On EP391 of And Now The Band, Tom sits down with members of Masters Ashes to dig deep into the band's album Masters Ashes—a record conceived not simply as a collection of songs, but as a literary work meant to be experienced from beginning to end.
The band explains how the album was structured almost like a book, complete with a beginning, continuous narrative flow, and an ending that functions like an epilogue. Written as a trilogy of songs, Masters Ashes was created from a conceptual standpoint and, according to the band, without expectations about where it might lead. The goal was simply to create music for the love of creating music.
The conversation explores the band's blend of doom metal, death metal and black metal, while maintaining a traditional rock-oriented setup without relying on electronics. Special attention is given to Katie's keyboards, which add another atmospheric dimension to the album without overpowering the core band sound.
A major part of the discussion focuses on the album's recording and production. Six basic tracks were recorded in Afzaals home theater loft, with additional recording taking place at Ryan's studio. The band talks about Ryan's ability to create a massive, epic sound while still maintaining warmth and character through digital recording.
Tom and the band also discuss the changing relationship between analog recording and digital Pro Tools, and how modern digital techniques can still capture the qualities musicians traditionally associate with analog equipment.
The band had particularly positive things to say about working with Ryan, praising his versatility, collaborative approach and ability to bring a different perspective to a recording. Tom compares Ryan's work with other respected producers including Steve McAllister and Billy Anderson, while also discussing Ryan's work with Bad Wires.
The conversation eventually turns to one of the most important questions for any heavy band: How do you capture the feeling of a live performance on an album?
Tom and the band talk about why imperfections, unexpected moments and even mistakes can sometimes make a recording better. They share stories about recordings where something unplanned ultimately became part of the magic, and discuss the importance of stepping away from a song when something isn't working and returning with a fresh perspective.
“Conflict 3” becomes a particular point of discussion, with Jeff identifying it as one of his favorites because of its connection to the band's live performances at Born Free. Tom and Afzaal agree that the song has a particularly strong groove and live energy.
The conversation also gets into the band's approach to playing Masters Ashes live. The album isn't designed around constant touring, and logistics make live performances more complicated. The band has already been offered a festival opportunity for 2028 while exploring possibilities for 2027, but any performances will need to be carefully planned to preserve the quality and character of the music.
There is plenty of gear talk as well, including bass cabinets, 8x10s, 4x10s, 1x15s, potential 2x15 setups, traditional cabinets versus in-ear monitors, and why some musicians still prefer the physical impact and organic stage presence of a real cabinet setup.
Tom and the band also discuss the importance of having an open-minded studio environment, allowing musicians to experiment rather than having someone dictate every detail. That freedom, they explain, helped make the Masters Ashes recording experience particularly rewarding.
🎙️ And Now The Band — EP391
🎵 Masters Ashes — Masters Ashes
⚰️ Doom Metal • Death Metal • Black Metal • Atmospheric Metal
🎚️ Production & Recording • Ryan • Analog vs. Digital • Live Sound
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