fates Warning, Cynic, Aghora, Gordian Knot, and Death; they all speak to me with their power and precision.

Also, I enjoy a wide range of non-metal artists and singer-songwriters, including Yellowjackets, Bruce Hornsby, Level 42, Joe Jackson, Tori Amos, and Vanessa Carlton. Recently, I’ve been drawn to Robert Glasper and Jordan Rakei. Glasper blends hip-hop, jazz, and R&B with intricate harmony and groove, creating lush, introspective textures with rhythmic sophistication. Rakei is very important for me; he offers a soulful, melodic approach with thoughtful lyrics, rich chords, and a warm, organic production aesthetic. Their work is non-metal, yet deep, soothing, and rhythmically engaging, reminding me how melody and rhythm carry emotional weight across genres.

5. Who or what inspires you to write songs?

Grant: There's just an internal drive from God that tells me to keep writing no matter what. no matter what style of music, and especially no matter what is going on in my life, good or bad, just keep writing.

Jason: Life, really. When I sit down to write a piece of music, it’s my current emotional and physical state that shapes both the music and the style. I simply write what I feel in the moment. If I’m happy, the music tends to sound happy. If I’m agitated or frustrated, that energy comes through in the music too—if that makes sense.

Matthias: I have a little home studio, so I can plug in my guitar and start playing and see what will happen. The best riffs I get when I do not think about what I have to play. Just straight out improvised.

This typical songwriting I erased years ago. In AMNÏON, Gernot and Sanjai create the songs, and I put my guitar parts later on it if needed. Sometimes it works, sometimes not...;)

Gernot: For me, composing music follows a kind of unconscious mechanism. It usually starts with a melody, a rhythmic idea, a feeling, or a harmonic progression. From there, it’s a bit like automatic writing—the song begins to unfold on its own.

What’s crucial, especially in the early stages of songwriting, is the exchange with Sanjai. Playing through ideas together—ideas we both bring into the process—really sets the tone of a song. And once Grant, Jason, and Matthias get involved, a lot of new and unexpected elements emerge.

There are no rules or boundaries in our songwriting. That’s AMNÏON.

Sanjai: Inspiration is not something I can schedule—it really depends on being in the right state of mind. But whenever I hear something rhythmically interesting that resonates with me—no matter the genre—I try to capture it immediately. I write it down, record it, or sit down and experiment with variations.

Over time, this builds a kind of archive of ideas. Then the magic happens when these fragments start interacting with the ideas of my bandmates. Gernot often brings beautiful piano or keyboard parts, and from there, I either develop something new around them or connect them with something from my collection.

Sometimes it works the other way around as well: I present rhythmic concepts, and he begins building bass or synth layers on top. So, step by step, a structure begins to emerge—and eventually it turns into a complete song.

6. Where was your last gig?

Grant: The last gig I played was in grapevine Texas. We headlined the Grapevine Street Fest.

Jason: The last time I played live was in the Philippines — just a solo spot on one song. Apart from that, it’s been quite a few years since my last actual gig.

Matthias: My last gig was as a guest singer in a grunge cover band performing "Hunger Strike “ from Temple of the Dog (must be 9 years ago...)

Gernot: My last concert wasn’t with AMNÏON, but as part of an acoustic trio called TOONA— guitar, vocals, and bass. We performed in a church shortly before Christmas 2025, playing a one-hour set of both original songs and covers, including *Enjoy the Silence* by Depeche Mode and the Irish traditional *Black Is the Color*.

This trio is all about an intense exploration of the musical possibilities within a stripped- down acoustic setting. It’s emotional, atmospheric, and very intimate—guitar and bass creating a foundation for the outstanding voice of our singer, Nadine Bonifer.

Sanjai: Our last live show actually happened many years ago, even before AMNÏON existed. If I remember correctly, it was in 2017 in Mannheim with our previous band. We played as support for Subthrash and our friends in Disbelief. Later that same year, the band dissolved.

But in a way, that moment also marked the beginning of something new. Gernot and I decided to continue working together as a rhythm section. At first, there wasn’t a fully formed band intended for live shows—we focused more on songwriting, studio work, and building connections with other musicians.

Eventually, that process led to the collaboration with Jason and Grant. Later, we concentrated strongly on recording the material professionally with our good friend and producer Christian Kohle. Alongside the music itself, there were also countless decisions, organizational tasks, and management aspects involved in bringing such a complex project to life.

7. Where would you like to act?

Grant: It would be amazing to get to play the Wacken Open Air music festival in Germany.

Jason: I’d enjoy playing pretty much anywhere. A big festival gig would be especially fun! 

Matthias: The Loreley amphitheater in Germany could be cool, a lot of bands played there.

Gernot: Anywhere!

Sanjai: anywhere

8. Whom would you like to feature with?

Grant: I would like to do a song with Bjorn of Soilwork.

Jason: I’d love to collaborate with artists from progressive, fusion, metal, or experimental backgrounds — anyone who brings real creativity and musical skill to the table.

Matthias: I am lucky enough with the people of AMNÏON :)

Gernot: That’s a tough one—my list would be endless. If I think about it, it includes people from all backgrounds—famous or unknown, young or old—regardless of nationality, gender, or beliefs.

What connects them is one thing: they see music as a form of creative freedom. That’s the key. Naming specific names wouldn’t really do it justice.

Sanjai: We’re open-minded—any band could be interesting.

9. Whom not?

Grant: I probably have to pass on a R Kelly or P Diddy feature.

Jason: I wouldn’t want to play with a band from a totally different genre that doesn’t match our style.

Gernot: Anyone who doesn’t share that perspective—people who don’t see music as a form of creative freedom.

Sanjai: If the musical styles are too far apart and the audiences simply don’t connect, it can become difficult—but I wouldn’t want to name specific bands. Personally, I would also prefer not to share a stage with people who promote radical or extremist ideologies or who represent inhumane political views.

10. Have any of you ever suffered from stage fright? Any tips for beginners on how to beat that?

Grant: Stage fright has never really been one of my issues. In my mind, what's the worst that can happen? You fail, so what? It's the only way to improve.

Jason: Everyone gets nervous or gets butterflies before a show — it’s completely normal. In my experience, the best thing you can do is just walk out on stage and hit that first note. As soon as you start playing, the nervousness usually disappears, and you can focus on doing your thing. Concentrate on your performance and worry about what people think after the gig is over.

Matthias: Every time before going on stage ! (no tips, haha.. maybe try not to puke before!)

Gernot: I genuinely look forward to playing live—it’s a gift to perform in front of an audience. Of course, there’s tension, adrenaline, and the need to prepare—that’s all part of it. But I wouldn’t call it stage fright.

Any advice I could give might sound like the cliché of an old guy pretending to know better ;-) So maybe just this: accept it, go on stage, and play.

Sanjai: A certain level of nervousness before a show or a studio recording is completely normal.

The tension rises, adrenaline kicks in, which helps to become focused and alert. In many ways, that energy is actually necessary to deliver a strong performance. At some point, you simply step on stage and play—that’s part of the magic of performing. Even if the technical execution isn’t perfect, the feeling and the atmosphere might be exactly right. Personally, I don’t think it’s a good idea to eliminate that nervousness completely. It belongs to the experience.

With time and more live shows, you naturally get used to it. I’ve never relied on specific relaxation techniques or substances to calm down. In fact, I often feel that alcohol or other stimulants before a show tend to disturb my concentration more than they help. But in the end, it’s a personal decision—everyone has to find what works best for them.

11. What bands have inspired you the most?

Grant: In reality, I probably am not the best music fan. I tend to lock myself in studios for long periods of time and just keep working until something comes out that I like. I try not to listen to any artist too much because I do not want to just repeat what others have done. Some of my influences would definitely come from Slipknot, Tool, Lamb of God, and many others. Most of my lyrics come from life experiences or things that I have observed personally.

Jason: It’s more about styles than specific bands for me. I’ve drawn inspiration from Classic Rock, Metal, Motown, Funk, Disco, Jazz, Fusion, Alternative, World music, and film scores.

Matthias: Iron Maiden

Gernot: That’s hard to narrow down. But when I started playing bass, I wanted to sound like Geddy Lee, even though I've always been a fretless bass player. So you could say that Rush was a major influence and source of inspiration for a long time, especially the way Geddy Lee and Neal Peart together create a rhythmic foundation while simultaneously delivering a kind of effortless virtuosity. That interplay has always been something I deeply admire.

Sanjai: That’s a difficult question because the list would be very long and crosses many genres. When I was younger, I listened to a lot of rock bands like Saga, Marillion, and Dire Straits. Interestingly, I never felt a particularly strong connection to some of the biggest classic rock or metal legends like Black Sabbath, Led Zeppelin, or AC/DC—my taste simply developed in a different direction. I was heavily into Iron Maiden, though, especially the Live After Death album.

When I started playing drums, many thrash metal bands inspired me: Slayer, Dark Angel, Testament, Exodus, Anthrax, Metallica, Pantera, Exhorder, Malevolent Creation, and Death. Many young musicians probably go through a similar phase—following and learning from their heroes. I also liked a lot of bands from the German thrash scene, for example, Kreator and Tankard.

Later, I became increasingly interested in progressive and technical metal like Fates Warning, Watchtower, Dream Theater, and, of course, Cynic. At the same time, I’ve always admired incredible drummers outside the metal world— people like William Kennedy from Yellowjackets, Vinnie Colaiuta, Simon Phillips, or Carter Beauford. The musicality and creativity of these players are simply amazing to me.

12. What's the weirdest thing a fan has ever asked you for?

Grant: I would say the weirdest thing a fan has ever asked me for was my socks. I used to perform on stage with no socks or shoes, and after the show, a fan asked me if they could have my socks, so I gave them. To each his own, I guess. I actually think the person just didn't have any socks and figured I didn't need them. Jason Water. Back in 1994, while on tour in Poland, we played in a huge aircraft hangar. It was freezing cold and snowing outside. The venue was so poorly heated that they had a turbine-style engine running at the back just to blow some warm air. There was also nothing available for the fans to drink. During one of the songs, the crowd started asking for our water bottles on stage. We gave them all away.

Matthias: ...to get my backstage pass...why?

Gernot: To sign on her bare chest—more than 20 years ago, when I was playing keyboards in a gothic metal band ;-) Let’s just say: it doesn’t really last that well... or that long.

Sanjai: The crazier the fans, the better—but honestly, I can’t remember any truly strange requests so far. Maybe it will happen in the future... or maybe I’ve just forgotten it.

13. What do you think of your fans?

Grant: I feel blessed that they feel a connection with the music that we write.

Jason: I truly appreciate every single fan. In this style of music, you’re not doing it for the money — it’s about passion and the freedom to play what you love. When someone genuinely connects with what we’re creating, it’s one of the biggest compliments a musician can receive, because it comes straight from the heart.

Gernot: It’s an honor and a privilege to make music with such great musicians and personalities in AMNÏON.

If people connect with our music—if they feel the flow, if the lyrics and the music gain meaning for them, and if we can share that sense of joy—then that’s something I’m truly grateful for.

Sanjai: We’re genuinely grateful for our fans and for the support we’ve received. Many of them have shown remarkable patience and seem to appreciate the amount of work that goes into a project like this. They understand that with a day job and family, we can’t make music twenty-four hours a day—even if we sometimes wish we could.

With passion, persistence, and a bit of resilience, it’s possible to develop something meaningful over a longer period of time. The encouraging messages from people who follow and support us mean a lot and definitely push us forward.

14. What do you think of our site?

Grant: I think it is a great thing that you guys are doing. You give an in-depth look into many different artists and the reasons behind the music.

Jason: I love it. You guys are doing a great job! 

Gernot: M-Theory Audio is doing a great job featuring a wide range of bands and artists, giving them a home as a label, and releasing music across very different styles and forms of expression. That’s really impressive.

Sanjai: The web presence and the entire portfolio of M-Theory Audio are really impressive. It feels lively and energetic—in a very positive way. There’s a wide variety of musical styles and visual concepts, especially in the videos. The range is truly remarkable, and we appreciate that openness a lot.

Obviously, you’re very active on social media and in real life. The events and venues you present look great, and overall, it feels very close to the audience and the fans rather than distant or corporate. That’s something we value very much.

15. Something to add?

Grant: Music to me is one of the most powerful things in the world. It is so emotionally influential, yet you can't see it or touch it. But yet so powerful.

Jason: Thank you for the opportunity to be part of this interview, and a big thank you to everyone who supports us.

Gernot: As Sanjai already said: “At this point we would simply like to thank everyone who supported us during the long process of creating this album.” Working with Sanjai, Jason, Grant, and Matthias on new material—which we’re already doing—is something that truly makes me happy.

Sanjai: At this point, we would simply like to thank everyone who supported us during the long process of creating this album. We tried to stay persistent—sometimes maybe even a bit stubborn—but at the same time remain open and flexible when circumstances changed.

There were many decisions to make and a few setbacks along the way. But it’s important to keep moving forward, not give up, and—if possible—maintain a sense of humor throughout the journey.

If we can now share the result with listeners around the world, that would make us very happy. Maybe it also shows that international and intercontinental collaboration is possible—and that even musicians from our “older generation” can still remain fresh, curious, and creative.

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