Composer-pianist Michael Goldberg fuses classical elegance with gothic prog/metal power in Dorian’s Dance. We explored his inspirations, collaborations, and vision for blending timeless motifs with modern heaviness.
1.
Michael, what first inspired you to take a 19th‑century classical motif and
reimagine it through a gothic‑prog/metal lens for “Dorian’s Dance (Midnight
Metal Remix)”?
The piano theme carried built‑in tension that felt ready for more weight. My
son’s enthusiasm for metal was the nudge. I kept the Dorian‑mode motif intact
and had it rebuilt with baritone guitar, bass, metal drums, and featured violin
so the melody leads while the rhythm section raises the energy.
2. The Dorian mode plays a central role in this composition. Why choose this
scale, and what qualities were you aiming to highlight with it?
Dorian’s minor color with the raised sixth signals “dark but hopeful.” It keeps
forward motion without sounding bleak, supports modal vamping for the rhythm
team, and leaves space for violin counterlines and piano voicings to speak.
3. The track shifts between 4/4 and 7/8. How do you write and arrange
rhythms that engage listeners while still challenging them?
Rich Gray did a lot of the heavy lifting here, translating an orchestral
version of Dorian I had previously made. Kick and bass provide recurring
anchors, fills announce transitions, and guitar chugs outline subdivisions. I
think the end result is a piece that challenges the imagination and brings the
resolve needed for enjoyment.
4. Peter Voronov’s violin adds a sharp texture. How did you envision violin
inside a heavy, guitar‑driven frame?
I have worked with Peter on many projects and he is an amazing strings artist.
He is not ornament—second lead. Peter knows just how to double, answer, or cut
through the motif. In dense sections he rides the upper mids; in drops he
carries the line like a voice. Which is why he is often the final artist I
bring in to the mix.
5. Rich Gray and Fabio Alessandrini (Annihilator) brought a powerful low
end. How did their approach shape the final feel?
Rich’s guitar/bass parts defined the harmonic spine and pocket; Fabio’s kick
patterns and cymbal choices set the aggression curve. Together they tightened
the tempo map, influenced where we placed half‑time drops, and locked the
track’s forward pull. Also, both having been members of Annihilator gives the
piece some instant, metal heritage.
6. There’s a balance between technical precision and cinematic atmosphere.
How do you decide when to lean into riff intensity vs. expansive textures?
The motif decides. If clarity drops, we reduce layers and push the riff; when
the line can breathe, we widen with organ/choir pads and violin sustains.
Roughly 80% motif/riff focus, 20% scenic space to reset the ear. I think the
real success of the piece is how it blends so many voices into a harmonic
whole.
7. The choral‑pad climax feels like a gothic requiem. Was that a conscious
classical nod or did it emerge in production?
Both. The idea comes from classical choral writing, but it became essential
during mix when we felt the piece needed a final lift without adding more
notes. It resolves the tension in a way that suits the motif.
8. You recorded at Warple Bunny Studios. How did the process and environment
contribute to the dark yet polished sound?
Piano was written/performed by me on a Roland into Logic Pro through a
Universal Audio x4. We tracked to a shared tempo map, re‑amped guitars, and
used parallel processing on drums for impact while keeping transients intact.
Warple Bunny Studios is my nod to Monty Python and such a cool place to record.
9. The track seems built for metal fans and cinematic/gothic listeners. Was
crossover appeal intentional from the start?
This is a hard one to answer. The original piece from my album Carnival of
Lights is cinematic and gothic at its heart, a blend of Brahms & Beethoven
and then with a little magic it now meets Metallica. So while it has a
neo-classical core, Metal is now the heart that drives it, appealing to
cinematic/gothic playlists.
10. As a composer‑pianist bridging classical with prog/gothic metal, what
challenges or freedoms does that give you?
I am still so new at this but the piano keeps the musical compass honest. The
challenge is to compose and leave space for density management and translation
at volume. Freedom: motif‑first writing, clear voice‑leading, and permission to
use odd meters as long as the phrase sings.
11. FFO mentions include Katatonia, Apocalyptica, and early Dream Theater.
Do you see this as part of that lineage or carving new space?
Those references help listeners orient. I’m aiming at a lane where piano and
violin share the front of a gothic‑prog mix without losing metal’s engine. If
it nods to that lineage while feeling distinct, that’s a win. Many also say it
reminds them of NightWish, Epica and Trans-Siberian Orchestra, which is a
wonderful compliment.
12. What’s next after “Dorian’s Dance (Midnight Metal Remix)”? More
classical‑to‑metal reinterpretations or a singular statement?
More to come. A vocal version of “Dorian Metal” is in production, and several
metal‑leaning pieces are underway. Classical‑to‑metal isn’t a one‑off—now I
feel like part of the metal family.
Collaborators:
• Misha Stefanuk — Co composer / keys · stefanuk.com
• Peter Voronov — Violin · petervoronov.com
• Rich Gray — Guitar & Bass · graymatteraudio.com
• Fabio Alessandrini — Drums · Instagram @f.alessandrini
• Sam Scott Thorne — Vocals / Graphic Design · sstvocalcoach@gmail.com
• Luca Zara — Mixing & Mastering · lucazaramusic@gmail.com
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