Australian progressive guitarist and composer James Norbert Ivanyi is set to release his ninth album, The Phantasm Cozenage, on August 19, continuing a body of work that has consistently combined progressive metal, psychedelic textures, cinematic soundscapes and adventurous guitar playing. The album’s title reflects one of Ivanyi’s recurring themes: deception, trickery and the idea of sometimes deceiving oneself. He says that theme has appeared throughout his catalogue, with elements of magic and deception also hidden as Easter eggs in his album artwork. Even the titles themselves, he tells Australian Musician editor Greg Phillips, are created through a mixture of approaches, sometimes emerging from artwork before the music is written, and sometimes being chosen to suit the finished piece.
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The first single, Hex Mesmerism, was chosen because Ivanyi felt it offered an accessible introduction to the album while still representing its broader musical character. It combines big riffs, solos and funky rhythms, whereas some of the album’s other pieces venture much further into progressive territory and are considerably longer. The album’s opening and closing tracks, Rune One and Rune Two, were actually among the final pieces recorded. Ivanyi created them while experimenting with synthesiser soundscapes after the main album had been completed, eventually deciding they would work as bookends. Both contain musical Easter eggs referencing his previous nine-record catalogue, rewarding listeners who know his earlier work.
That sense of looking backwards while moving forward also extends to the production. Ivanyi deliberately pursues an organic, old-school sound rather than the highly processed character often associated with modern progressive music. As the album’s writer, producer and mixer, he places authenticity at the centre of the recording process, aiming for productions that sound like musicians actually playing instruments. He particularly enjoys the character of older records and believes that contemporary production techniques can sometimes remove some of that human quality. His goal is to bring a 1970s production aesthetic into a modern mix.
Ivanyi’s studio approach is equally focused. He says he rarely plays unfinished material to friends for feedback, preferring to remain immersed in the process until he has worked out what the music needs to be. He spent almost three years making The Phantasm Cozenage and deliberately limited his exposure to other music during that period so outside influences would not distract him. His tidy, organised home studio reflects the same philosophy: he finds clutter distracting and says keeping the space orderly helps him remain inspired and want to spend time there.
Keys and synthesis have become an increasingly important part of Ivanyi’s musical vocabulary. Entirely self-taught on keyboards, he has developed his skills through playing, listening and studying instruments rather than formal instruction or online tutorials. The Mini Moog has particular significance for him, having been a dream instrument since he first heard its distinctive sound on records. He describes it as highly expressive and says it has become a cornerstone of his music. His fascination with analogue equipment also extends to the Mystery Magicians preamp in his studio, through which he ran the album’s acoustic guitars and keyboards. He values the unit for the fat, old-school character it gives his sounds and its ability to help create the analogue flavour he seeks.
Guitars remain at the heart of the album, with Ivanyi using most of the instruments in his collection at various points to achieve different textures. His Antique Classic S Strat-style guitar formed much of the record’s backbone, while his two Suhr signature instruments arrived midway through the recording and subsequently featured heavily. The new album also represents a change in his approach to performance. Rather than endlessly pursuing technically perfect takes, Ivanyi consciously embraced imperfections, allowing more of his personality and character as a player to remain in the recordings. Some solos contain wrong notes or minor noises, but if the feel was right, he kept the take. The result, he says, is a freer and looser-sounding record.
Ivanyi’s relationship with the guitar community has also continued to grow. His connection with Suhr and JST Technologies has resulted in three signature models, while appearances at events such as NAMM, Progfest, UK Tech-Fest and the Melbourne Guitar Show have helped establish him internationally. He looks back fondly on his 2019 Melbourne Guitar Show appearance, particularly the opportunity to play live and connect with other people in the music industry. More recently, he attended the Sydney Guitar Show and was pleased to see his signature models represented there. For Ivanyi, these events are as much about community and bringing musicians and industry people together as they are about instruments.
The COVID period unexpectedly gave Ivanyi additional creative freedom. While he continued working as a producer and became increasingly busy with guitar-related projects for other musicians, the interruption to the normal album-and-touring cycle also gave him time to pursue projects he had wanted to make for years. During that period he produced both an acoustic guitar album and a keyboard-driven album, expanding his musical palette beyond the progressive guitar work for which he was already known. The new album draws some of those expanded interests back into his established sound.
Live performance is now the next challenge. Ivanyi is planning Australian shows for early 2027, with the trio format presenting a deliberately stripped-back version of the material: guitar, bass and drums, without additional guitars running through backing tracks. Keys present another challenge because playing those parts live adds considerable complexity, although he is currently working on backing material, automation and his Fractal setup to determine the best way to reproduce the new music on stage. Rehearsing the new material with his band for the video clip has already reignited his enthusiasm for playing live.
To coincide with the album’s release, Ivanyi has also teamed up with Suhr Guitars for a worldwide competition offering one player the chance to win a Suhr James Norbert Ivanyi Signature Antique Modern guitar. Entrants must download an official backing track, perform over it without editing the supplied track, and post their performance using the hashtag #SUHRIVANYICONTEST. Entries close on August 19, 2026, with Ivanyi personally reviewing the qualifying submissions before selecting a winner, who will be announced on August 24.
More details further below!
Ivanyi tells us that the winner will not necessarily be the most technically accomplished player. Having already seen several submissions that impressed him, he expects to ultimately rely on instinct, choosing the performance that speaks to him most musically. For a guitarist whose new album deliberately embraces feel, character and imperfection over sterile technical perfection, that seems an appropriate philosophy for the competition as well.
The Phantasm Cozenage arrives August 19, adding another chapter to Ivanyi’s increasingly diverse catalogue while reinforcing his commitment to authentic performance, analogue-inspired production and adventurous instrumental music.
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JAMES IVANYI LAUNCHES SIGNATURE GUITAR COMPETITION
To celebrate the upcoming release of “The Phantasm Cozenage” Suhr Guitars and James have teamed up to hold the biggest giveaway of the year and are giving one lucky person the chance to take home a brand new Suhr James Norbert Ivanyi Signature Antique Modern.
The ‘Suhr Ivanyi Contest’ will be runs until August 19th and open to entrants worldwide.
Whether you’re a longtime fan of James’ playing or you’re just looking for an excuse to create something awesome, we’d love to hear your take.
Here’s how to enter:
Download James’ official backing track: https://jamesnorbertivanyi.wixsite.com/suhrivanyicontest
Record yourself performing over the track.
The backing track must be used exactly as provided—no edits.
Post your performance on YouTube, Facebook, Instagram, TikTok, X, or Threads and include #SUHRIVANYICONTEST
Entries Close: August 19, 2026 – 11:59 PM PST
One entry per person.
James will personally watch every qualifying submission and select the winner, which will be announced on August 24, 2026 across Suhr’s social media channels.
Prize
A 2026 Suhr James Norbert Ivanyi Signature Modern featuring:
• Alder body (Vintage Yellow or Russet Brown)
• Roasted Maple neck
• Ebony fingerboard
• Suhr SSH & SSV pickups
• Preset Blower Switch
• Stainless Steel Jumbo frets
• Black hardware
• Suhr Travel Pro Premium Case
This is your chance to share your creativity with the world, be seen by James, and possibly take home an incredible instrument.
We can’t wait to hear! Good luck, and have fun!
No purchase necessary. Void where prohibited. Full rules and official terms:
https://jamesnorbertivanyi.wixsite.com/suhrivanyicontest