“Be open minded and listen to lots of different styles of music and artists to gain inspiration. Try to figure out their concepts and approaches to understand what you are hearing. If there is a particular approach that speaks to you, try to apply it to your own playing with your own spin.”

Jane Getter: Transmogrify

”Transmogrify”, titled the bold new album from Jane Getter Premonition, arriving July 10, 2026 by 7D Media. At once a mirror and a metamorphosis, Transmogrify is a record about change — personal, political, and musical — rendered through the lens of progressive rock at its most exploratory and emotionally alive. Jane Getter Premonition is Jane Getter, Adam Holzman, Alex Skolnick, Paul Frazier, and Gene Lake. Joining them are special guests Russell Holzman, Mark Egan, and Chandra Rule. Together, they form one of progressive rock's most compelling ensembles — a band whose command of technical virtuosity never comes at the expense of emotional depth. Transmogrify is their latest act of creative courage: a record that reflects our turbulent times without losing sight of beauty, transformation, and the possibility of change.

(Jane Getter / Photo by Lasse Holle)

Most of the songs on this album began as something else entirely, transforming through the creative process into the forms they now inhabit. Lyrically and sonically, Transmogrify is an album that holds out hope even as it confronts difficult truths — a record for a world that is, like the music itself, in the midst of becoming something new.

Interview by Michael Limnios            Special Thanks: Keith James (Glass Onyon PR)

What kind of personal or social transformations inspired the title and the music of your new album, “Transmogrify”? 

The direction the world has been moving in over the past several years has left me feeling unsettled and concerned. The amount of division and hostility I see today is disheartening, and at times I feel as though I barely recognize my own country. My personal transformation reflects the changes I have experienced within myself as I have grown and evolved over time. The music in this album has all evolved from their original form. Some of the songs didn’t make it onto my previous recordings, but I still felt they deserved a chance to be heard. So I went back to them and ended up reworking a few — some were almost completely rewritten. “Transmogrify” is probably the best example. Originally, it was just the vocal section, and even that changed along the way. The version you hear now is very different from where it started. 

How do you balance the free improvisation of blues/fusion with the mathematical precision of progressive rock during live performances? 

That is something that is not preconceived. It happens naturally and in the moment. That said, many hours of practice brings one to the point where it just happens.

How do you successfully marry the technical complexity of fusion with the raw, emotional simplicity required by the blues tradition? 

I feel both of those approaches can blend in with each other to become one musical statement. Fusion played without any trace of blues can sometimes end up sounding less musical. When playing blues, I often incorporate elements of fusion to add texture, dynamic variety, and intensity to my lines.

“I think genre labels give listeners a useful point of reference for understanding an artist’s sound, They can however sometimes limit  the expectations of the sound. My own writing is pretty eclectic, so it’s difficult to pin my music down to a single genre.” (Jane Getter / Photo by Linda Heath)

How challenging is it to blend strong social and political messages with such a demanding and complex musical backdrop? 

Not at all challenging.  

As a female artist in a male-dominated genre, did you ever feel you had to work harder to earn respect as a lead guitarist and composer? 

Yes. My experience was that I had to prove myself twice as much to be accepted in a male-dominated environment. I also felt that certain opportunities were unavailable to me because some bands simply did not want women touring with them.

What is the most crucial advice you give to young students around the world who are trying to find their own "voice" on the guitar? 

Be open minded and listen to lots of different styles of music and artists to gain inspiration. Try to figure out their concepts and approaches to understand what you are hearing. If there is a particular approach that speaks to you, try to apply it to your own playing with your own spin. I also happen to have a course on  this on Truefire.com. It shows you how to create your own scales and arpeggios to develop your own voice and sound. It’s called Scale Design for Improvisation.  

Do genre terms like prog, jazz, metal, or blues limit your creativity, or do they help the audience understand your sound?

I think genre labels give listeners a useful point of reference for understanding an artist’s sound, They can however sometimes limit  the expectations of the sound. My own writing is pretty eclectic, so it’s difficult to pin my music down to a single genre.

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(Jane Getter / Photo by Joe Schaeffer)