Jason Tipton is best known for his work in progressive metal bands like Zero Hour, Abnormal Thought Patterns, A Dying Planet, and Cynthesis, but this Friday (March 26), he’s releasing something different—his latest solo album, a soulful and melodic blend of blues, jazz, rock, and metal. Tom Sundgren had the chance to sit down with Jason and talk about the album, the creative process, and how the pandemic helped reignite his solo pursuits.
This is Tom Sundgren with Capital Chaos TV, and we’re here with Jason Tipton from the bands A Dying Light, A Dying Planet, Zero Hour, Abnormal Thought Patterns, and Synthesis.
He’s got a new solo record coming out this Friday, March 26th. I had the opportunity to listen to it a couple of days ago, and it’s really amazing—very soulful, with blues, a little jazz, rock, metal, and power ballads all blended together.
Jason Tipton:
Thanks, man. Yeah, it’s something that reflects the players I love—like Neal Schon, David Gilmour, even Pat Metheny on the jazz side. That fourth song, “Sun Gazing,” really has that Pat Metheny and Lyle Mays vibe.
It’s a blend of all the guitar players I’ve loved over the years—Gary Moore, [expletive] Head, and others. It’s eclectic, but it has a central soundscape and theme that brings it all together.
Tom:
How has your past year been? Has the pandemic given you more time to write?
Jason:
Yeah, absolutely. I had no plans for a solo release initially, but I had the time, my Les Paul was right next to me, and I thought, “This is the moment.” I’d been saying for years I wanted to do another one.
At the time, A Dying Planet was wrapping up our second release, which is now basically done—we’re just adding some videos to shop it around to labels. Zero Hour was also moving forward. Once I had those projects somewhat handled, I finally had the time to focus on this solo release.
I originally planned to do four songs, but it ended up being eight, with a couple of vocal tracks you mentioned—like “The Dream to Fly.” One of them even reuses the music from the first track. I loved them as instrumentals, but I started hearing vocals in my head and reached out to Chris to sing on them.
Tom:
That’s awesome. I noticed on the physical copy it says “SinNormal Lab Recording.” What’s that about?
Jason:
It came about during the time my brother was having issues with his arms. We were thinking about how to keep making music. “Sin” was short for Synthesis, “Norm” for Abnormal Thought Patterns, and “Lab” was just—this is my studio, my lab.
We did an EP, and people liked it. Labels wanted a full-length, but my brother didn’t have the energy back then. Later on, we did a full album and signed with Lifeforce Records. For this solo release, I didn’t want to do a 60-minute album—just enough songs that felt strong, no filler.
Tom:
And you had Matt LaPlant mix and master it?
Jason:
Yeah, Matt’s amazing. He worked on our first full-length for Abnormal Thought Patterns. We tried to get him again, but he changed studios. He used to be with the Bieler Brothers label and worked with a lot of great bands. He’s a solid dude, and I’d definitely work with him again.
Tom:
I first heard of you through Abnormal Thought Patterns, but I saw you had two earlier solo records—one in 2005 and one before that. That’s like 16 years ago. Has your style changed?
Jason:
Yeah, big time. Back then, with Knights Pulse, I had nylon guitars, a little Satriani influence, and some new age stuff. I was into adult contemporary jazz, artists like Philippe Saisse, and just mixing it all together in my own way.
But now, it’s all about the feel—Les Paul tone, melodies. My earlier metal work with Zero Hour was more technical and riff-driven. This new record is more about uplifting, soothing sound—something triumphant. I think we needed that kind of vibe.
Tom:
I remember hearing a snippet of “Meeting with Angels” on social media. That track really stood out—super soothing and melodic.
Jason:
Thanks, man! That one came from pure inspiration—I didn’t force anything. These songs stuck with me for months and years, not just two weeks. That’s the kind of music I wanted to include—things that last.
Tom:
You mentioned restraint on this album. Is that something you’ve had to learn?
Jason:
Totally. A reviewer just told me today that this album shows restraint. It’s all about the melodies, not about playing fast or showing off. I love shredding, but this record wasn’t about that. It was about feeling.
Tom:
Do you have plans to perform this solo material live?
Jason:
I’d love to. I’d even go back and play older tracks like “Falling from the Sky.” After the pandemic, my views changed. I’m more open to things now. My brother gave me the biggest push—he told me, “Go do this. Reform Zero Hour. Get out there.” And that meant a lot.
Tom:
If you do bring it live, count me in. I noticed you’re from Pleasanton—I’m in Brentwood. We’re basically neighbors!
Jason:
No way! That’s awesome. Yeah, man, we should definitely jam when things chill out. I’m sure we’ll run into each other at shows soon.
Tom:
So true. I feel like when live shows come back, people are going to go crazy—especially for heavier metal.
Jason:
For sure. I think people will appreciate shows more now. Before, sometimes shows weren’t well-attended, but now I think people will make an effort. Music has kept me sane through this, and it’s important to support artists.
Tom:
Definitely. You mentioned some influences earlier—when did you start playing guitar, and who inspired you?
Jason:
I was actually a piano player first, involved in school bands and stuff. Then I fell in love with guitar—David Gilmour, Jason Becker, Marty Friedman, Paul Gilbert, John Sykes, Gary Moore, Buckethead, Pat Metheny, Sean Lane… the list goes on.
The shrapnel records crew were huge for me—Paul Gilbert, Greg Howe, Tony MacAlpine, Richie Kotzen, and Yngwie Malmsteen. I could go on forever. Jeff Loomis is a beast, too—super inspiring.
Tom:
How old were you when shrapnel was blowing up?
Jason:
Let’s see… I wasn’t driving yet. I’d take the county limo to Tower Records to buy CDs. We’d save our lunch money to buy them on weekends. I was probably 14 or 15 when shrapnel was big.
Tom:
That’s such a cool era. I’m also a big Jason Becker fan. His ability to still write music is so inspiring. Did you see Not Dead Yet?
Jason:
Absolutely. I even met his dad at NAMM years ago when Perspective came out. I bought 10 copies for my students right then and there. Jason’s story and attitude are unbelievable. His positivity is something I really admire—especially knowing what he’s gone through.
Tom:
Totally agree. Oh, did you see that new Kiesel custom guitar inspired by Jason?
Jason:
Yeah, I think I saw that just the other day! I haven’t dug into the details yet, but it looked really cool.
Watch the full video interview below and stream wherever you get your music. You can order the new cd at https://jasuntipton.bandcamp.com/ Or https://www.lasercd.com/cd/dream-fly
Categories: Interviews, Jason Tipton
Capital Chaos TV 
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