Plini: Exploring New Horizons in Instrumental Guitar
Plini’s compositions serve as an ideal backdrop for adventures in the breathtaking wilderness.
The Australian guitar prodigy dedicated the early months of 2026 to showcasing his latest work, An Unnamable Desire, the third remarkable instrumental album released under his name. He did this through captivating music videos that intertwined his djent and jazz-fusion influences with stunning visuals of a woman traversing coastal and forest landscapes.
The imagery is rich with vibrant vegetation and breathtaking wildlife, featuring kangaroos bounding toward an unseen future. Prior to this, the Neural team whisked him and fellow guitarist John Connearn away for a one-day songwriting retreat in a picturesque finnish cabin. The intricate interplay found in the single helmi, which debuted on Valentine’s Day, mirrored the heartwarming lakeside scenery.
As Guitar World caught up with Plini, he was preparing to attend an intervals concert in Berlin, having just spent a weekend filming a video for The Time Will Pass Away from An Unnamable Desire at a national park bordering Germany and the Czech republic.
When asked about his recent affinity for nature, he remarked that adventure awaits at every turn. “Stepping into a forest, you wonder, ‘what will I discover here?’ That sense of curiosity is what I aim to capture in my music; it keeps listeners engaged, as they never quite know what to expect next,” he explained.
Musical Evolution and Complexity
On various levels, An Unnamable Desire continues to showcase Plini’s signature whimsical yet accessible guitar style, reminiscent of his previous albums, Handmade Cities (2016) and Impulse Voices (2020). The new album features intricate sections filled with unconventional time signatures and meticulous picking techniques. Interestingly,the title track notably lacks a solo,with Plini often holding onto a jazz-inflected chord amidst groovy synth-bass and sultry saxophone embellishments.
While some moments are minimalist, plini intentionally approached the recording sessions with the goal of pushing his technical limits. For the album’s centerpiece, now & Then, he transitions from a quirky djent-inspired groove to a looping, hybrid-picked quintuplet arpeggio that he admits was challenging to execute flawlessly.
“in my recent projects, I’ve experimented with various techniques that stretched my comfort zone, but nothing that felt entirely out of reach,” he noted, expressing a desire to enhance his metal proficiency. “Several tracks are quite fast-paced and require dexterous right-hand work. I wanted to not only create compelling songs but also grow as a guitarist.”
High-Octane Tracks and Personal Challenges
Canyon is a standout track that tests Plini’s rhythmic endurance, driving forward with a relentless metalcore tempo. Another exhilarating piece, Manala, showcases a blend of melodic and frenetic elements that left him breathless.
“Playing 16th notes at 184 BPM was a real workout for me,” he chuckled. “For a seasoned metal player, it might be manageable, but for me, it felt like a marathon!”
Plini began crafting Manala back in 2020, initially envisioning it as a collaboration with a vocalist. Ultimately, he decided to allow the dense instrumental arrangement to breathe. It stands as the oldest piece on the album, undergoing several structural revisions before reaching its final form. He remarked that the rest of An Unnamable Desire has “definitely evolved through multiple stages since its inception.”
While he has embraced outdoor creativity, as seen in his collaboration with Connearn, much of this album was composed in his Sydney home, recorded directly onto his laptop. Plini utilized tones from his Quad Cortex, primarily employing Neural DSP’s John Petrucci and Mateus Asato plugins, but he also dialed in the Archetype: Gojira X for heavier sounds.
Some of the tracks were later re-amped by Simon grove, who co-produced the album alongside plini, contributing to mixing, engineering, and bass performances on the recordings.
Plini performed his parts using his signature headless .strandberg* guitar, equipped with Fishman pickups. He also borrowed a 7-string model, tuned down to a low C sharp, with Grove modifying the nut to accommodate a heavier string gauge.
Collaborative Spirit and Future Aspirations
While the album is ultimately a reflection of Plini’s artistry, he emphasizes the importance of his collaborators on An Unnamable Desire. “This project took the longest to complete, which means my collaborators invested meaningful time into it as well,” he shared, reflecting on the six-year journey and the adjustments made with his talented band and other contributors.
The album features an impressive lineup,including Polish guitarist Jakub Zytecki,who delivered soaring solos alongside Plini on Ciel.Additional contributors include drummer Chris Allison, keyboardist Dave Mackay, saxophonist John Waugh, string arranger A.J. Minette, violinist Misha Vayman, cellist yoshi Masuda, and harpist Emily Hopkins.
In the time between his last two solo albums, Plini also released collaborative singles, including Helmi with Connearn and In Captivity featuring Animals as Leaders’ tosin Abasi.
Looking ahead, when asked about potential collaborations, Plini expressed enthusiasm for working with guitar legends like Steve Vai, Joe Satriani, and John Petrucci, even if just for a brief exchange. He paused thoughtfully before adding,”I’d love to collaborate with John Mayer. I think it would be a blast. My idea, John – if you’re reading this – is to create a song in an odd time signature, and then you can have me do backing vocals. we’d trade guitar solos, keeping it sweet and bluesy, but in fives or something.”
With their unique styles and Plini’s flair for visually stunning music videos, such a collaboration would undoubtedly be a feast for both the eyes and ears.
