Interviews: The Proxima Design

On this new occasion, we have had the opportunity to interview the Progressive Death Metal project The Proxima Design from the USA. Check out the interview and follow the band on their FACEBOOK PAGE.

1. Where did the name The Proxima Design come from, and what does it represent in relation to your music?

The Proxima Design came to me when gathering initial ideas for songs. I knew I wanted to make really intriguing and mysterious technical death metal, with a common theme being that of otherworldly, other-dimensional, and aural subjects, of course, along with a hint of horror and societal strife and struggles. So there’s no REAL meaning behind it, aside from something “space” like.

2. Was this project something you set out to build from the start, or did it evolve naturally into a solo vision over time?

I’ve been a musician for 30 years now, although I had a hiatus from playing from approximately 2011 to 2023. When I started playing again, I knew I wanted to make music as a solo project, along with a host of collaborators. To me, there’s something genuinely freeing about being able to write whatever I feel, rather than having to compromise on parts brought by other musicians. Not that there isn’t also something very special about the chemistry between band mates, it’s just not my thing these days.

3. “Tongues Carved From Glass” is a very striking title. What is the meaning or concept behind it?

“Tongues Carved from Glass” portrays a dystopian system where a false prophet manipulates society through weaponized faith, fear, and engineered truth. Using seductive but deceptive rhetoric (“tongue carved from glass”), this authority blurs religion and technology, creating a simulated doctrine that demands blind obedience while erasing doubt. As people submit, truth collapses, laws become tools of hate, and mass delusion spreads, ultimately revealing a hollow, manufactured divinity sustained only by control and belief.

4. What was the first musical idea or element that defined the direction of this track?

I love progressive metal, and I love chaos in music, but I also love a good hook. To me, it just depends on what the song calls for. Whatever best serves the song is what works. This is a song that’s under 4 minutes, so I’m not looking to have some crazy song layout with typical prog instrumental sections. (Like the title track of the album, which is nearly 15 minutes long).

Aside from that, I just write what I feel. I don’t know how long a song is going to be until it’s done.

5. How do you approach writing progressive death metal in a way that feels structured rather than chaotic?

I can write some pretty solid drum parts on Superior Drummer 3, and I often think very similarly to a drummer, but I’m not a drummer by any means. Plus, as good as Superior Drummer and other drum VSTs are these days, to me, nothing beats the rawness and uniqueness of a great drummer behind a real kit. I first tried Robin in my song “Void Convergence”, and he exceeded my expectations. I knew I had to have him perform for this album. Moving forward, I’ll definitely make use of session drummers for recording actual drums.

6. As a solo-led project, how do you decide when to bring in collaborators like Robin Stone on drums?

Robin is a truly gifted drummer. His ability to make parts on the spot, especially following odd time signatures and odd song layouts, while still maintaining amazing grooves and fills/accents, truly amplified every song.

7. What does Robin’s performance bring to the track that you feel would have been difficult to achieve otherwise?

Working with Mike was a no-brainer. I’ve known him for nearly twenty years, and I know his ear for all things music is second to none. This made it really easy to work through the process. Anytime I had any questions about something with the recording or mixing/mastering process, he was very detailed and great at helping me understand. He’s also very honest, and if he thinks something sounds off or just not good, he will tell you. At the end of the day, it’s your song, but he will let you know his honest opinions, which is very important for a solo artist like myself- it’s good to have that outside listener's perspective.

8. How did working with Mike Killian on mixing and mastering shape the final sound of the single?

I like combining the fast/aggressive and percussive guitars and death metal vocal side of technical death metal, and the melody and oftentimes lengthy side of progressive metal. They’re both technical types of music in their own right, so there’s no shortage of that aspect either way.

9. What influences were most important in shaping the sound of The Proxima Design?

In a firm believer in writing what best serves the song. There’s a perfect balance between aggression and emotion in this type of music, and my goal is to navigate that as perfectly as I can for each song. Take guitar solos as an example- some of them on this album are straight-up shred feats, others are soaring melodies that are something like you’d hear from an epic Petrucci solo. And other times it calls for an elevator smooth jazz type acoustic solo, like in one of the songs on this album. Ha

10. You’re blending progressive metal and technical death metal into a defined style. What makes it “progressive death metal” in your own terms?

There wasn’t really a specific time, but now that it’s done, the identity is there. I think that’s because I may go into a song thinking it will be one way, but it usually ends up the other way. I like to keep my options open when writing and let the song take me where it takes me. The song knows where it wants to go, so let it happen, you know?

11. How do you balance technical complexity with emotional or conceptual clarity in your writing?

I prefer writing on my own. My music is an artistic expression of myself and my thoughts, and it’s very personal. I also happen to be fortunate enough (or unfortunate) that I always have ideas. Musical ideas are always flowing in my head, and the problem is I don’t have enough time to get them out and onto a recording. It’s a riff salad up in here.

12. Was there a specific moment when you felt the identity of this project fully click into place?

The overall concept of this album is just societal hardships with a hint of anti-establishment, anti-religion, and of course something other-!worldly coming for us all.

13. How does writing as a solo artist differ from being in a full band environment creatively?

For right now, this album will be its own release and not intertwined with other releases. However, I am already 3 songs deep into a new album. So far, the new songs are sonically very different. They’re still heavy and aggressive, but there’s a bit more of an old school thrash feel, while simultaneously more technical and percussive. Precision progressive metal.

14. What role does concept or narrative play in The Door on the Left as a whole?

Writing the song was actually pretty fast. It was the 2nd to last song written for the album, and it actually flowed together quite nicely. Like I said, riff salad in my head.

15. Are you building toward a larger interconnected idea across releases, or is each album its own self-contained world?

Practice, practice, and perfect practice. Obviously, this is easier since I’ve been playing for so long. But there has to be dedication involved as well. I’m not a full-time musician, and I’m also a family man. Oftentimes, I find myself up at 3:30 am to get my practice or writing in before work.

16. What was the most difficult part of creating “Tongues Carved From Glass”?

There’s much more aggression to come in the rest of the album, but there’s also a lot of emotion aside from aggression throughout.

17. How do you keep performances tight and controlled while still allowing a sense of unpredictability?

John Petrucci, along with Dream Theater have been my biggest progressive influence. Other progressive metal or technical death metal bands such as Between the Buried and Me, The Faceless, The Red Chord, The Xenith Passage, and Necrophagist have been huge inspirations. And also, older bands like Pink Floyd, Queen, Metallica, and Megadeth also played huge roles.

Strictly guitar speaking, even though it’s completely different music, Guthrie Govan and Steve Vai’s guitar work is probably my absolute favorite.

18. If listeners connect with this single, what do you want them to take away from it before the full album arrives?

More playing, writing, and recording. Maybe I’ll sell a shirt or 2.

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