Pure and raw in style, POM adds new meaning to contemporary guitar. His
spontaneous approach is backed up by phenomenal technique, emphasising a true disregard for electronics with furious contempt.
Born in the UK. Grew up in Singapore, New Zealand and Australia, travelling extensively, before returning to England and deciding to become a musician. POM began his musical career playing in Bluegrass circles on steel strung guitar but eventually moved over to nylon strings after developing an interest in Flamenco styles and techniques. He would eventually begin crossing these with a more contemporary approach (use of a plectrum and double-handed playing on the fret board).
After travelling through Europe, POM settled amongst Spanish Gypsies from the Camargue Region of Southern France. He was accepted into their group where he crossed boundaries and spent time playing, absorbing their culture and comparing guitar styles.
Over time he began developing His own unique style of playing. Influences ranging from players like Paco De lucia through to Eddie Van Halen, though always focusing on the acoustic, never the electric. He continuously tried to cover new ground, exploring the concept of acoustic guitar towards music of popular culture although sometimes finding conflict between the purity of his style and the need for further expression.
His album "Sleepwalker" is available at Big Cartel. Verdicts on it are over in the review section of this site.
"Some of the best guitar work I have ever heard in my 28 years of existence. This is perfection on a higher level and has to be heard to be believed, each additional track stronger than the last. I highly recommend this album to everyone reading this so stop reading and get listening."
"POM’s completely instrumental debut album “Sleepwalker” exudes guitar skills of the highest order, his masterful control and speed of fingers almost defying aural belief. “Sleepwalker” defines a love affair between man and instrument, one practised and nurtured over many years, providing us the opportunity to witness almost the perfect, harmonious partnership."
"Sleepwalker is an album which is going to make every guitarist out there want to curl up and be left alone. POM has taken an instrument that a lot of people think they can play, and used it to create music which most people will have never come across before, showing off both classical and contemporary skills and crafting tracks which showcase all of his variety of technique. The tracks are emotionally laden and full of skills, always keeping things firmly melodic and crafting an album which is going to be returned to that CD player time and time again."
"Yeah, it's acoustic, but it moves man!, and any guitar freak won't be able to help being mesmerized by what this guy brings!"
"There are so many gifted guitarists out there, and here's one that stands out. With a debut album that is completely played with an acoustic guitar. Not metal, but striking. 'Sleepwalker' is a fine album. A special person and a special release."
Lords Of Metal
"POM has created a truly remarkable piece of work. A one man battalion of face melting fingers who plays his entire album ‘Sleepwalker’ on an acoustic guitar. Sit back and immerse yourself in his obvious and sometimes ridiculous talent."
"P O M is an intense and extremely gifted guitarist and composer. With blinding speed and near flawless technique, he tears into his music with all the flair of a flamenco Jimi Hendrix: Shattering and shifting ideas about what is possible or even acceptable for an acoustic guitar."
Tinfoil Music - USA
Zyryab and the Iranian roots of the guitar By Nima Kasraie
The Spaniard Paco De Lucia, one of the world’s greatest guitar legends, has an album titled "Zyryab" ("Zar Yab" in Persian) dedicated to an Iranian musician also known as Abul-Hassan Ali ibn e Nafi who lived during the Abbasid era. A contemporary of Ebrahim e Mowseli and his son Isaac, both royal musicians, they were all among the greatest masters of music in the Abbasid court.
Ebrahim e Mowseli (125-188 After Hijra), son of Mahan, son of Bahman, son of Pashang, all were farmers from an area called Arjan, near Shiraz, Iran. Ebrahim was born in Kufeh, close to the Abbasid capital. Ebrahim learned music from a Zoroastrian named Javanooyeh who lived in Rey (present day Tehran). There, he also married a girl named Shahak Razi, giving them their son, Isaac (150-235 After Hijra). It is said Ebrahim had such a keen sense of hearing that he could recognize the sound of one instrument among 30 others playing. The author Abol Faraj e Isfahani has, in his book Aghani, described Isaac as "an ocean" compared to all other musicians of the royal court which he called "streams of water" .Like his father Ebrahim, Isaac was very admired at the royal Abbasid Court of Harun Al-Rashid and his successor Ma’mun. The Caliph Mu’tasem said of Isaac: "Whenever Isaac sings, it is as if my empire has expanded." One of the great accomplishments of Isaac was the training of a student known as Zyryab.
In the late 8th century, Zyryab took his knowledge and mastery of music to newly conquered Spain. There he became very famous, and opened a school of music. So famous in fact, that the Spanish today consider him the creator of the Guitar. It is said that he knew 10,000 songs by heart. He lived in Cordoba up to the end of his days, changing the history of music in Andalusia and Europe forever. Ebne Khladun, the mideival historian and philosopher (732-808) After Hijra) says this about him: The Mowselians had a servant named Zyryab who had learned music from his masters [Ebrahim and Isaac] very well. Many musicians of the royal court gradually grew to envy him, and so the Abbasid authorities eventually sent him to exile in Andalusia. Zyryab was received at the Moorish court of Hakam ibn e Hisham ibn e Abdol-Rahman e Dakhel, ruler of Andalusia. Zyryab soon became well admired and respected. So much so that he was given numerous gifts and awards from the Emir, and even appointed in his royal court alongside his most trusted and learned men.
Thus music in Andalusia progresssed greatly due to Zyryab. And long after his death, his music continued to be played and recited and taught to students. His art [students] were like a vast ocean that spread to north Africa after the fall of Cordoba, and even today traces of his music can be found everywhere in that region. Music in Iran however has a tradition that goes well before the Abbasid period, in fact reaching a remarkable stage of development during the Sasanid period as it had historical and in-essence connections to poetry.
Great musicians and composers, most notably Barbad, were reported to have been present at the courts of Sasanian emperors, notably that of Khosrow Parviz. It was in fact this same musical tradition that enlivened the mentioned Abbasid court and nourished the courts of many rulers, eventually laying the foundations of middle eastern music.