Attention Deficit (1998)

* I think a few ppl will really appreciate this...Give it a listen and lemme know what you think. :)

Alex Skolnick: Guitar (Acoustic), Guitar (Electric), Producer, Mixing
Michael Manring: Bass, Guitar, Multi Instruments, Producer, Loops, E-Bow, Mixing, 6-String Bass
Tim "Herb" Alexander: Percussion, Drums, Producer, Drums (Snare), Mixing

Attention Deficit is another progressive supergroup that records for the Magna Carta label (i.e., Liquid Tension Experiment, Explorers Club, etc.). Comprised of new age bassist Michael Manring, ex-Primus drummer Tim Alexander, and ex-Testament guitarist (and one-time student of Joe Satriani) Alex Skolnick, Attention Deficit is more about atmospheric songwriting than technical shredding. For those who have lost track of Skolnick since his days with thrash metallists Testament, his playing with Attention Deficit is more akin to King Crimson's Fripp and Belew than Metallica's Hetfield and Hammett. He is also quite an accomplished acoustic guitar player -- most of the rhythm guitar tracks on Attention Deficit are acoustic-based. Highlights include the bouncy "Scapula," the vast sound of album opener "ATM," and the hard rocker "Febrile." Although the combination of these three instrumentalists may sound peculiar on paper, they somehow make it all work extremely well.

The joy of it all is to watch creativity take flight, to hear what three instruments and three distinct musical histories can conjure, and understanding the rich resumés of our three noisemakers goes a long way toward deciphering the fresh kill that is Attention Deficit. Mad axeman Alex Skolnick seems to have two defined pasts. After experiencing the revelation that was KISS in the late '70s, Alex dove fervently into that heady mix of thrash and power metal that became the Bay Area sound. Through five records and countless tours with Testament, Skolnick's bruising riffery an rust-proofed solos defined major label extreme metal for years. During his departure, which included stints with Savatage and a solo configuration, Skolnick found new life as a noted follower of jazz and fusion. The elevated hybrid that became his new sound put Alex in the position of regular columnist for the likes of Guitar, Guitar Player and Guitar World. Clinics ensued, as did gigs with Stu Hamm and future Attention Deficit partner in crime, Michael Manring, who nicked Skolnick for his solo record Crimsonly entitled Thonk.

Mad bassist Michael Manring comes from a whole different school of thought, having cut his teeth as the ultimate session man, a bass god for the similarly chops-endowed. Having studied at Boston's venerable Berklee School Of Music, and with bass monster Jaco Pastorius, Manring moved forward to perform on all but one of the late Michael Hedges' seven solo records. His next stint was as house bassist for Windham Hill Records, spawning numerous solo projects and yet more session work; his appearances on other people's projects number well over one hundred. Gold records, Grammies, Bammies, Bass Player's Bassist Of The Year in 1994.... Manring is without a doubt one of his instrument's elite.

Mad percussion fiend Tim Alexander represents yet another discipline stream, having thrilled and chilled as the man pounding out Primus, alternative rock's most chops-insane ambassadors. Alexander's recorded legacy is highly appreciated, his geometric rhythms being a regular topic of discussion amongst drum magazines, possibly his greatest acclaim being named as one of the "most influential drummers of all-time" by Drum magazine. Having spent eight years driving Primus, Alexander is now lead vocalist/drummer for San Francisco act Laundry and, like Alex Skolnick, had linked up with Michael Manring for the bassist's solo record, Thonk, thereby completing the trinity that is now playfully but tellingly deemed Attention Deficit.

The bottom line is this: three true artisans have gotten together for a bit of high science, even if the jump-off point is built of raw intuition. What they've come up with offers immediate and powerful gratification to students of instrumental performance, and not so quick, but ultimately similar gratification to those who just love visceral, challenging music. We strongly suggest you pay attention. The rewards are real.

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