Since its inception, Canadian hard/prog rock band The Wring has been a beacon for complex compositions, compelling themes, and a hard-edged yet eclectic sound. At the helm of this project is guitarist and songwriter Don Dewulf, a visionary artist whose unrelenting creativity has driven the band’s evolution.
With their latest album, Nemesis, released in September 2024, The Wring deliver a collection of tracks that balance fiery riffs with thought-provoking narratives. Featured on the Progotronics 47 compilation, The Wring continues to gain traction in the global progressive music scene.
In this Progotronics special, Don Dewulf delves into the making of Nemesis, the challenges of crafting a cohesive yet ever-progressing sound, and the collaborative spirit behind the project. He also shares insights into his influences, songwriting process, and what lies ahead for The Wring.
Don, you’ve collaborated with a variety of renowned musicians in the past. How do you go about selecting the right musicians to join The Wring for each album, and what qualities do you look for in your collaborators?
I guess the first thing is that these albums are not really collaborations. I write the songs and demo them fully. The demos are sent to each respective player and they are given some latitude to create the final part, but certainly within a script. The only variation from this has been Reggie Hache (bass, vocals) who has played bass on past two albums plus vocals on the latest release. My interactions with Reggie have been much more collaborative, for sure, though still mostly within the script. As far as required qualities, each player needs to be able to deliver a professional performance that suits the music, with high quality audio and limited supervision…
Nemesis is the latest release in The Wring’s discography. How does this album compare to your previous work in terms of musical direction and themes?
I think Nemesis is like a fourth season of the same show. It incorporates every lesson of the first three and adds some personal growth and perspective. I think I’m a better composer and player than I was even a year ago plus I have learned many things about the recording process and how to get the most from players. I also felt a very different kind of bond with Kyle Brian Abbott (drums) and more importantly, Reggie. I felt like these guys really cared about the final outcome whereas most hired players tend to be focused mainly on their own performance.
The music on Nemesis combines a range of eclectic influences, but always with a hard rock edge. How do you manage to blend these diverse elements while maintaining a cohesive sound?
This is the most fun, and I think is what makes The Wring somewhat different. I can combine disparate elements and styles without them feeling disjointed or inappropriate and all within a 5-minute song. Opeth kind of inspired me in this regard but my compositions are a bit less sprawling and more hard rock. I am a fan of many styles of music and really think about how songs are structured but not so much that it loses the edge.
Your collaborations with musicians like Marco Minnemann, Thomas Lang, and Bryan Beller have certainly added depth to your projects. How do their contributions shape your music and elevate the compositions?
Thomas was the first ‘famous’ guy to play on a Wring album. His very presence gave me confidence and excitement. Once I realized that these pro players are people too, it humanized the process and the result. I am very grateful to Thomas for that. Bryan was similarly kind and enthusiastic, offering guidance and experience not only to the songs but also to the larger process. He had just completed his solo album in a very similar fashion to mine, so his input was amazing. Same with Marc Bonilla. Marco was more workmanlike; I sent him the tracks and he had his parts back to me in just a few days. Of course, they were amazing, but his role started and ended with the performance.
What can you tell us about the creative process behind Nemesis? Did any specific events or personal experiences influence the themes and lyrics of the album?
I always feel like I have something to say. When it comes time to write lyrics, all I need for inspiration is to watch the news. Most of the themes come from an angry place and the world has plenty to be angry about! “Badlands,” “The Sword,” “The Nail” and “Dark Passenger” are all observations of a society in turmoil, each offering a different view of our collective ‘nemesis’ – media, war, civil unrest and climate change. On this album, I also examined some more personal nemesis moments. “Before I Disappear” is about my own mortality and is probably the most personal song I’ve ever written.
Nemesis has been mixed and produced by Francis Perron, known for his work with Voivod. How did his involvement influence the sound of the album?
I love Francis. He is so kind and talented; an absolute joy to work with. He treated this whole thing with a level of care that was very humbling for me. He and Reggie really made this album special simply because they cared so much. If he knew I was unsettled about something, he would work with patience until I was 100% happy. This was certainly not the case with previous engineers, and it does give a boost to the process and to the result.
What was it like working with Reggie and Kyle in the studio, and how did their input shape the final product?
I sent Kyle the tracks first and he learned them and sent a couple of samples. He was very open to change or adjustment but truthfully, this music is directly in his wheelhouse, and he crushed the songs in just a few takes. His playing is so energetic but incredibly precise so it formed a very strong foundation for the rest. Reggie did his bass next and, wow, he just murdered those parts. When I heard his first bass lines in “The Sword,” I couldn’t believe it! And same with the rest. The whole album is a bass clinic; this guy should be famous! For vocals, I had not initially considered Reggie. He had demoed some vocals for the previous album, Spectra, and I did not bond with those efforts. I tried a few different avenues to hire a vocalist for Nemesis, including Chandler Mogel (Lunar), who sang on Spectra, but I could not get a comfort level with anyone. Then I happened to stumble on one of Reggie’s old YouTube videos and his voice was amazing! We discussed and proceeded! Once he had proper direction, his skills and instincts took over and I think he did an incredible job.
The Wring’s music is often compared to bands like Rush, Opeth, Dream Theater, and Porcupine Tree. How do you feel about these comparisons, and what elements of their music resonate with you as an artist?
Not sure I’m worthy of any such comparisons. Those bands are the gold standard of progressive music, in my opinion. Rush was an early influence and is still a very important spiritual guide for me. I deeply appreciate their importance to the genre, but also to humanity; they are good people who did a lot of cool stuff (Moving Pictures is the best album of all time). Same with Opeth. Mike explores so many different styles and always with alacrity, humour and joy, no matter how heavy or dark his music can be. He is also the best frontman in music these days. I think any Dream Theater comparison comes from drumming and/or bass playing on Wring albums. The guys I’ve had are intensely precise and inventive, not unlike Portnoy or Mangini. In fact, Thomas and Marco both auditioned for DT when Portnoy left! And Steven Wilson… In Absentia and Deadwing are near perfect albums for me. He is another composer that combines light and dark so well. All these guys and so many more inspire what I do. Hopefully not tooooo directly…
How do you balance your role as the creator and composer of The Wring while also collaborating with other musicians? What’s your approach to ensuring that your vision aligns with the contributions of others?
The most effective tool I have is the demo. I write the songs and then record all the parts – guitar, bass, keys, drums (I compose with loops from real drummers) – I even sing! All these things are in rough form but certainly give a very clear picture of what the outcome should be. The arrangements are all final and everything is done to a metronome so when I give the tracks to the right pro, he generally knows exactly what to do. There were some exceptions, the most memorable for me being a song that Bryan Beller played on… I had composed a very elaborate contrapuntal bass line over an elaborate guitar part. When he got the demo, he sent me a very long explanation as to why this was not in best service to the song. Of course, my feelings were hurt, lol, but he was right and what he did certainly elevated that part of the song. There were a few of those, but generally everyone stayed close to the script.
The band’s sound blends hard rock with progressive elements. What do you think it is about hard rock that keeps you returning to it as a core part of The Wring’s music, despite the broader influences?
Great question. I think I am addicted to the sound of a Marshall amp. Not a Mesa. Not a JC-120. I love those other tones but not anything like the grit of a JCM-800 or crunch of a Plexi. Steely Dan is a favourite of mine – greats songs, great performances but no grit! Similarly with Revocation; Dave D is out of this world but that super high gain stuff doesn’t hit home as much as a nice crunch. I also think that compositionally, ultra prog gets too far out in left field, and you lose the heartbeat of the song. I like short(ish), powerful and information-heavy parts that are still cohesive and serve the greater good.
“Blur” is included on the Progotronics 47 compilation. What do you hope listeners take away from your song?
As someone who has great knowledge of, and respect for, progressive music, I am still highly skeptical of the instrumental in any rock genre. Frank Zappa once said that it’s necessary to put some sort of vocalization over music to make it ‘relevant’. I do agree with that, with a few exceptions: “YYZ” spoke enormously without words, as did “La Villa Strangiato.” There are others, but there are also a million more that struggle to connect; with me anyways. When I do an instrumental, I don’t want it to be a platform for a bunch of solos. I also don’t want a lead guitar track that substitutes for vocals over a rhythm track. The rhythm guitar needs to be the focus and be interesting enough to hold the listener without words… I hope that is what people take from “Blur”!
The Wring has a rich discography, with several albums and singles released over the years. How has your songwriting evolved since the self-titled debut in 2017, and what has remained consistent in your creative approach?
Thanks. My approach is always the same: I play a lot and a great deal of that is messing around with new ideas. When I get something that I like, I record it and transcribe it. Once I have a whole bunch of these things, I go back to the start of them and listen. Things that still stand out can stay and those that don’t get deleted. From the culled list, I start to create songs; sometimes adding ideas together or writing new parts to complement. I keep at this until I can feel something good has happened. Part of this process is composing drum and bass parts. Once all the music is done, I write the words and sing a scratch vocal. Then I farm it out to players. I’ve done it the same way for each record, and I do think I’m getting better at everything.
What’s next for The Wring after Nemesis? Are there any new directions you’re exploring musically, or perhaps upcoming projects that fans should be excited about?
I have 30-40 new ideas on my ‘sketchpad’. I’m almost at the point where I start to shape them into songs, but I have a couple of possible collaborations that I’m considering so I don’t want to jump too far ahead in case something works out. The Wring was an actual band when the first album was released, and we played live to support it. That was awesome and I’d love to have that again.
Check out The Wring’s new album Nemesis on Bandcamp here. For more about the band visit their website, and follow them on Facebook and Instagram.
