Not being able to count on his friend and producer Chris Tsangarides (who died in January 2018) has been an emotional handicap. "We finally have a mix we're satisfied with for 'StarChild', and yesterday we received the mastered track from Metropolis. Tony Cousins ​​has mastered the track, the same gentleman who mastered 'Masters Of Light'. When we worked with Chris, on a few occasions, Dave would spend time at the table with him. So Dave produced and Chris must have watched him from up there."

The new wave of British heavy metal underground provided us with great intense bands with personality, one of them being Bitches Sin, who are always on top playlists.

With his characteristic English humour, he tells us “I don't apologize for including two songs by Saxon, a great NWOBHM band that has stayed true to its roots. Biff is a solid, genuine guy."

'Hollywood Tease' by Girl
Bursts of watts come out of the speakers, pure nerve with great guitar work, plus Chris Tsangarides produced the song, and it was the one that first made me notice his work.

'See You In Hell' by Grim Reaper
A classic! I have sung this song many times with Bitches Sin fans at concerts and festivals.

'Running Free' by Iron Maiden
True and classy NWOBHM. At the time, very similar to how I and others thought the NWOBHM should sound.

'Dallas 1PM' by Saxon
Everything works, great arrangement and a very suitable and tasteful solo.

Wheels Of Steel by Saxon
I was a biker back in the day, and for many years this was the quintessential classic, plus I met Biff a few times at the “Classic Rock Awards”.

Wasted by Def Leppard
Great riff and high energy vocals, melodic solo that fits well, always on my playlist.

'Strangers On The Shore' by Bitches Sin
My little brother's creature, and a true NWOBHM classic. One of the favorites in concerts.

'One Of These Days' by Trespass
One of the first NWOBHM songs that Pete Toomey and I heard, very atmospheric, it captured the vibe of the time.

'Down The Road' by Bitches Sin
The first song I wrote for Bitches Sin and a favorite of many.

'Race With The Devil' by Girlschool
Originally written by the group Gun in 1969, the girls did a superb job on this version. In the early days of Bitches Sinn, we used to include the Girlschool version in our live shows.

original article and links to all the videos

​In 1979 aged 23 I wanted to change the world with my guitar and music, so I built a recording studio and opened it in 1980. One of my first clients was a band called Cairo with a youthful guitarist called John ‘Braddy’ Bradshaw
 
Fast Forward to Wednesday 6thDecember 2017 at precisely 1:30pm
 
After running the studio successfully for 38 years I was about to finally sell the old premises and was just waiting to exchange contracts when I met a remarkable person, Ian Toomey.
I was actually passing through reception on my way to the local sandwich shop when in walked Ian. I had never met him before and he enquired if we produced music videos; I replied ‘would you like a sandwich’ the relationship was born. 
 
Upon my return armed with sandwiches for two I made my way up to our number one edit suite, to find our video director Ben Warrington showing Ian music videos we had produced for a certain Eric Bell, founder member of Thin Lizzy and friend of the late, great Philip Lynot. Ian then explained that he had been working with Chris Tsangarides, who in turn had worked with the brilliant Gary Moore, also ex Thin Lizzy. Synchronistic to say the very least!
 
Ian really got the vibe and felt the energy in our studio and immediately booked us to produce his first music video ‘The Priest’, a wonderful song from his Masters of Light album. Ian was particularly insistent that the film be shot in the old studio building prior to the move to tap into the power within those walls. All the production was done at Cavalier Studios including the greenscreen facilities. The film was produced by Ben Warrington.
 
Due to the success of Ian’s first venture into the world of music video, he then embarked on phase two, this a cover version of the wonderful ‘Sound of Silence’. We set up a meeting with Ian at a local mill and invited a lighting technician familiar with our production style. Ian loved the venue and after very little time we all decided it was perfect for the next shoot. 
After numerous meetings and correspondence the great day finally arrived for the making of the film. Andy Kennet from dbnAudile, the lighting company, had the lighting rig delivered the day before. On the day, he arrived at 8:00am to build the rig and set everything up. The lights being programmed in the week leading up to the event. 
 
The rest of the crew was the talented Ben Warrington who was again directing and the very experienced Tim A. Duncan controlling audio sync and then assisting with all camera support aspects. It had been discussed previously that the band were to wear dark outfits with no particular stipulations, so I wore a dark blue T shirt with black steampunk trousers and thought this was really cool. Wrong! Then the guys walked through the door, bloody hell the rock stars made their entrance looking like a million dollars! Honestly they looked like they were walking onto to a stadium gig. I immediately ditched my top and managed to find something more suitable that would blend in, from my extensive wardrobe!
 
On one of the hottest days of the year the shoot was a complete dream. Firstly the band performed out of their skin and not only looked the business, but the energy and power in the performance was simply breath-taking. Turn up the volume and just immerse yourself in this film. It is such a joy. Secondly the crew were magnificent, Andy delivered big style with the pre-programmed lighting rig and his usual attention to detail. However the key factor and most impressive of all was the production skills of Ben, along with the tireless enthusiasm of Tim. Take after take after take, 10 hours of almost non-stop filming – on legs, off legs, handheld, jib shots, tracking shots, all magnificently and seemingly effortlessly conjured up by Ben. I remember Ian’s words leading up to the shoot ‘edgy please’ and this is exactly what we achieved.
 
It has truly been an honour producing these wonderful music videos. ‘The Priest’ was the last music video ever made in the wonderful, vibrant building that housed Cavalier Studios! 
 
I set out to change the world, of course I didn’t and never will. However I now share a passion with a remarkable person who will change the Universe, Mr Ian Toomey, Master of Light and indeed, The Priest

Lol Cooper
www.cavalierstudios.co.uk

When Ian Toomey first took to making music in 1980 with post-punk band Bitches Sin, he never anticipated some 38 years later he’d still be in the studio producing new material as a solo artist who has seen and done it all.
​
Classic rock runs rife in his solo album Masters Of Light and isn’t a sound we get a lot of these days. But it’s a sound that brings a lot of enjoyment when it’s done well, and it’s the sound that makes Ian Toomey want to keep on keeping on.

“I think music has to come from the soul and I don’t really get that from today’s music,” the Brit says
of his sound. “In the intervening time from when we had this style of music in the 80s, I’ve watched
from the sidelines and seen different styles come and go and when it came to this album, I wanted to
identify this as Ian Toomey.
​
“In a way the album fell from the ether and it’s music I hope everyone can identify with. I don’t believe we have [this] in music today and sometimes in life you have to hold true to what you believe in and
that’s how Masters Of Light came to be.”

With the production prowess of the legendary Chris Tsangarides, Toomey has captured the hardhitting
rock ‘n’ roll of the 80s and inserted it into the 21st century, providing a fresh scope without being a rehash of what was done back in the day. “When we recorded the album, we went to Chris’ studio and we had a handful of riffs and nothing else,” Toomey explains. “Steve [Turton] the drummer, we’ve been friends for many years, we turned up and set about recording and as soon as we had the framework of a particular track taking shape Chris would say ‘Right, let’s go for a track’.

“We’d get to the middle eight or towards the chorus and literally the inspiration would take place at
that moment and because Chris is such a great producer he was able to capture that and I think that
gives it that life, that true energy people are seizing on.

It would seem that this particular collaboration of minds and talent made for an experience that in
the moment, was pure and raw, Tsangarides tapping into Toomey’s natural energy and exposing it in
sound. “To have that kind of energy, it can only come from your soul and fortunately Steve and Chris
are those kind of people so the energy of that creation, there was no delay. You needed someone like
Chris to capture that,” he says.

The high-energy and sometimes tumultuous experiences of Bitches Sin in the 80’s did a lot to shape
Ian Toomey’s output today, the life and soul of the band still lingering within him and, to a degree,
their memory making an appearance in Masters Of Light. “If you or anybody else has heard any of the
material from that time, it was always high energy,” says Toomey. “We formed off the back end of
punk rock in England. It was a time where a lot of people were frustrated, there wasn’t a lot of work
around and there were a lot of bands expressing their energies and frustrations through music.
Bitches Sin, my brother and I formed the band, we had bought albums over the years that might have
had two or three good tracks on, the rest were rubbish. So we set out to try and create something
where each track had something you could identify with.
​
“It was very in your face, very high energy so from those days, coming forward, energy has always
been a part of it. Now, maybe that’s come from the universe, I don’t know, but going back to those
days and comparing that Masters Of Light, that energy, in a slightly different form, is still in my music. I
believe music should be exciting and should inspire you and if it’s not doing that, me or anyone else
have let the listener down.”

Evidently, Toomey has a very particular zest for life, a very spiritual person, centred, grounded and
very much in tune with himself and the music he plays. “When you listen to Masters Of Light, that’s
from my soul. It’s a total expression of how I am and it’s actually very liberating. When people seize
on what you’ve done in something like that it’s extremely gratifying, you’re able to spread a much
broader message to everybody.

“In the past, you put your music out there and left it for the listeners to paint their own pictures, but
I’m trying to absorb what’s happening in the world at the moment and present information in a
different form through music, and guide the listener and say ‘Look, have you ever considered certain
things that’s happening around you?’ Masters Of Light is very much that way, it talks about getting to a
temple of learning, a place where you can rest and conserve what’s happened in life and then move
forward into the future. I guess in many ways I’m reaching out to people and to say we all need to
wake up to what’s happening then we can have a better world.”

Check out Masters of Light here  |  Read original review on Hysteria website

and how would it work for a whole álbum?  So the first feelings were of excitement just like 1980, but also apprehension because there was no plan and I only had a handful of riffs when we turned up at Chris’ studio. 
 
However… we had worked with Chris before and we knew what a brilliant creative environment we were going to be in so there was also a reasonable level of confidence.  But, what none of us knew was how many songs? and more importantly, what will they sound like??  Because you should always aim for the stars and do your best for your fans.
 
In the event, the backing tracks were mainly composed by Chris and myself with Steve contributing the outline riff for ‘Burning Up’.  There was just the 3 of us in the studio and it was very intimate and intense at times and also great fun, one of the best recording sessions I have ever been involved with.
 
- Take us through your typical workday with Chris Tsangarides in the studio?
 
A typical day with Chris starts with a full English breakfast at a local café called ‘Wellingtons’ in Deal, Kent which is about 7 miles east of Dover.  We then head back to ‘the hut’ (a Scout crew hut) which is where we stay and is on the premises about 150 yards from Chris’ studio.  We chill for about 30 minutes then Chris normally arrives about 10:15am.
 
First job is to switch everything on of course, desk, computers, amps etc and most importantly the coffee machine…hahaha.  We talk about the previous day/evening and relax into the day.  It is important to draw the parallels between 1980 and today.  Back then we had virtually no money, so songs were written in rehearsals then we would rehearse them to as close to perfection that we could, so when we were in the studio we could make the most of the studio time.  That studio discipline that we learnt back then helps the focus of today.  Even though with this sessión by comparison to 1980 we were unprepared, the songs once written were typically recorded first take, including the guitar solo’s…this always makes Chris laugh!!  But if you want the ‘live’ feel and to capture the excitement of the moment then this is the way to achieve this.
 
So maybe about an hour into the sessión we will start playing.  We work for a couple of hours or so then break for lunch for about an hour then back to work for 2 to 3 hours and finish typically around 5:30pm.
 
The evening is usually filled with red wine, beer, chinese or indian takeaways and zombie movies…
 
- Do you feel more free today recording than in 1980 with Bitches Sin?
 
Based on ‘Ascension’ and especially now with ‘Masters Of Light’ I do feel more free today with these recordings.  With Bitches Sin we were ‘born’ into a particular period of time and this is reflected in that music and of course other bands of that time and genre.
 
Today whilst I am essentially the same guitar player and still like to write in that style occasionally like the opening track ‘Underground’ on the new álbum ‘Masters Of Light’, recording as Ian Toomey offers up so much more freedom because the die has not been cast as it was with Bitches Sin.  It also has afforded me the wonderful opportunity to express myself and tell about my life journey.  ‘Ascension’ was very autobiographical whereas ‘Masters Of Light’ embraces much larger issues affecting us all, not just me personally.  I am a great believer in the Truth and successfully completing our life journeys unobstructed and I love to share this message with fans and others who might discover my music at some point.  This is shared by Dave as well.
 
- When you are writing are you doing so with the live setting in mind or how it's going to come across on the stage, or are you just writing the song for the song's sake?
 
We always write purely for the music and the song’s sake.  I believe that if the music is of the right standard and the right quality it will work well in the studio as well as in a live setting.
 
- Listening to 'Masters Of Light' we discover your diversity as musician, hard & heavy could be the definition of you music?
 
Thank you for such a kind comment.  I enjoy writing in that style as I believe music should be both exciting and inspiring and I hope others think the same when they listen to ‘Masters Of Light’.
 
- Writing lyrics today is not the same than 1980. Which are the key points on your lyrics?
 
There is so much wrong with this world today and so much disinformation and lies by our so-called leaders and teachers.  Back in 1980 life was easy and just about having a good time and enjoying our individual freedoms…not so today.  So it is important to get the message out there and encourage everyone to ‘wake-up’ to what is being done in their name and try to influence and change their view so that the world becomes a better place for everyone.
 
- What do you think about this NWOBHM revival? It’s real or only a underground thing?
 
It’s very interesting at the moment.  I have been to Philadelphia 3 times in the last 2 years doing radio and other promotional work for ‘Ian Toomey’, and the NWOBHM ‘revival’ is very real.  The only thing missing is a significant increase in interest from the major record labels.  It is a fact that some, like me, have almost always gone our own way after very bad experiences with small record companies at that time who, I believe, only ever wanted the sales and monies for themselves as not a lot of bands got paid so the bands were never allowed to develop and build a truly global fan base.  That restricted the amount of growth and hence the underground nature of the NWOBHM remains to this day.
 
What I have found in Philadelphia recently is that fans are ‘demanding’ to see these bands and are angry that they are not getting to see them live.  I guess its a question of how do you close that gap? And give the fans what they want, certainly you could not risk working with any of those small record labels from the past.
 
- What was the easiest and hardest song that you had to write for 'Masters Of Light'?
 
Most of the songs were relatively easy to work with once we knew what they were!!...hahaha  However, the hardest by quite a margin was in fact the most straightforward in structure and arrangement which was ‘Only Words’ our tribute to the late great Gary Moore.  It took several takes with Chris at one point saying through the cans “what the f*ck are you two doing in there!...Oh Dear, but anyway first thing the next day we went in and did it first take…what a nightmare but nonetheless the finished ítem came out brilliantly.
 
The other track which was a little more difficult rather than easy was ‘Too Many Goodbyes’ because I really wanted that cosmic, ethereal, sensation of space so that the words had máximum impact.  Chris’ production though was excellent as usual and he did a fantastic job.
 
- 'Devil’s Chord’ start with a Metallica style but the song open a new way to a more rock dramatic and dark touch. Where do you find the inspiration today?
 
Musically, ‘Devil’s Chord’ was Chris’ baby.whilst I principally looked after the lyrics, so I will let Chris answer this for you:
 
Chris T:  “I tend to come up with ideas when I’m just playing the guitar for fun.  The Devil’s Chord came about when I picked up the guitar and had my fingers on the wrong strings and this disonant sound appeared.  I liked it and started playing it over till I figured the rest of the song out.  My inspiration comes from the different moods I’m in at the time.”
 
- Can you tell us something about the writing process on 'Masters Of Light'? How born this album in your home or in the studio jamming with the rest of band?
 
Apart from a few riffs that I had written after ‘Ascension’ all of ‘Masters Of Light’ was written, arranged and produced and born in Chris’ studio.  A fantastic experience.
 
- I feel that ‘Masters Of Light’ is more an album band, more live and intense, than ‘Ascension’, which was more personal with an one-man-band feeling.
 
I agree with you Juan, and it really shows how much energy the band was putting in to the whole recording experience.  I have always admired Steve’s ability as a drummer but truly I have never heard him play with such passion and intensity as he does on ‘Masters Of Light’.  And as I have already mentioned as soon as the song was written we went for a ‘take’ to keep the momentum and energy of the song intact.
 
‘Ascension’ was an álbum I had to write/record and include Pete Toomey on as well, because it was the completion of a chapter in my life before going fully solo.  With the continued interest in Bitches Sin the autobiographical nature of ‘Ascension’ would have always embraced that part of my musical past.  That complete, the ‘one-man band feeling’ was complete and a new chapter could properly begin which is fully reflected in the ‘Masters Of Light’ recording.
 
- John Tucker says that “‘Masters Of Light’ appears to be an album that’s more about the journey than the destination”, how is this journey? And do you have in mind a destination or it’s only enjoy the present?
 
‘Masters Of Light’ is very much about the journey, about life’s journey, and what we learn and deliver what has been expected of us while we are here.  The sleeve design accurately reflects this and is a concious choice.  I believe we all travel toward a temple of learning but nonetheless this remains only a stop along the way, but a good place to reflect and look to the future.  Since I was very young I have always believed life was meant to be an adventure and so like the ‘Masters Of Light’ recording sessions which were approached with the same mindset.  The world being so uncertain, I firmly believe we should enjoy the present because the past has already gone and we do not know what the future may hold so it is difficult to control.  I have a very open mind regarding any destination so I live in the present.
 
- 'Too Many Goodbyes’ is a mix of Black Sabbath intense riff and Deep Purple Bolin period solos. What do you think about the great Tommy Bolin?
 
Tommy Bolin was a fabulous guitar player who died at the tragically young age of 25 years.  I was never really convinced when he joined Purple because it was always Ritchie’s band and he is a unique guitar player, quite different to Tommy Bolin.  That said ‘Come Taste The Band’ was a great álbum but it was Tommy’s solo albums that really showed what he could do.  They have great atmosphere’ enhanced by his vocal approach and brilliant guitar playing.  ‘Too Many Goodbyes’ is the story of two souls who keep meeting and falling in love through the millenia in different lives, a story captured beautifully by the words of David A. Mills.  The guitar solo was played while I was ‘warming-up’ and had a real presence about it so Chris said we would keep it, no other solo was tried for this track and I hope that if Tommy Bolin was ever to hear it he would approve.
 
- The NWOBHM is more a spirit today than a real inspiration on your music?
 
Yes that is true.  For me NWOBHM was where I came from and born of a different time.  It has given me the independence of mind and strength of charácter and therefore the spirit that remains in the music of ‘Ian Toomey’ to this day.  As inspiration today, I take more from the spiritual aspects of our lives.
 
- Who is the most underrated NWOBHM band of today?
 
I always felt that Bitches Sin were underrated in certain circumstances probably fuelled by the jealousy of others.  As far as today is concerned I haven’t seen enough bands to give you an informed opinión because I have been so wrapped up in the ‘Masters Of Light’ project.  I hope that they are all enjoying the renewed interest and having a good time.
 
- Do you consider yourself as an anti-hero of NWOBHM?
 
It is a title that seems to have come my way but I only see myself as ‘Ian Toomey’.
 
- Name your three favorite pieces of gear and why?
 
I love my PRS McCarty guitar, absolutely beautiful tone and incredible sustain and my 1982 Washburn A-20 Stage guitar for its speed and attitude.  I know thats two but I can’t split them.
 
My Marshall 50 watt JCM 2000 Dual Super Lead for the attack and classic Marshall crackle…
 
My Vox ‘Original Cry Baby’ for when you need that extra expression in a solo…. which almost always chooses itself!!
 
- Have you ever been so moved by a song that you cried? When happened this?
 
My mood always influences what music I listen to and how I write at the time.
 
A lot of music moves me, but I think the only time it has moved me to tears was when I lost my Mother and around that time ‘Who Wants To Live For Ever’ by Queen came on the radio and it hit me really hard.  It still has a strong effect on me to this day.

​In August 1980 Ian Toomey first stepped into a recording studio with Bitches Sin, the band he’d formed with his brother Peter when he’d come to the conclusion that no-one would ever really deliver the album that he wanted to hear. Almost thirty-five years to the day later the guitarist was back in the studio once more, working again with his long-term friends and collaborators Steve Turton (drums), David A Mills (vocals) and producer extraordinaire Chris Tsangarides. The result of these recordings is Toomey’s second solo album ‘Masters Of Light’, a distinctive and cohesive set of songs which once again demonstrate the diversity of Toomey’s musical point of view. As with his previous solo release ‘Ascension’, on ‘Masters Of Light’ Toomey has allowed himself to visit places musically that, to him at least, were previously uncharted. It’s as if, no longer confined by the (possibly self-imposed) restrictions or expectations of writing purely within the confines of Bitches Sin, he’s allowed himself to stretch out and from an almost iconoclastic viewpoint dictate a modern day rock (rather than metal) manifesto.

Gotta love this CD, whether you will or you won’t. The new solo CD by IAN TOOMEY is a true beauty and I think it’s by far his best release ever.

It contains eight songs, but there are no fillers just killers on there. Ian walked a road of thirty-five years to a temple of learning. He feels that with this album he has reached an important milestone in his life. What has been required of him has been completed. The questions he had in his life have been answered and he closes an important chapter with this album. After a journey of thirty-five years, he is inside the temple. Every year floats away on this silver disc in about one full minute. The total playing time is a very intense thirty-five minutes (well, maybe a few seconds more).

translated 'badly' from the original Spanish)

New Wave Of British Heavy Metal
It was not exactly a mainstream period for many of those bands. We all know who reaped success while bands like Bitches Sin, led by guitarist Ian Toomey, battled underground feeding the hungriest heavys. He has been there and done that, and now Ian has gone solo, with a huge, hard, heavy album, produced by his friend, the great teacher Chris Tsangarides.

What do you remember from the time of Bitches Sin and the days of the NWOBHM?
I guess the main memory is the "speed" because everything was happening so fast around you. There was great music and great bands. It was a very energetic time and I loved every minute. Bitches Sin did very well and although probably played fewer concerts than some bands were always in large premises, which was great and helped us create a reputation quickly.

What remains of  Ian Toomey the young musician?
Determination and a love of writing and recording great songs of rock metal. That will never change, and now I work exclusively with Chris Tsangarides composing and recording has gone to a whole new level. I am very proud that the same spirit that led to the young musician for so many years has not diminished ... it has only improved.

Do you still have tapes of everything you recorded?
with Bitches Sin? Yes, I have all the tapes of the time with Bitches Sin in the eighties except for Predator. In recent years I have digitally remastered and released a series of material Bitches Sin of the time. You can find all those CDs in cdbaby. com, iTunes, etc. All Bitches Sin CDs remain available and they can be purchased exclusively through Metal Nation Records, but now there are not many. The same goes for Flashpoint.

One of the highlights of Bitches Sin could be your appearance on the "BBC Radio 1 Friday Rock Show". How it was programmed to appear in that some were listening to AM?
That's very kind of you to say that. Well, fans of that session can be found these four tracks on the album 'The First Temptation' and our first demo '£ 12 And No Kinks'. All tracks have been digitally remastered and the music tells the story. Being invited to play in the program was an incredible compliment, and an indication of how popular Bitches Sin was at the time. Also remember that this was the number one rock radio program in Europe. We recorded four songs, 'Down The Road', 'Fallen Star', 'Strangers On The Shore' and 'Hold On To Love', with legendary producer Tony Wilson in August 1981 It was a fantastic experience. Pete and I stripped off to the waist  because the study was very hot, and Tommy Vance came to see us play. A very special experience.

"Bitches Sin emerged from an era in which there was a lot of anger in the UK by social injustice and lack of work. "
Fast guitar solos became a mark of Bitches Sin. How to play guitar Bitches Sin style emerged from an era in which there was a lot of anger in the UK by social injustice and lack of work. Part of that attitude that drove fast guitar style, but it was also a new approach and was very fun to play as well. I taught myself to play fast, and found it interesting to listen to other guitarists and then learn that, in fact, that style were often faster, and I guess things evolved from there. One of the adjustments that allowed me to play fast, then faster, is the way I hold my pick, and the way that the left hand is used against the neck of the guitar. Ritchie Blackmore, Michael Schenker, Jimi Hendrix and Paul Kossoff were all influences along the way.

How did you come to return to Bitches Sin songwriting?
The story begins with a renovated Flashpoint, which recorded and released an album in 2006. However, the things had changed and we were not getting the sound or the mixture used to have. So I contacted Chris Tsangarides, who mixed the album. It was during those sessions that Chris persuaded me to reform Bitches Sin and start playing, composing and recording again. It was obviously destined to happen because Tony Tomkinson [voice] contacted me and we then started writing and rehearsing. We originally had a plan to publish a four-track EP called 'Mr Toomey' but once we started recording in the studio we knew that with Chris it would become an album, and there we went to compose some songs. The album,'Uduvudu', was published in 2008 and had great reviews, including a couple who regarded it as the "comeback album of the year".

How was the experience with 'Uduvudu' produced by Chris Tsangarides?
Strange at first, because we had always done everything ourselves. But now we gave Chris Tsangarides control and, of course, was the best decision because he's a brilliant producer. However, the main concern was "Are we good enough? Will he appreciate the songs?", And I think everyone was a little scared [laughs]. But once in the studio, it was fantastic. Working with Chris is a dream and provides everything.

And now again you work with Chris Tsangarides for 'Ascension'. Was the recording process very different compared to 'Uduvudu'?
'Ascension' is my third recording with Chris Tsangarides, the above were 'Uduvudu' in 2008 and 'The Rapture' in 2012. Each has been slightly different. With 'Uduvudu' All songs are complete when we entered the studio, and we were all working together for the first time. So there was a small learning curve and adjusting to how we worked and, of course, how they interacted our personalities. This time, with 'Ascension', we took some ideas, riffs, full songs such as 'Never Alone' and some half write. Much of the preparation had been done with Chris live in the studio. We have never done that and, although it was a challenge, the album has the feeling of direct and captured a lot of energy. Largely as in the old days, and I'm very, very happy with this approach, so right now I'm working on a continuation of 'Ascension' using the same approach.

Who came up with the name 'Uduvudu' and why?
Steve Turton [drums] and myself came up with it. It is pronounced "yoo do voo doo" and is a palindrome, which means that reads the same right or upside down. Steve had come to rehearsals with an interesting Latin beat, and as soon as he started playing it, I already had the riff, I'm sure it was a gift from the heavens. Within minutes we had the main part of the song worked out. Tony Tomkinson described the song as "a tribal fire storm" so inspired ideas about voodoo, and the name came from there! Flashpoint started after Bitches Sin.

Can we see this band as your solo project? How would you describe your music?
Flashpoint would initially only be an album called 'No Point Of Reference'. In that album I had a number of songs I had composed myself, but that did not fit the Bitches Sin style of music. In a way it would be fair to consider it a solo project at the time. The music was a hard rock eighties style and very edgy.

What do you think was the cause of not having achieved greater success with Flashpoint?
Good question. We really do not know, but maybe the voice of the vocalist Kev Graham did not fit the music as much as I expected. In addition, in the latter part of the eighties came the US invasion of poodle hair and videos with glitter, while we were a "street" band with a raw, aggressive style, so I guess it was not the right time.

What can you expect an old follower of the hard and heavy to hear 'Ascension'?
You could think of it as a journey. A I've always loved the melody, which is very important in the classic rock with which most of us have grown. And if you think about the work of Michael Schenker for a moment, you can even whistle their guitar solos because they are very melodic. My own view of this is 'Ascension'. I wanted to compose an album that reflects my own approach to composition and guitar, in turn, show who Ian Toomey is and what he enjoys playing. Thus there is a range of styles in 'Ascension', and hopefully one or two surprises [laughs].

'Ascension' is a strong and varied album with an eighties feeling. When did you decide to record a solo album?
The decision came after we were already in the studio and had begun recording 'Ascension' and Chris Tsangarides and agreed to explore a deeply ​solo album give us a lot more freedom of composition. No preconceived ideas when I'm writing, and some as 'Bad Blood' and 'Ascension' evolve on their own. The lyrics in both songs were leaning toward a particular vocal treatment by David A. Mills-style Paul Rodgers because the story of the song was very moving.

What are your keys when composing?
I do not listen to any other band when I'm in the process. Often I'm warming up my guitar at home and an idea or a riff drops from somewhere. I do it quickly and record for later. Sometimes they can be some in sequence and can be messy burn all [laughs]. Moreover, as Chris will tell you, I'm hyper critical, my composition and my playing the guitar, especially alone. If a fan buys 'Ascension' or any other album I've recorded, I want them to enjoy every track, not just two or three. And today especially I think music should encourage everyone to think about what is happening on earth and challenge everything you see, hear or read of our so-called leaders and teachers because there needs to be a change towards a better world .

What is behind the lyrics of 'Ascension'?
In September 2004 I had a serious health problem. I was enduring so much pain, so close to death that ended up with my mind wandering and I found myself on the ground. It was an amazing experience and quickly found I could imagine myself (but not the physical form) in several places and they just happen. There was no pain. After a time I felt that this experience was coming to an end and was in the hospital. David A. Mills and I were talking about it one day, and he suggested me to read the book "The Afterlife Of Billy Fingers", which I did. The next day whole experience totally made sense to me, and the lyrics of 'Ascension' appearing in the booklet have the story of my trip. This issue was the most difficult to be deeply personal for me, and it required the fabulous production of Chris to capture all the excitement of properly. The reason it was so difficult was that is deeply personal for me, but there may be fans out there in the world for this song to have the same meaning, perhaps crossing the loss or near loss of a friend or relative . It was, then, very, very important that we did well, so that made it difficult for the pressure that expectation contributed to the recording of 'Ascension'.

The guitar sound on 'Ascension' is fantastic. You put a special emphasis on the sound?
It comes down to knowing how good rock music should sound , and as I mentioned, what is Chris expert in the study. Between both we tried several combinations with screens amplifiers and especially to ensure that we were getting the raw and classic sound of eighties before we start recording. In the end we decided to use an old Sandman amplifier. Yes, we put special emphasis in sound because for Chris and me this will always be a great rock sound. You can not rock or transmit real feeling of the music unless  "air is moved" in the studio with a tube amp and its hot and noisy. Another important aspect is a fabulous drum sound that carries the rhythm. We are blessed with Steve who gives power to all our songs. In this recording we used a Ludwig kit Blue Sparkle 1965 incorporating modern Tama Superstar box to give us our sound typical battery.

Can you talk about your guitar rig and equipment you used in 'Ascension', and why you chose it?
To some it may surprise you but apart from the obvious effects guitar solos, like in the song 'Ascension' team It was purely guitar directly amplifier without distortion or overdrive pedals in between. The guitars were used for the rhythmic a Fender Telecaster (2 humbucker), a Gibson Explorer, a Gibson Les Paul Gold Top. The lead guitar was PRS McCarty, Fender Strat and for 'Very Soon Everyone's Leaving' my old, reliable Washburn A20 Stage 1982 has a DiMarzio Super Distortion pickups as.

I feel that the guitar solos are carefully crafted for me is the best 'Very Soon Everyone's Leaving'. What is the formula to compose one perfect?
It may surprise you to know that none of my guitar solos are also previously worked for small riffs or patterns, as in the intro of 'Bad Blood', for example. I have always played this way because if would make some beautiful guitar solos probably forget them as soon as you start to burn them [laughs]. To maintain that edge only needs to be spontaneous, so you never know how it will be one until you've recorded. That of 'Very Soon Everyone's Leaving' was, unusually for me, a third shot on the recording because, while the other two were good, there was no magic to my ears, so I did it a third time.

Keyboards and Chris Tsangarides production are a very important aspect of 'Ascension'.
What Chris has contributed to the album as a musician and producer? Besides being a great friend Chris, he is in my opinion the best producer, certainly in this universe. His contribution as a musician is an excellent rhythm guitarist who is fluent in many styles. He brings variety to the execution that I lack in my own style, so it makes the sound of 'Ascension' varied and full. In addition, we are almost the same age and we agree on many aspects of the music, so he brings knowledge and experience after years of great success as a producer working with many of the greats, and producing many classic albums. There are also some keyboards, of course, but only used to enhance or create atmosphere rather than as the main instrument.

'Superman' is a more heavy classic theme with a brutal guitar. How does the inspiration comes to write a song like this?
Directly from the Bitches Sin songbook think [laughs]. Seriously, my brother Pete and Chris wrote the most part and I brought all the words. The riff is a classic aggressive attack, just because you want to hold the hair and wipe out your guitar. In the eighties you could go out on a Saturday night and go crazy and no one cared, so that's pretty much the feeling of the song.

One of the highlights of the album is vocalist David A. Mills, his vocal range is perfect for classic rock. When you start the writing process, do you have the voice of David in mind?
No, I never think of the singer, and that was also the case in Bitches Sin. The ideas that come to mind are considered and judged on their own merits, so if it's a great riff, for example, I will develop the song according to him. David is such a great singer who always came with a solution for each part of the song that was initially difficult to sing. To me I would not dream of telling David how he should sing the song, most of the time he works the melodies, harmonies and vocals himself and only if he needed some help, would Chris and I got involved.

'Bad Blood' reminds me of Paul Rodgers. Is Bad Company Is one of your greatest influences?
Chris, David and I shared a love of Free and Bad Company to a certain extent, especially in the form of playing the guitar and vocals. David sings in 'Bad Blood' with its usual style. Many people do not realize that David was a mainstream singer before joining Bitches Sin to sing in 'The Rapture' and, of course, now in 'Ascension'. He learned some respects of metal to add to his regular voice while working with Chris and me so when it comes to singing 'Bad Blood', his talent to express as much emotion in his voice is where I took the lead. David is a fantastic vocalist and, in my opinion, one of the best in the rock and metal scene.

Finally, is Black Sabbath and a Tony Iommi deep guitar sound a reference for you?
Yes, and I had the privilege of meeting and talking with Tony Iommi in the Classic Rock Awards in recent years. Although the guitar sound is entirely due to Chris and settings I used at the time. Some songs lean towards a particular style and it would be interesting to know whether Tony would have focused solely on 'Ascension' in the same way as me.
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