LEARN TO PLAY: QUEEN – "NOW I'M HERE"

EDDIE VAN
HALEN 1955 - 2020
+ FOREVER

ROCK 'N' ROLL PAYS TRIBUTE

TO THE ULTIMATE GUITAR HERO

FENDER
BENDER
WE PUT A TONNE

TONY
M I
OF TELECASTERS TO

IOM
THE TEST – WHICH
REIGNED SUPREME?

THE UNRAVELLING THE ENDURING LEGACY OF

LIGHT
SIDE
RANKING THE 25
BLACK SABBATH
BEST ACOUSTIC ROCK
SONGS OF ALL TIME
EXCLUSIVE INTERVIEWS
VOLUME 140
$10.99 / NZ $11.90 (INC. GST) DEFTONES • COREY TAYLOR • MISHA MANSOOR • NICKELBACK • SOMETHING FOR KATE
BIFFY CLYRO • SEVENDUST • SEETHER • NOTHING BUT THIEVES • THE LEMON TWIGS
BEABADOOBEE • FANTASTIC NEGRITO • JOSH TESKEY & ASH GRUNWALD • TIRED LION
ALAIN JOHANNES • THE FRONT BOTTOMS • PVRIS • IDKHOW • CRY CLUB • PLUS MORE!
 ©2020 Fender Musical Instruments Corporation. FENDER, FENDER in fanciful script, JAZZ BASS, JAZZMASTER, PRECISION BASS, STRATOCASTER, TELECASTER
and the distinctive headstock commonly found on Fender guitars and basses are trademarks of FMIC. Registered in the U.S. and foreign countries. All rights reserved
 18 30

26 25

REGULARS

04 News
05 Around The Web
06 Fresh Frets

CONTENTS
08 Spotlight
35 Subscriptions
36 Hot Gear
70 Producer Profile:
Alain Johannes
71 Studio Tips FEATURES REVIEWS
85 CD Reviews
47 What Makes A Great Metal Guitar? 86 Vox SDC-1 Mini Electric + Giulietta 3PS
INTERVIEWS 48 Bill & Ted’s Triumphant Celebration + Giulietta 3D
Of The Guitar 88 JVB TMT 500 3-in-1 Metro Tuner + TMC 511
10 Cry Club 50 The 25 Best Acoustic Rock Songs Clip-On Tuner/Metronome + TMC 515 Mini
11 I Don’t Know How But Of All Time Clip-On Tuner + JCT 615 Multi-Function Capo
They Found Me (iDKHow) 55 Four Signs Your Strings Need Replacing 89 Danelectro Back Talk Reverse Delay + 3699
12 PVRIS 56 How To Capture The Legendary Fuzz Pedals • Fender Reflecting Pool
13 Beabadoobee Hendrix Tone Delay/Reverb Pedal
14 The Front Bottoms 58 The Gretsch G6120: A Rock ’n’ Roll Icon 90 Fender Compugilist + Pour Over Envelope
15 Tired Lion 60 The Best Telecasters For All Budgets Filter + The Trapper Dual Fuzz Pedals
16 Nothing But Thieves And Styles 91 Fender CD-60S All-Mahogany Acoustic
17 Biffy Clyro 64 Remembering Eddie Van Halen + Jim Root Jazzmaster V4
18 Nickelback 98 Final Note: How To Crank Up The 92 Fender ‘64 Custom Princeton Reverb
21 Seether Output Of Your Catalogue Amp • Orange Crush Acoustic 30 Twin
22 Sevendust Channel Amp
23 Corey Taylor TECHNIQUE 93 Epiphone SG Special P-90 • Ibanez
24 Misha Mansoor Premium SR2405W Bass
25 Deftones 38 Lesson: Queen - “Now I’m Here” 94 Aguilar DB925 Bass Preamp • Zoom
26 The Lemon Twigs 75 DIY: Setting Up Strat Tremolo Screws B3n Multi-Effects Processor
27 Fantastic Negrito 78 Basic Picking 95 Cort Gold-OC6 Acoustic
28 Josh Teskey & 79 Minor Pentatonic Riffs 96 Gretsch G5410T Electromatic “Rat Rod”
Ash Grunwald 80 Chords For Solos 97 Strymon Compadre Dual Voice Compressor
29 Something For Kate 81 Harmonising Melodies And Boost Pedal • Boss Waza-Air Over-Ear
30 Cover Story: Tony Iommi 82 Sus Chords Amp-Phones
4 | NEWS

AC/DC OFFICIALLY REVEAL 2020

COMEBACK AND NEW LINEUP
#140 WORDS: RICHARD BIENSTOCK

A
s speculated, the official AC/DC 2020 the remaining dates.
lineup is electric guitar player and stalwart At the end of the tour, Williams announced
leader Angus Young, his retirement from the band
vocalist Brian Johnson, bassist Cliff after close to 40 years of service.
Williams, drummer Phil Rudd and Meanwhile, guitarist Stevie Young,
rhythm guitarist Stevie Young: the who is also Angus’ nephew, stepped
same configuration that played in for founding member Malcolm
on the band’s most recent album, Young in 2014 when it was revealed
EDITORIAL 2014’s Rock Or Bust. he was suffering from dementia.
EDITOR Matt Doria Since that album’s release, Young passed away in 2017.
CREATIVE DIRECTOR Troy Coleman drummer Phil Rudd had been In addition to a new photo,
ART DIRECTOR Kristian Hagen replaced on the Rock Or Bust tour readers of local newspapers in the
by Chris Slade, after Rudd was UK have been treated to
CONTRIBUTORS found guilty of drug possession AC/DC ads featuring the question
Alex Wilson, Amit Sharma, Bobby Vega, Charlie Griffiths,
Chris Bird, Chris Gill, David Mead, Ed Mitchell, E.E. Bradman,
and other charges in 2015. Later on during the “Are you ready?” above the new PWR UP logo –
Jack Ellis, Jeff Kitts, Joe Bosso, Jonathan Horsley, Matt Doria, outing, Brian Johnson exited the band due to the same one that appeared on a poster outside
Michael Astley-Brown, Mike Brooks, Paul Elliot, Paul Riario, hearing issues, with his slot filled by Axl Rose for Young’s old Sydney high school, Ashfield Boys.
Richard Bienstock, Rob Laing, Ron Zabrocki, Stuart Clayton,
Trevor Curwen, Udi Glaser

ADVERTISING
NATIONAL ADVERTISING MANAGER Lewis Preece
EMAIL [email protected]
ADVERTISING CO-ORDINATOR Di Preece
EMAIL [email protected]

SUBSCRIPTIONS
techmags.com.au or call +61 2 8277 6486
PO Box 1077 Mount St, North Sydney NSW 2059

FENDER UNVEILS TASH DEFTONES’ STEPHEN

SULTANA SIGNATURE STRAT CARPENTER UNLEASHES
Words: Michael Astley-Brown HIS HEAVIEST RIFFS YET
Fender has been on a signature guitar roll of late, IN NEW SIDE-PROJECT
MANAGING DIRECTOR Neville Daniels. and looping pioneer Tash Sultana is the latest Words: Richard Bienstock
recipient of a signature Stratocaster. Sultana’s
All contents © 2020 Future Publishing Australia or published under made-in-Mexico model makes a statement with its Deftones guitarist Stephen Carpenter recently got
licence. All rights reserved. No part of this magazine may be used,
stored, transmitted or reproduced in any way without the prior Transparent Cherry-finished alder body, pearloid his heavy on with the band’s new album Ohms. Now,
written permission of the publisher. Future Publishing Limited pickguard, matching headstock and gold hardware, however, he’s upped the distorted guitar riffage
(company number 2008885) is registered in England and Wales.
Registered office: Quay House, The Ambury, Bath BA1 1UA. All but it’s got some versatile sonic tricks onboard, too. tenfold with “A Reason For Being” – a new track from
information contained in this publication is for information only The HSS pickup configuration is composed of a his side project Sol Invicto. The grinding instrumental
and is, as far as we are aware, correct at the time of going to press.
Future cannot accept any responsibility for errors or inaccuracies coil-splittable DoubleTap humbucker, as well as two also features SikTh members Dan Foord (drums)
in such information. You are advised to contact manufacturers and Yosemite single-coils, as seen in Fender’s American and James Leach (bass), as well as production from
retailers directly with regard to the prices of products and services
referred to in this publication. This magazine is fully independent and Performer series. The tone controls adjust the Technical Itch and Richie Londres.
not affiliated in any way with the companies mentioned herein. neck/middle and bridge pickups respectively. In a statement, the band said: “Even as artists
PRIVACY POLICY Other specs include a deep C-shaped maple neck who create music for dystopian times, we never
If you provide information about yourself this will be used to provide
you with products or services you have requested. We may supply with 9.5-inch radius, 22 medium jumbo frets and expected to be actually living in those times. With all
your information to contractors to enable us to do this. Future a vintage-style Synchronized tremolo. Signature that’s happening right now, we have decided to share
Publishing Australia will also use your information to inform you of
other publications, products, services and events. Future Publishing touches include a custom ‘skull’ neckplate, as well as a new song and our music, which is our Ikigai, or,
Australia may also give your information to organisations that are Sultana’s signature on the rear of the headstock. reason for being.”
providing special prizes or offers and are clearly associated with the
Reader Offer. Unless you tell us not to, Future Publishing Australia
may give your information to other organisations that may use it to
inform you of other products, services or events. If you would like
to gain access to the information Future Publishing Australia holds ELECTRO-HARMONIX RECREATES
about you, please contact us.
LO-FI GAMING SOUNDS WITH THE
futureplc.com MAINFRAME BITCRUSHER
Words: Michael Astley-Brown

For all its insane creations, Electro-Harmonix’s lineup has been lacking
in pehaps the zaniest effect type of all: the bit-crusher. That’s set to
change, however, with the launch of the Mainframe.
The new pedal delivers cult sounds from arcade machines and
videogames, using sample rate reductions ranging from 48kHz to 110Hz,
and bit depth reduction that spans 24-bit to 1-bit. Those artefacts can be
further adjusted via a high/low/band-pass filter, while a cunning Sample
Rate Tuning Mode sets the sample rate to the pitch of a note played on
guitar. It will then track your playing and adjust the sample rate accordingly.
For more of the latest news There are also secondary controls for input gain, filter strength and
and exclusive online content, styles of sample rate and bit depth reduction, which can yield altogether
head to guitarworld.com fuzzier tones. Other features include programmable presets and
expression pedal settings.

| www.guitarworld.com/australianguitar
australianguitarmag.com.au
 AROUND THE WEB | 5

AROUND Australian Guitar is proud to be a part of the Guitar World family!

Did you know they have a whole world of exclusive online-only
THE WEB content to explore? Here’s what we’ve been loving the most…

THE STORY OF THE FENDER

SPLATOCASTER: A GUITAR WORLD
READER’S DREAM COME TRUE
Words: Jeff Kitts

In the July 2004 issue, Guitar World announced what would

ultimately prove to be the most successful contest in the
magazine’s history: the Design Your Dream Guitar contest.
Readers were asked to submit a drawing of their dream guitar,
with the winning design to be built by the Fender Custom Shop.
We knew we’d get at least a few pro-level renderings (as well
as some angry prisoner art, crayon sketches and grade-school
illustrations), but what we didn’t expect was the sheer number SARAH LONGFIELD PUTS
of entries. By the time our New York City mail carrier delivered STATE-OF-THE-ART AEROS LOOP
the last envelope to our doorstep, thousands of submissions STUDIO THROUGH ITS PACES
had been received. Words: Richard Bienstock
The winning design, which was announced in the Holiday Like most of us, “state-of-the-art” shredder Sarah
2004 issue, was by reader Jimmy Stout, whose innovative Longfield isn’t overly adept at using loop studios.
“Splatocaster” featured a Strat-shaped aluminium body with But as she demonstrates in this new video for
clear, fluid-filled cavities. Singular Sound’s Aeros Loop Studio, with the right
gear looping is not only easy – it can also be fun.
Check it out: http://bit.ly/SplatYourDreams “I have never done live looping before, so bear
with me,” she says, adding that “it ended up being a
lot more fun than I thought, if any of you out there
are also scared of looping.”
As Longfield points out, the Aeros boasts
a ridiculous amount of features, including a
stereo looper that allows you to record up to 36
unique loops per song; an onboard scroll wheel
that provides hands-free mixing during the live
performance and unlimited overdubs; 48 hours
of record time on a SD card; and the ability to
quantise your tracks to any time signature or play
in free form mode.

Check it out: http://bit.ly/LongfieldLoops

GIBSON, MATT HEAFY AND

DREW BARRYMORE GIFT A
LES PAUL CLASSIC TO A
COMMUNITY HERO
Words: Richard Bienstock JIMI HENDRIX: PAYING TRIBUTE
We’re always game for a story that combines TO THE ULTIMATE GUITAR HERO, CORY WONG ENLISTS JOE
guitars and feel-good vibes, and this one’s got 50 YEARS ON SATRIANI FOR THE SHREDDIEST
plenty of both. Gibson recently brought together Words: Amit Sharma FUNK JAM OF 2020
Trivium singer and guitarist Matt Heafy, and In many ways, it’s like the electric guitar didn’t Words: Michael Astley-Brown
actress Drew Barrymore, to gift a Les Paul Classic really exist before him. Of course, Jimi Hendrix had Cory Wong is surely the most prolific guitarist on
electric guitar to deserving “community hero” his influences – Muddy Waters and Albert King to the planet at this point in time. The funky man
Hector Velasco. name just two. But it was Hendrix who radically with the helicopter right hand is now gearing up to
Velasco, who works as a UPS delivery man, gave revolutionised the instrument once and for all, and release his eighth (!) album of 2020, The Striped
a four-year-old named Langston – who since the the impact he made in the late 60s has not been Album, and this time he’s brought along some
pandemic began has been cooped up at home – a surpassed in all the years since. very special guests… Including one of the electric
special surprise. Langston would ask Hector every It was Jimi who turned the six-string into a guitar’s all-time greats.
day if he had a package for him, and one day he did: weapon, with its bullets cast in a melting pot of “Massive” is the first single to be released
Hector put together a special delivery of toys and hot-rodded blues, molten fuzz and screaming from the forthcoming effort, and features
candy and gave it to the boy. psychedelia. No longer did the guitar feel like it was the formidable talents of Joe Satriani, who
As a thank you, Langston’s parents, in in the background, accompanying the rest of the demonstrates his sharp blues phrasing with a
conjunction with Gibson and Heafy, put together band or adding melodies to help reinforce a lyric. It wealth of high-gain wah leads, delivered over
a special delivery for Velasco. was now the undisputed star of the show. Wong’s uber-tight minor-key vamps.

Check it out: http://bit.ly/RiffDelivery Check it out: http://bit.ly/Hendrix4Ever Check it out: http://bit.ly/FunkOverload

6 | FRESH FRETS

GREATEST HITS Photo: Gareth Owens

ROMAN TRAGEDY Photo: Ivan Souriyavong

THEY ARE everything great about Australia’s thriving indie-rock scene THEY ARE the centremost sliver of gold in the venn diagram between A+
squeezed into the one bottle. It all makes sense when you find out this terrific Twitter memes, loveable personalities, infectious ambition and equally bright
trio hail from the Gold Coast – they make bright, bouncy tunes perfect for and brash, fist-pump-worthy power-pop ebullience. Native to Sydney, but sure to
summer jaunts along the sand, ripened with ultra-sharp, ‘70s styled guitar make their major splash on the national circuit in no time, Josie Rizko [guitar] and
lines hitting that perfect sweet spot between jangliness and fuzz. Maz Boulougouris [vocals] revel in mind-numbingly catchy hooks, soundscapes
stacked with jangly guitars and punchy drums, and downright explosive chrouses.
THEY SOUND LIKE a relic of a better time – around ten months ago, when
we were soaking in all the vibes at whatever summer festival would let us THEY SOUND LIKE the kind of act tame enough to be played over the PA
through the gates. They’re perfectly suited for a mid-arvo groove at something at your local K-Mart, but edgy enough that you’ll find yourself in the middle of the
like Splendour The Grass; but until such a time is possible again, we recommend homewares isle with your phone raised like a battle sword, trying to find a clear
cranking up the car speakers, chucking on “Lemon Joe” and taking in the breeze. enough signal for your Shazam app to recognise – because there’s just no way
you’ll be able to focus on picking the right scent of candle until you’ve followed
YOU’LL DIG THEM IF YOU LIKE MGMT, Babe Rainbow and Tame your next favourite band on Spotify.
Impala – but also getting up early, hitting the surf and topping it off with a shot
of espresso and a cold shower, rather than a blunt and a bath. Their jams are a YOU’LL DIG THEM IF YOU LIKE Bleachers, Against The Current, The
little more on the jovial side, suited better for a boogie than a swoon. Killers, and dorky coming-of-age dramadies written by people you’re pretty sure
have never even seen a real high school.
YOU SHOULD CHECK OUT the back-to-back bangers on Greatest Hits’
debut EP, Volume One. As expected, it’s a total pain in the ass to find via search YOU SHOULD CHECK OUT the debut single “Bittersweet” – three minutes
engine – but trust us, it’s well worth the effort. Between the summery strums of and 15 seconds of beautifully overdriven riffage, glassy keys and galvanised vocal
“Phil, Slow It Down”, the dizzy slow-burn of “Trying” and the soulful swagger of melodies that are impossible not to melt into. With its spirit consistently upbeat
“One Afternoon”, this is 20 minutes of idyllic indie you won’t soon forget. and punchy, it’s a surefire pick-me-up for any morning commute or gym playlist.

SOUTHEAST DESERT METAL Photo: Oliver Eclipse

SHANNEN JAMES Photo: Ellena Louise

THEY ARE Australia’s most remote crew of diehard shredheads, local to SHE IS a Melbourne-native singer-songwriter who’s virtually stolen our hearts
the outback town of Ltyntye Apurte (about 80km South of Alice Springs) in 2020. Triple J’s Declan Byrne said it best: “Shannen James isn’t just one to
but making their vicious and visceral spin on hard-rock heard all around the watch. She’s one whose songs you’d learn all the words to; one you’d get to the
country. With strong ties to family, community and culture at their core, the festival early to see; one who you’re convinced is singing about your life.”
quartet use their art to tell stories as powerful and authentic as their sound.
SHE SOUNDS LIKE a total nightmare for a genre perfectionist. “Indie-rock”
THEY SOUND LIKE what your tastebuds hear when you munch down on a might be the easiest sticker to stamp her with, but James’ fill musical palate
big, juicy habenero pepper – pure, unrelenting spice in sonic form. The riffs at play is much too dense and dynamic to quanitfy succinctly: littered throughout her
are absolutely monstrous, Chris Wallace and Gavin Hayes tearing out serpentine catalogue are hits of warm folk, smoky soul and prickly pop, glittery psychedelica
soundscapes of unrelenting fury as if they were fighting off dragons with their and punchy rock ‘n’ roll – each song is its own hand-painted masterpiece with
fretboards. Add in Wallace’s captivating knack for narrative, and you’ve got a flecks of colour from all over the spectrum. We can’t begin to imagine what she’d
brutal brew of stories and shredding unlike anything you’ve ever heard before. do with a full album to work with.

YOU’LL DIG THEM IF YOU LIKE Iron Maiden, AC/DC and Black YOU’LL DIG HER IF YOU LIKE HAIM, Gretta Ray and The 1975. The grace
Sabbath – their style is heavily rooted in the gruff and guttural heavy metal with which she ebbs and flows around a beat, Telecaster roaring in tandem
uprising that drove the ‘80s insane, with a distinct edge of modern flavours with her rich, driving vocal melodies, is something words could never do justice.
lingering in the breakdowns. Just imagining how her tunes would translate to the stage has this scribe
head-to-toe in goosebumps – here’s hoping she’s got a tour on the cards soon!
YOU SHOULD CHECK OUT 2018’s Break The Silence album, which is not
only fantastic for how it weaves contemporary metal styles with elements of their YOU SHOULD CHECK OUT the explosively enigmatic Arrows EP,
Indigenous Australian culture, but also just for how crazily well all four of these which just landed on Ivy Leage Records and crams a full spate of sly, summery
legends gel when they jam out – the full-band dynamic on this record is next-level. sprightliness and powerful emotional poignancy into six inescapably catchy bops.

| www.guitarworld.com/australianguitar
 |7

DAVE THE BAND HARPER BLOOM

Photo: Thom Mitchell Photo: Lisa Businovski

THEY ARE three endearingly enthusiastic punk-rockers from Newcastle, keen SHE IS a beam of light, waterfall and scoop of ice cream in human form – the
to set the scene alight with their tirelessly spirited gems of tongue-in–cheek kind of storyteller you’d immediately want to become friends with after hearing
vocal quips and six-string calamity. one of her sprawling folk-pop reveries, and a songwriter whose knack for
blending dance-pop attitudes with low-fi acoustic jamming is so fantastic you’d
THEY SOUND LIKE the soundtrack to a carefree Sunday arvo at the pub, think she sold her soul for the skill.
loose and luminous with just a hint of solemnity looming under the skin. You
won’t find any crazy time signature bends, key changes or technical nonsense in SHE SOUNDS LIKE the next big name in Australian indie. Before even
their three-minute thrashers: Dave are all about tight, jammy hooks and catchy releasing enough songs to count on one hand, Bloom had caught the eye of
choruses that stick to their listeners’ ears like peanut butter to a pup’s chops. industry heavyweights like Triple J, BIGSOUND and New World Artists... We’re
betting on it now: by the end of 2021, she’ll have sold out a national theatre tour.
YOU’LL DIG THEM IF YOU LIKE Kisschasy, Dune Rats and Joyce
Manor. Noah Church belts his raw and relatable lyrics with an unapologetically YOU’LL DIG HER IF YOU LIKE Alex The Astronaut, Ball Park Music
thick Australian accent, the likes of which we saw come into mainstream and Angie McMahon, with an extra shot of coffee and a big drizzle of honey on
prominence with bands like Luca Brasi and The Hard Aches. It works perfectly top. In an interview with Tone Deaf, Bloom said she’d describe her music to her
for the trio’s kinetic, backyard-ready liveliness – their songs demand to be grandma as “Paul Kelly meets ELO” – a fair analysis if we’d ever seen one!
chanted along to, tinny in one fist and the other raised high with pride.
YOU SHOULD CHECK OUT her first batch of inescapably upbeat and
YOU SHOULD CHECK OUT the debut album Slob Stories, fresh out of earwormish singles “Mary”, “Walk My Way” and “You’re The Music”, all three of
the oven on Believe Records. It’s an adoringly animated 30-minute romp of which canter along with bright and bubbly guitars, glittery keys and booming
4/4 anarchy à la walloping overdrive and nods to classic pop-punk, laid down vocal hooks. There’s an EP on the horizon – the pictorially titled Faith, Sex And
by none other than ‘90s rock legend Steve Albini (Nirvana, Pixies, etc), who’s Skin – which Bloom teamed up with renowned producer Benjamin McCarthy
managed to capture Dave’s DIY spirit and industrious energy with vicious aplomb. (G-Flip, Gordi, Alex the Astronaut) to lay down.

KEE’AHN Photo: Naomi Lee Beveridge

HEY HARRIETT Photo: Alexander Robertson

SHE IS a Kuku Yalanji, Jirrbal and Badu Island blueswoman with fingers that THEY ARE five Adelaidian indie-rockers with spirits as high as they’ve cranked
dance around her fretboard like ballerinas on an opera stage, and a singing voice the volume knobs on their instruments. Their biggest tunes are bursting at the
that soars out into the distance, galvanic, warm and all kinds of enchanting. Her seams with authentic and infectious energy, but as proved by slower cuts like
name (from the Wik people of Cape York) means to dance, sing and play – it’s “Not Allowed” and mid-tempo head-boppers like “More”, their sonic arsenal is
without a doubt she lives up to the prodigy gifted to her. powerfully polychromatic and their chemistry impressively dynamic.

SHE SOUNDS LIKE a hot cup of tea on a cold winter’s evening, the dewy haze THEY SOUND LIKE the band 2020 needs: their art comes from the heart,
of a morning drive through the mountains, or an umprompted text from a friend all down-to-earth and bullshit free, but it’s also fun as hell and delightfully sprightly.
you’d been thinking about – Kee’ahn elicits pure euphoria with her rich and riveting
musicality; her sound may be lowkey, but the vibe she wields is bloody enormous. YOU’LL DIG THEM IF YOU LIKE San Cisco, The Beths and Last
Dinosaurs. They downright master that millon-dollar blend of effervescent
YOU’LL DIG HER IF YOU LIKE Nina Simone, Thelma Plum and Leon guitars and twirling vocals hooks – you can just as easily bop along to them
Bridges. She was also recently awarded the 2020 Archie Roach Foundation Award, on the dancefloor or sit back and get lost in their transcendental soundscapes.
so fans of the Mooroopna roots icon should absolutely see what she’s about. But however you choose to enjoy them, you’re guaranteed to enjoy them.

YOU SHOULD CHECK OUT her debut single “Better Things”, which YOU SHOULD CHECK OUT Last year’s debut EP Nipslip, which kicks
simmers and sears with crystalline guitars, dusty and understated horns, and off on a high note with the jaunty and jammy (and very aptly titled) “Honest”,
vocal harmonies that you’ll immeduately want to relive once the last notes buzz before rolling listeners down a hill of sprightly pop and breezy folk vibes,
out. Once you’ve let the four-minute epic take over your body, track down the all wrapped up in bright, noodly guitars and vocal melodies you’ll almost
recording of Kee’ahn’s set from Delivered Live back in August: it is 25 minutes immediately find yourself singing along to (whether or not you actually know
of the most beautiful and bewitching live blues you’ll ever see, every note she the words). Catch them live if you can, too – it feels truly special to watch these
plucks and word she howls cutting deeper and deeper into the soul. five loveable legends jam and gel as mates in the moment.
8 | SPOTLIGHT

Photo: Jason Sondock

DANNY MILLER
HAILS FROM QUEENS, NEW YORK USA
PLAYS IN LEWIS DEL MAR
SOUNDS LIKE TRANSCENDENTAL, HIGH-CONCEPT ALT-ROCK
LATEST DROP AUGUST (LP OUT NOW VIA FADER)

What’s your current go-to guitar?

I have an Alvarez Parlor acoustic, which is currently the guitar I play
onstage and record with. I came across it because I was travelling with
an older Martin 000, but that guitar was getting too beaten up with all
the flying, and the maintenance costs were starting to add up. I wanted
something with great tone and resonance, but that I didn’t have to be
precious about. I bought my first Alvarez Parlor in 2016 when we were
touring heavily, and a couple months after copping it, I smashed it during
Photo: Rick Clifford
a performance on television. I walked right into a guitar store the next day
and bought a new one for $200. Can’t go wrong at that price!
HENDRIK WIPPRECHT
How did you initially fall in love with the instrument?
I fell in love with guitar through learning about latin folk music. My HAILS FROM HOBART, TAS
family is Nicaraguan, and my first guitar teacher, Amilcar Cruz, was also PLAYS IN A. SWAYZE & THE GHOSTS
from there. Amilcar played with the Sacasa family, a legendary music SOUNDS LIKE RED-HOT PUNK ROCK WITH A MELODIC EDGE
family in Nicaragua, and he taught me about the history of protest music LATEST DROP PAID SALVATION (LP OUT NOW VIA IVY LEAGUE)
and storytelling in latin folklórico songs. The idea of being a poet or
generational storyteller really resonated with me. My first guitar was What’s your current go-to guitar?
my father’s first guitar. It’s a no-name classical guitar from the late ‘70s, My dad bought me a 1977 USA Mustang, and I f***in’ love it! It feeds
purchased somewhere along the Caribbean coast of Nicaragua. I still play it back pretty harshly and makes the sound engineer pretty upset. I can’t
all the time. It is probably my most prized possession. get enough!

What inspires you as a player? How did you initially fall in love with the instrument?
Aside from latin music, my guitar playing is also very influenced by When I was four years old, my older brother borrowed a Yamaha nylon-string
ambient and Brazilian music. I’ve adopted a lot of chord voicings and classical guitar from a cousin of ours. He didn’t use it, so I picked it up and
melody movement that I’ve found on ‘70s and ‘80s tropicalia and Brazilian just never put it down. I still have it now and use it for a lot of writing.
folk records. One album in particular, Clube Da Esquina, greatly influenced
my playing and note choices. I also love artists like Steve Reich, Brian Eno, What inspires you as a player?
and Arthur Russell. A lot of the more drone-y, arpeggiating parts I write The Velvet Underground, Metallica, Opeth, Queens Of The Stone Age,
are influenced by impressionism, and the desire to imbue these most Death, Eddy Current Suppression Ring, RAGE, System, Parquet Courts,
recent songs with a sense of breathing and subtle motion. Nirvana... These are the kind of bands I just wanted to replicate when I
was younger (and still do now). I can’t help but have their style of playing
Are you much of a gear nerd? influence me. I’d start ten different bands if I had the time!
I’m not much of a gear nerd on the whole. I feel it often gets in the way
of my creativity, but I’ve been trying to experiment with it more as well. Are you much of a gear nerd?
Currently, my favorite piece I own is an older model of the Zvex Fuzz I love a great amp! I used to be into pedals, but I got a little bored with
Factory pedal. That shit slaps. them to be honest. Plugging a guitar straight into my Marshall JCM800
and getting the right EQ sounds incredible, and experimenting with tone
Do you have any ‘white whales’? influences my playing as a guitarist. Maybe one day I’ll get a Mesa Boogie.
Not really, but I dig Fender’s Offset Japanese Telecaster. Maybe a pre-war
Martin, too. Do you have any ‘white whales’?
I want Steve Albini’s Travis Bean! The next time Shellac come to Australia, I
What would your signature model look like? may buy a balaclava...
It would probably be something I made by hand. I’d love to make a guitar
myself one day – even if it was a broomstick glued to a frying pan, with What would your signature model look like?
some shoelaces over it. I’d love to make a guitar that nobody knew how to I’d probably want the body made into a 3D shape of my head with my lips
play, so it would get you thinking outside your zone. as the bridge. I love Ibanez, and I wouldn’t mind a legitimate ‘Wizard’s
neck’ for my signature model. Any dead wizards around?
If you could jam with any guitarist, dead or alive...
I’d love to play with Blake Mills. Maybe we’d do “Many Rivers To Cross” by If you could jam with any guitarist, dead or alive...
Jimmy Cliff. Or maybe an eight-hour jam with Santana and a ten-piece band It’d have to be Josh Homme, and the song would be “Regular John”. He’d
with two drummers. then ask me to join the band so I could die happy (and rich).

| www.guitarworld.com/australianguitar
 |9

Photo: Brandon Lung

DAVID POTTER
HAILS FROM SYDNEY, NSW
PLAYS IN STAND ATLANTIC
SOUNDS LIKE PUNCHY POP-PUNK FOR ENERGY DRINK ADS
LATEST DROP PINK ELEPHANT (LP OUT NOW VIA HOPELESS)

What’s your current go-to guitar?

I’m playing a Fender Jazzmaster that I picked up from a pawn shop that I
used to work at in Burwood. When it first came in it was incredibly cheap
and was all I could afford at the time – it wasn’t in great condition and took
a lot of love to get into good playing order, but now with a few mods it’s in
top shape, and it sounds and plays amazingly.

How did you initially fall in love with the instrument?

Photo: Laura Partain
My first axe was actually a really terrible Ashton bass guitar that I saved up
for months for when I was in high school. I was absolutely terrible at playing
it, but it was such a huge outlet for me when I was a teenager and such a
COURTNEY MARIE ANDREWS great way to de-stress. A little while later, my older brother bought a cheap
Ibanez electric guitar, and that was when I first started to actually practise
HAILS FROM PHOENIX, ARIZONA USA and play more seriously, and I haven’t been able to put down the guitar since.
PLAYS SOLO
SOUNDS LIKE DREAMY, SLOW-BURNING CROONERS What inspires you as a player?
LATEST DROP OLD FLOWERS (LP OUT NOW VIA FAT POSSUM) Tim Henson from Polyphia is an absolutely amazing guitarist – I would love
to be able to play half as good as him some day. I was really inspired by the
What’s your current go-to guitar? way his guitar playing interacts with and mimics the production elements
My current go-to guitar is a ‘90s Takamine Nylon. I was on the hunt for and other textures in the songs – it’s almost like an EDM or hip-hop
a mid-priced nylon-stringer, and a friend found this at a small vintage producer’s approach to guitar playing. Not only that, but I’ve been working
guitar shop in Nashville. They’re very underrated guitars, and a lot of a lot more on my hybrid picking and use of expressive techniques since I
the country guys have them in their arsenal. It has a very warm and got really heavily into his music and playing.
balanced sound, and the neck is the perfect size.
Are you much of a gear nerd?
How did you initially fall in love with the instrument? Like most guitarists, I used to spend many hours watching rig rundowns
With acoustics, the love generally lies in how the guitar resonates and and gear demos on YouTube, and trying to plan the biggest, most elaborate
how balanced it is. I fell in love with the way it feels to play it. My first rigs that I could, constantly searching second-hand marketplaces to pick up
guitar was, funnily, a cheap nylon-string guitar from Mexico that my whatever gear I could. But more recently, with the realities of touring full-
uncle got me for my birthday one year. time, I’ve gotten much more into the idea of making the most streamlined
and tidy rig that I can. For that reason I absolutely love my Kemper profiling
What inspires you as a player? amp. It takes up three rack units, I can model every amp and effect that we
I am a big fan of fingerstyle guitar, so early on I loved Jose Gonzalez, use in the studio, and all the patch changes are controlled by MIDI from our
Joni Mitchell, Leo Kottke Elizabeth Cotten and Mississippi John Hurt. playback rig. The only piece of gear that I need to keep onstage is my Shure
Songwriters who play the guitar with open tunings and with great GLXD16, which doubles as a tuner.
inventive style are of great interest to me. More recently, I’m very into
Hawaiian slack-key guitar. I incorporated flatpicking and fingerstyle Do you have any ‘white whales’?
techniques so I could perform more dynamically as a solo artist early on. Ever since I first played a guitar with an EverTune bridge installed, I’ve
wanted one for myself. The idea of a guitar that almost never goes out of
Are you much of a gear nerd? tune sounds perfect to me, considering how much I just throw and trash
I wouldn’t call myself a gear nerd. I like workhorse-type gear. If I find around my guitar when we play live. Tuning stability has always been a
something I like, I generally stick with it for a long time. I love vintage major problem, and an EverTune bridge would be a lifesaver.
Fender amps – the classics – and Strymon makes great pedals.
What would your signature model look like?
Do you have any ‘white whales’? I’d start with a Fender offset body shape, because I find them really
No. I use gear as a tool to summon songs and creativity, and am very comfortable to play and I just think they look really cool. 22-fret neck with
rarely enamored by the gear itself. Sometimes the greatest guitars can a maple fretboard, Bare Knuckle P-90 in the bridge and a humbucker in
be $100 no-name thrift store finds. the neck, but with a switch for a coil split because it’s always great to have
that single-coil tone. Finish it up with an EverTune bridge and some locking
What would your signature model look like? machine heads, and then paint it black with a neon pink pickguard.
I’d probably make a D-18 dreadnought with a thinner neck for smaller
hands, Brazilian rosewood, and a pretty pearl inlay on the fretboard. If you could jam with any guitarist, dead or alive...
I have an absolutely huge respect for Tosin Abasi and his playing, and would
If you could jam with any guitarist, dead or alive... absolutely love to jam “The Woven Web” or any Animals As Leaders songs – just
I’d play with Elizabeth Cotten and ask her to show me some pickin’ tricks. so I could step back and watch him play some of those massive thump parts.
10 | FEATURE

SAD,
BUT
STILL RAD EQUALLY CHARISMATIC AND CHAOTIC, THE DEBUT
ALBUM FROM CRY CLUB IS A REVOLUTIONARY
POP-ROCK ROMP YOU’LL NEED TO HEAR TO BELIEVE.
WORDS BY MATT DORIA. PHOTO BY GIULIA MCGAURAN.

T
here aren’t enough pages in this whole magazine to the early days but it was too slow to play in half-hour layering all the other stuff on.
cover everything there is to know about Cry Club. sets, whereas it works really well on a 45-minute long A lot of the songs on the record started with me
In two absolutely stacked years of back-to-back album. Because y’know, if you’re investing yourself into working on an instrumental with those basic elements,
bangers, the kaleidoscopic Melbourne-via-Wollongong that much time for one band’s music, there’s only so and then Heather and I working on a vocal and writing
pop duo have proved three things to be true: much 150BPM pop-rock you can handle in one bite. the lyrics together, and then stepping back and going,
1. They can make virtually any vibe gel effortlessly “Alright, where can we push this?”
with their fantastical fusion of synth and shred – from One thing that really stands out about this
molten, math-inflicted punk chaos (“Robert Smith”) to project is that when you combine both of your What can you tell us about your go-to guitar?
deep, smoke-soaked club house (“DFTM”), to shimmery, personalities as artists, you get this very Heather makes fun of me because of how many
‘90s-channeling acoustic balladry (“Lighters”) and powerful style and character that is entirely times I tell this story, but it’s actually a guitar that I put
everything in-between. unique to Cry Club. Between your background together as a teenager. Because at the time I couldn’t
2. They don’t need a room full of songwriters or a in audio engineering and history playing in afford a real Fender Jazzmaster – the only Jazzmasters
billion-dollar budget to make pop music capable of heavier and more technical bands, and you could buy in shops were, like, $2,500, and I was 17
rivalling the biggest names out there. Their forthcoming Heather’s history with musical theatre and so I obviously didn’t have that money! I was on a website
debut full-length was recorded on one guitar – a slightly acting, do you find that your respective called offsetguitars.com – that was the forum I spent all
dodgy homemade Jazzmaster that rifflord Jonathon cultural upbringings are integral in cracking my time on as a teenager, which says everything you
Tooke built at 17, no less – on a budget that would the code behind Cry Club? need to know about me as a person – and I was asking
make you think the band sold their soul to Satan for For sure. I’ve been playing in bands for, like, ten everyone, like, “I want to put together a Jazzmaster!
soundscapes as tight, rich and clean as they mustered. years now, and I’ve experienced all the positives and Here’s my plan! What does everyone think?”
3. They are truly unstoppable. Heather Riley [vocals] negatives that come with that. I was a session player So the neck and the body come from a company
and Tooke were just one date shy of wrapping up a for a while, I toured with Bec Sandridge, I played in a named MJT, and the pickups are Curtis Novak pickups
sold-out national tour in support of “Robert Smith” when twelve-piece gospel band and a mathcore band, going that were wired in by a company called Rothstein
the Coronavirus pandemic hit, and despite being unable and playing all these weird house shows and that sort of Guitars. It has a standard Jazzmaster neck, and then
to get back out on the road, hype surrounding them has stuff… And I think coming out of that, if I was to collect the bridge is a stacked P-90, so it’s a P-180, and I made
only skyrocketed in the last few months – thanks in no all of those experiences and describe how they intersect them give me a little coil tap so that when it’s up, it’s
short part to the announcement of that aforementioned with Cry Club, it would be that I just want to be more just a standard P-90. It’s wired so that the neck pickup
debut, God I’m Such A Mess. direct with this project. I want it to be audience-facing. is standard, but this back one is so hot that it redlines
Before the album launches next month – after which I’ve seen a lot of projects where it’s like, “This is just anything it gets near. Anytime I need some super crazy,
we’re giving it a year before Cry Club become the biggest for our own satisfaction.” The biggest Cry Club fans in like, there-is-no-transience-to-my-guitar-at-all kind of
name in Australian music – we caught up with Tooke to the world are Heather and I, because we endlessly listen stuff, it’s like, “Alright, back pickup time!” I have a bunch
vibe on how he and Riley whipped up their masterpiece. to our own music, but we want to be making stuff that of other guitars at home, but this is the only one I have
connects with other people as well, and making sure that in the studio at the moment, because I’m only working
How did you find that this album shapeshifted the bridge between us and them is less opaque. We can on Cry Club stuff right now.
as you worked it? play some really wild stuff – the end of “Dissolve”, for
It’s an interesting one, because it was made over example, is this crazy huge key signature change, and So why that guitar for Cry Club?
such a long period of time. Our producer, Gab [Strum]… we have that riff in “Robert Smith” where it’s in 9/4 – but I wish I could give you a really technical answer like,
He’s a busy boy! There were points where we were we try to frame those things in a really accessible way. I “Ah, I love it’s midrange, and the sustain is great” – but
like, “Alright, you’re going to America for two months, have this whole philosophy that if you’re doing something the sustain on it is actually shit, and I can’t even bend
can we just get a bunch of sessions in before you go?” complex, you need to frame it simply, and if you’re doing on it because it’s a ‘60s-style neck and it’s got this giant
And then he’d come back from America and go on his something simple, you need to frame it in a complex curve. But it has an extended scale length, and it works
own tour for the Japanese Wallpaper project, and then way – just so that it’s constantly engaging. really well in alternate tunings – all Cry Club songs are
he’d be DJ-ing for Allday for a month or two. And in the in E standard, but the G is an F#; that’s just to make me
meantime, not only was he doing our record, but he’d At the root level, how does a Cry Club song dumb enough to do weird stuff. And a lot of my guitars on
be in the studio five or six days a week with multiple come to life? this record are incredibly dry. Because the part just needs
different people and projects. So it was just a case of For a lot of what the first record is, because every to be good – I can layer it in effects after the fact, but in
finding the times that worked for all of us. song was approached with the idea that we want to play the moment, I just need to make sure the part is right.
At the start, it was like, “Okay, we need to focus on it live, our formula was that it had to start with a drum I’m doing a lot of effects in Pro Tools that I’m trying to
the singles,” because we didn’t have the time to really part that could be performed by a real drummer, a bass match live, but honestly, a lot of it is just caveman shit.
dive into a full record. And then when it came time to guitar part and one guitar part, and then a vocal. And I am by no means a tone wizard – I pull up the same NI
go, “Alright, let’s get into the album tracks,” we hit an the song has to exist completely within that structure – Guitar Rig preset every time I start playing this guitar on
impasse and Gab was like, “You know you’re allowed to if it’s not working with those super minimal elements, a song. I want to make sure my parts work well without
have intros on the deep cuts, right?” We had this one then those elements need to change. And then when effects, so that when I do apply them, it’s like I’m icing
song, “Wish” – it was an audience-favourite track from it comes to the production, that’s where we can start the cake, not just trying to cover up a mistake.

| www.guitarworld.com/australianguitar
 | 11

THE NEW RAZZLE DAZZLE

BLENDING FUTURISTIC SOUNDS WITH NOSTALGIC ATTITUDES, I DON’T KNOW HOW BUT THEY FOUND ME
(A.K.A. IDKHOW) BRING MORE THAN JUST THE RAZZMATAZZ TO THEIR AS-TITLED DEBUT ALBUM.
WORDS BY MATT DORIA. PHOTO BY LAUREN PERRY.

F
ew acts have managed to score major to have to do forever. So rather than continue that kitchen sink at a recording, and to have a producer
international breakouts with maniacally same storyline, we decided to have it take a bit of a on-hand to let me do that, and then subtract elements
devoted fanbases quite the way I Don’t Know left-hand turn with this record. out of the recording until we had just what was needed
How But They Found Me (also known by their to present the idea – that was a really great way for me
much more page space-friendly moniker, iDKHow) Can you talk a bit more about where the to be able to work and operate. Because if we don’t try
have – especially when you find out they did it all project is heading from here, narratively? something, then I’ll always have that question mark
before even formally announcing the project. Sure! The initial narrative was that [iDKHow] was a over my head – even if I’m wrong. But if I have the
See, iDKHow is the pairing up of two inimitably band from 40-plus years ago, which just got forgotten opportunity to try it, then at the very least, I won’t ever
idiosyncratic alt-scene icons, Dallon Weekes and about over time. Which is a pretty common story, have to think about it again.
Ryan Seaman (ex-members of Panic! At The Disco actually – there are plenty of really brilliant musicians
and Falling In Reverse, respectively), and iDKHow who never really had their moment of cultural Do there exist iDKHow demos that were too
is a narratively focussed retro-pop project as significance. A great example of that is a band called weird even for yourself?
Death, from Detroit – and I discovered a lot of bands No. I will never, ever limit myself to being too
curiously quirky as it is furiously funky. It’s the
like them through the internet, so we decided to take weird. I think that would be a mistake for any artist,
perfect pastiche of household names and a truly
that experience that a lot of older musicians have to restrict what they’d allow themselves to do. What
out-there concept, and as proved by their crash-hot lived, and recreate it in a semi-fictional way. But for you allow yourself to put out into the world, that’s a
debut album Razzmatazz, the hype is well-earned. this new record… Without giving too much away, we’re different story. But at the very least, get it out of your
Spread across a tight 12 slivers of glittery synths, pulling the curtain back a little bit more – there’s a head. Get it out of your system. Because who knows,
roaring bass, ear-tickling effects and vocal melodies little bit more to the story, if you look closely enough. maybe it’ll work!
more captivating than a car crash, Razzmatazz is
a surefire end-of-year list-topper for any fans of How do you straddle the line between
‘80s dance-pop and hair-metal, but also just a killer authenticity and schtick? Are you still all about the P Bass?
body of work in its own respect. It’s wickedly fun, I don’t want to lean too hard into the conceit of the Yeah! The [Fender Precision Bass] is my go-to;
shamelessly experimental, and has a damn heap aesthetics – because y’know, they are fictional. And that’s where I start and usually where I finish. Every
of replay value thanks to just how much left-field there are bands who certainly do lean heavily into it. A once in a while, I’ll pull out a semi-hollow, too. On this
freakiness Weekes and Seaman were keen to cram in. band like Ghost would be a good example – they’re record in particular, I recorded a lot with an Epiphone
Before you fire up your own stream of the record playing characters on and off the stage, and that’s not Violin Bass, which I’ve never done before, because
(or do it right and slap the 12-inch down on your necessarily something we wanted to do. We wanted to those things are tiny and I’m, like, six-foot-three. I’ve
platter), check out what Weekes had to say about take a page out of The Beatles’ playbook: after they always felt really weird on them – the Hofners have
the making of this eagerly awaited epic. made Sgt. Pepper, they would still do press as always felt like these little toys that I’m just going to
themselves – they were just presenting their music with break in half if I touch. But this Epiphone one had
This is the debut album for iDKHow, but a story around it, which was meant to give their fans a some weight to it, felt really great and just sounded
space for their imagination to wander around in.
through projects like The Brobecks and amazing, so I used it a lot on this record.
It’s just an opportunity to create more art, rather
your stint in Panic! At The Disco, you’re
than just make 12 songs and go, “Here you go, here’s
certainly no stranger to “the scene”. How 12 songs.” To me, that would just feel like a wasted
have you been able to funnel what you’ve opportunity. So we’re singing and you’re writing about
learned over the years into iDKHow, to the things that are quite real, but presenting them in a
most of this project as it grows its legs? semi-fictional way. And maybe that serves a purpose
I think from any given pursuit – whether it’s other than having a way to entertain people, too – it’s
a job, or music, or school, whatever – you take almost like I’m putting a shield up in
experiences with you as you go. And if you’re smart, front of myself, to kind of protect
you’ll take the good things with you and leave myself from what I’m singing about.
behind the bad. That’s certainly what I’ve tried to
do, as I’ve progressed from one sphere to the next I think part of it has to come
in the music world. There are things that you either down to who you and Ryan are
experience or see, and if they resonate with you, behind the music. It’s clear that
you’ll go, “Yeah, I think I’d like to employ that in my your personality – or at least
own technique.” And the things that you don’t like the parts of it you put out there –
or that affect you in a negative way, you leave those matches the eccentricity of your art.
things behind – or at least you try to. I never, ever want to write something that
feels disingenuous, or like it doesn’t have any
meaning behind it. There are plenty of artists
So between Razzmatazz and the 1981 EP,
out there who treat music like a product first and
we know there’s a storyline, or a world of
art second – they treat it more like it’s Coca-Cola than
pseudo-fiction, in which iDKHow exists.
a form of expression or self-reflection. And I just can’t
How did you want this album to tell the
bring myself to do it that way.
next chapter in that story?
I wanted to take the story that we initially came Are you a big believer in experimentation?
out of the gate with, and push it in a bit of a new Yeah! I love to experiment. I rarely get the
direction. It’s inspired a lot by artists I admired opportunity to do that in the studio, but in the small
growing up – like David Bowie, who did Ziggy amount of space we had to record this album with our
Stardust, or The Beatles and Sgt. Pepper; y’know, producer [Tim Pagnotta] in LA, he was really willing to
these artists who created fictional beings and get weird with me. And that involved things like taking
stories to present their art. And just growing up in apart cassette tapes and recorders, and finding ways
the time that I did, and the way I discovered music – to mess up sounds and make them sound older than
that was probably the biggest inspiration for the they really are, or invent whole new sounds.
aesthetics of iDKHow. But it’s not something I want I have a tendency to throw everything and the
12 | FEATURE

THREE TIMES
THE FURY
ON THEIR POIGNANT AND EMPOWERING NEW ALBUM
USE ME, PVRIS FRONTWOMAN LYNN GUNN TAKES CHARGE
AND EMBRACES HER WELL-EARNED TURN IN THE SPOTLIGHT.

WORDS BY MATT DORIA. PHOTO BY SASHA SAMSONOVA.

D
espite always being at the forefront of their sense that I can actually genuinely create, and talk how you bring them all together into this
creative output, Lynn Gunn has often been about the creative process as openly as possible. celebration of pop music and the genre’s
overshadowed by her bandmates in PVRIS – innate diversity. Going into the writing
and not just because of how small she is as a person Three albums down and almost a decade in, process for this record, were you excited to
when standing beside them. For years, Gunn felt the what made now the right time to make such a mess around a lot and throw a bunch of stuff
pressure to minimise her voice and downplay how monumental leap forward? at the wall to see what would stick, or did
responsible she was for her band’s work – partly out It was kind of naturally just happening anyway, you have a pretty clear vision for what you
of fear she’d look selfish, but mostly because when with the way that this last album was written. The wanted it to be at the start?
you’re a woman in rock and alternative music, owning whole process of making the album was very – it was It was a little bit of both. The most important
the spotlight comes with significant risks. all pretty new and very scattered, and just a very thing about working with whoever I’m collaborating
But for PVRIS album #3, Gunn has stepped up different way of making an album as opposed how it with is knowing that the dynamic is going to suit us
to the plate and defiantly rejected the culture that has been in the past. I worked on it pretty much all. From the core, everything needs to be coming
pushed her into the shadows. From the cover art alone, and I had to do a lot of stuff on the fly, as far from me, and will be, and needs to be steered by
of Use Me to the narrative surrounding it, she’s as tracking instruments and writing lyrics went. It what feels right for me. It’s all about bringing in the
was really chaotic for the album to get finished, and right collaborators – because that can really
unashamedly celebrating that it’s her work to
the easiest way for that to happen was to just leave it enhance the art, or it can flip an idea on its head
be proud of – that she’s responsible for all of the
with me and let me work on it alone. and make it something that really compliments
summery pop bops and searing rock jams that fill its Everybody in the band is in a different place in their
tracklist, and goddammit, she isn’t going to sacrifice whatever I’m bringing to the table.
life now as well, as far as where we are when we’re off This has definitely been the closest to where I’ve
that credit because some major-label dickhead in a tour and we’re not all together. But it all felt very imagined PVRIS being since really early on, and I
suit warned her against it. natural in the end. It’s been the best dynamic for think part of that comes from finally saying, “F***
And so she should take the credit – Use Me is, everybody moving forward, I think – which has been it” and just going for it. And having the right
in so many ways and for so many reasons, PVRIS’ very comforting as well. collaborators to help bring that to life, and crack
most ambitious and outstanding release to date. It that vision further… Like dude, JT Daly was such a
presents a much louder, prouder, more confident and Working on the fly and in more isolated great, great, great producer, and such a great
fearless Gunn than ever before – and, not to mention, settings, does the atmosphere around this partner to have in making this album. We were very
a sonic palate downright bursting at the seams with record feel different to you, compared to much on the same page, and he really understood
top-notch beats and brilliant production. the first two? where I wanted to take this album.
When we get a hold of Gunn to chat about the I think as far as creating on the fly went, there JT is a really diverse producer as well, just as
album, she’s hanging out at the beach, her laugh were a lot of similarities but also a lot of differences. far as what he’s capable of doing. My intention is
bright and her enthusiasm infectious. This is the age It was similar in the sense that there would be no always to just focus on making a great song, and I
of PVRIS 2.0, after all, and she’s embracing it with structure or conventional time limit on how things like to always have something new and exciting to
her head raised high. were made. The first two albums were definitely drive that in the production. The song might be
made in a bit more of a traditional fashion, as far as something very simple when it’s written down, or
This record shows you taking a stand as a going, “Alright, we’re going to lock ourselves up for something that’s very intentionally crafted, but if
songwriter, stepping up to the forefront and this long with this producer, and we have to leave at it was masked in a different style of production,
owning your role as the main creative force in this time with an album ready to go.” But within that might be something totally different.
PVRIS. Has it been a liberating journey so far, small bit of structure, there was a lot of going with And JT was really good at helping me find what I
the flow and tracking as we were writing, writing as was looking for with these songs, and knowing when
being able to embrace that spotlight and lead
we were tracking and creating very intuitively. to dig into the aggressive parts and when to pull
the charge on LP3?
And with this album, it was definitely very intuitive back, and understanding the dynamic of that. I
It’s not even really been about the spotlight, to be in that sense of there not being any structure. Every could nerd out about JT for hours, to be honest!
honest. It’s just about just wanting to be truthful and song was treated and approached differently, from
authentic to what is actually happening behind the the writing to the tracking to the production. But as Can we nerd out about guitars for a little?
scenes, and to be transparent and open about the far as the freedom in creating it went, and I guess the Hell yeah we can! We were using a little bit of
creative process – not having to dodge any weird rules intention behind the album – that’s always been the everything. JT has a Jaguar that I played so much –
about the format of the band or things like that. same. At the end of the day, however a body of work we tracked using that guitar for pretty much
In the past, I used to kind of shrink down whenever is made, the main intention is that we want to make everything, actually. I’ve used my Jazzmaster and
I’d talk about writing and collaborating, because I felt something that feels exciting and refreshing. I always Mustang a bit, too… I’m a Fender person all the way. I
like I couldn’t really take that charge or talk about how want that excitement to translate to the record, too – just prefer the sound, I prefer the styles, and I think
involved I was – just to, like, uphold the dynamic. We and to do that, you kind of just have to roll the dice they’re a much more timeless brand of guitar. And we
had this perception of what a band’s dynamic should and hope for the best. have a really great relationship with them – they’ve
be from watching and studying a lot of the bands that always been really supportive of our band and
we came up playing with, but that was never really This record totally blew me away how many provided us with instruments whenever we’ve need
how PVRIS worked. So it just feels really freeing, in the different sounds and styles you explore, and them, so I’m ride or die with Fender for life.

| www.guitarworld.com/australianguitar
 | 13

ONE PETAL AT A TIME

EARNING A MAJOR LABEL SMASH-HIT AND FENDER’S SEAL OF APPROVAL JUST TWO YEARS
INTO HER CAREER, BEABADOOBEE CERTAINLY ISN’T HERE TO F*** AROUND.
WORDS BY MATT DORIA. PHOTO BY CALLUM HARRISON.

Y
’know that feeling when you see a word for ready to do an album.” I had written Fake It Flowers and Sonic Youth and My Bloody Valentine… I was
the first time, and then suddenly you notice and I had written the stuff that I’m going to release just progressively weaving my way into it. And now
it pop up everywhere? That’s called the after Fake It Flowers… I’m in this really weird type of I’m back on everything that was in the background
Baader-Meinhof phenomenon, and there’s a good limbo state where I haven’t been able to write much as of my childhood, like Alanis Morissette, Suzanne
chance you’ve been experiencing it recently with of late, but I feel like I should just accept that and live Vega, Juliana Hatfield – and y’know, finding bands
Beabadoobee. But fear not: Filipino singer-songwriter within this era, and just appreciate everything that’s like Veruca Salt and all these artists that continue to
Beatrice Laus is neither industry plant nor scientific happened so far. inspire me… I just love music, man.
phenomenon, but rather an indie-pop vanguard blazing
her own trails to stardom with hypnotising gems of How do you juggle your work-life balance? What made you gravitate towards the guitar?
dreamy, droning guitars and bewitchingly bold vocals. It’s a learning process. I didn’t expect any of this Well, I played the violin for about seven years, and
Since dropping the “Coffee” single from her bedroom to happen, y’know, I didn’t think music was going to I think that got me used to stringed instruments. And
at age 16 (less than four years ago), the Britain-based be a thing – my plan was to be a nursery teacher! But then I moved to the guitar and I haven’t touched a
up-and-comer has played for sold-out arenas with acts then this happened all of a sudden, so I’m still sort of violin since – so I don’t even know if I can still play
like Clairo and The 1975, become a bonafide YouTube getting used to some parts of it. It’s really hard to get that. But I remember being in RE class and watching
sensation, released four stunning solo EPs on Sony used to some of it – especially for someone like me Juno, and that’s how it all kind of started. It’s an
offshoot Dirty Hit, and even caught the eye of Fender, who never thought I’d be able to make a career for amazing film on its own, but the soundtrack just stuck
who gave her a lucrative sponsorship and advertising myself in music. But it’s cool – I appreciate everything out so much for me. It sparked something within me,
deal for their new Offset Player Series range. that’s happened along the way. This is a blessing, and and I was like, “Woah, I want to make songs like this!”
The past two years have been especially wild for I’m really grateful for it. It’s just about taming the That really influenced the type of songs I made at the
Laus, but she’s only getting started. Just this month, feeling of being overwhelmed and nervous, and all the beginning of my career, like “Coffee”.
she released her absolutely astonishing debut anxiety that comes along with that.
full-length, Fake It Flowers: 41 straight minutes of I’m legitimately jealous of how quickly
equally slick, searing and soul-moving indie-rock, Do you reckon you’ll be one of those artists you’ve become so great at playing the guitar.
her warm and warbly voice dancing delicately over that has a new record out every year? Do you feel like you’re still learning the
mountainous peaks and valleys of guitars teetering If that happens, I’d be cool with it. I feel like it really ropes as you keep hitting these milestones?
effortlessly between clean and crunchy. depends on my workflow, and how quickly I’m able to Oh yeah. I’m definitely still a beginner, and I
A few days before it came out, we hopped online with write in the future… But I do write a lot, I suppose, so if don’t think I’m an amazing guitarist – my guitarist
a notably buzzy Laus to vibe on her meteoric rise to the that does end up being the case, then sure! Jacob is an amazing guitarist. I can find good chord
top, how she’s keen to shake it up with Fake It Flowers, progressions, but I can’t shred. I think what really
and what mystical mirth lies waiting over the horizon. I was reading earlier about how your helped me was the tunings I find, and the alternate
parents raised you on a healthy diet of tunings we play in. I have this massive Sonic Youth
Your work ethic has been pretty insane thus bands like The Smiths, The Cranberries and book, which I still haven’t delved into properly, and it
far – you had two EPs each in 2018 and 2019, Sonic Youth. Would you say rock music has has all their tunings in it. My manager gave it to me
and now a full-length album out year. Are always been a core part of your DNA? as a birthday present, and there’s, like, actual pages
you just constantly coming up with ideas? My mum used to play a lot of artists like Alanis where it shows the neck and all the chords to their
Yeah! During the process of working on Fake It Morissette, and I think because that was always in the songs – it’s the biggest hack ever!
Flowers, I put myself into the role of just writing as background of my childhood, and having her play all
much as I could. And after I got off tour last year, I these amazing women from around that time, that How did your recent collaboration with
just had so many songs locked up in the bank – songs really kind of paved the way for how I found music Fender come about?
that didn’t make it to the EPs and songs I had written growing up. And then the friends I met and the music I guess they just knew that I played the guitar, and
after, before or during tour – and I had way more than we used to talk about and listen to, that’s when I found they knew I was really interested in learning more.
enough for an album. And I was like, “Yeah no, I’m The Smiths and The Cure – and then I found Pavement They knew I had a lot of tunings, and they’ve really
helped with that – I have a stupid amount of guitars
in my rig now [laughs]. I have a guitar for each tuning,
and then a spare for each, and then also all of Jacob’s
guitars… Honestly, I think it’s just an excuse to get
loads of cute guitars.

Have you guys spoken about the potential

of a signature model yet?
Not yet, but that is totally a dream of mine!

So hypothetically, they hit you up tomorrow

and go, “Yo, Bea, let’s f***in’ do this thing!”
What would it look like?
I am absolutely in love with the Jazzmaster I used
in the studio, so it would just be that, with the P-90s
and everything the same... It’s so freaking heavy, and
I am such a tiny person – I complain about that shit
all the time, but I do not mind at all if it sounds like
that guitar. I’ll start lifting weights, I don’t care! So it’s
that guitar, but it’s in, like, a unicorn vomit finish – the
colours are this weird, trippy blend of pink and silver
and purple and blue, and it looks really girly!
14 | FEATURE

FEEDING
THE FIRE
THE FRONT BOTTOMS MASTERED THEIR TRANSITION FROM BASEMENT-STAPLE
FOLK-PUNKS TO ARENA-PACKING POP KINGS. NOW, THEY’RE THROWING CAUTION
TO THE WIND WITH AN ALBUM OF PURE, UNFILTERED CHAOS.

WORDS BY MATT DORIA. PHOTO BY MARK JAWORSKI.

I
n the span of five albums, two EPs and a handful “Montgomery Forever” and “Leaf Pile” – the There was a classical guitar with nylon strings that we got
of scattered mixtapes and one-off drops, The Front guitars are just f***ing insane… Like, you are to put on a lot of stuff – that was really fun to play around
Bottoms have donned many a cap. Most will agree just absolutely shredding on this record. Was with. I got a Fender acoustic-electric towards the end of
on their folk-punk phase as their most defining: the it fun to unlock your inner rockstar? the process as well, which was cool.
go-to structure was a bed of raw, harshly strummed Hell yeah! It was ripping, y’know? It was a fun
acoustics, playful horns and jangly keys over which experience because we got to get in a room together What is it about that Masterbilt Epiphone that
frontman Brian Sella would wax lyrical – with clarity and basically just jam out. It was me, Mat and our you adore so dearly?
and polish defiantly optional – on frayed connections, producer friend Erik [Kase Romero], and Erik would be It’s rugged, y’know? I always try to play the guitar as
anxiety and general early-adulthood turbulence. But as like, “Okay, I’ve got this guitar riff.” And then he’s just rough as I can. So even though the electronics maybe
Sella grew up, so too did The Front Bottoms’ sound. rip out this absolutely insane thing. He would don’t sound the best, or as clean as something else
2015’s Back On Top saw them throw everything normally play bass with us, but he filled in a lot of the out there, it doesn’t matter – it just has to be loud and
and the kitchen sink into one big, overblown musical guitar stuff on this one. sturdy. I kind of like that energy in general. If I go into
smoothie of pop, rock, funk, punk, balladry and He and I would exchange riff ideas back and forth a guitar store, I’m buying, like, the wackiest guitar I can
even a little tropical flare. Almost in rebellion of how all the time – and he’s just A+ when it comes to find. I like the wacky stuff and the cheap stuff – the stuff
motley it was, the follow-up – 2017’s ultra polished and engineering and musicianship and stuff like that, so that’s going to make you go, “Dude, what the f***?”
we were very lucky to have him in the studio with us.
pop-focussed Going Grey – was notably understated. That’s more my flavour – all that expensive stuff doesn’t
But it was definitely a ripper. Especially a riff like
But if anything, it seemed The Front Bottoms had found really do it for me.
“Leaf Pile” – that riff is so intense and heavy and
a comfortable medium to exist within; a formula to scary, and I feel like with the acoustic guitar playing
which future instalments could adapt. that heavy riff, it’s just kind of extra cool. I’m glad we It fits the overall vibe of The Front Bottoms, I
And then came In Sickness & In Flames. Album #5 got to experiment with that. think – it’s not flashy or technically insane,
is not only the Jersey duo’s most experimental work by it’s just loose and fun.
an unapologetically wide margin – it is, in all the most There’s also a bit of a bluesy edge to “The Oh, 100 percent! I just like the vibe of having to
idyllic ways one could imagine, an absolute clusterf***. Hard Way”, which is pretty new for The Front work with what you’ve got – that’s always been how
It makes Back On Top feel milquetoast in comparison. Bottoms. Have you always had a soft spot for we’ve worked best. It keeps us feeling creative, y’know?
Pop it on shuffle and one second, you’ll be tapping your the twanger side of the musical spectrum?
toes to a catchy and kitschy dance-pop number – the Yeah, I think so! It always gets to a certain point, It’s clear that Mike Sapone’s influence as a
next, you’re being roundhouse kicked in the temple when you’re playing with guitars, that you’re going to producer is lacquered all over this album.
by a wicked overdriven post-metal riff. Just as you’re fall into certain patterns. So with a song like that, What was it like working with him?
regaining composure, you’ll hear a country scorcher because it is just those four chords driving it along, it Mike Sapone, man! What a guy. He was very inspiring
pave the way for a piano ballad to fill the frame. kind of has a rock ’n’ roll vibe – it definitely goes into in the studio. Probably my favourite thing about him
There was no way we couldn’t immediately hop on that country sort of twang, and that’s something I was was that he was so positive, y’know? There was never
the phone with Sella once we’d settled down from our really excited about. any negative energy whatsoever, and he would really
playthrough. The Front Bottoms have officially entered There’s a song called “Carry You Down The Street” let you go nuts with the creative stuff – any and all ideas
chaos mode, and we needed to know everything about that we have from, like, a way long time ago – and also were exercised. And I think that’s why it was so good
it. Thankfully, we got a ring… “I Think Your Nose Is Bleeding” – those two songs from to work with him, because if somebody had an idea, he
The Front Bottoms’ early days, to me, feel like country would just be like, “Okay, let’s take that to the extreme
In a way, this record feels like a response to songs. I don’t think they really sound like country songs, and see what happens.”
Going Grey: that LP was very tight, focussed but that attitude is definitely there.
and pop-centric, whereas Sickness is very So it’s always sort of been there, it’s just that at the Having some really experimental songs for
loose, jammy and experimental. Was that a time, with how we were expressing the music, it wasn’t this album, did it just make sense to work
deliberate contrast you wanted to nail? really in the forefront. But it definitely is on “The Hard with a producer who’s ostensibly best known
Nothing was really deliberate. The Front Bottoms Way”, hell yeah. With that little guitar solo, we were for making weird-as-f*** records?
is just kind of a reflection of the life Mat and I live – definitely trying to tap into that country vibe a little bit. Yeah, man, that’s exactly it. I mean, the song “Love At
because it’s been our lives’ work for so long, it just We were all just rockin’ and rollin’ together, so all of that First Sight”: we had that sample that I had recorded – 
happens the way that it happens. Because it is like an energy just came out naturally. it was just this random little voice memo of our friend
art project, essentially, we always try to go with the playing at an open-mic night – and we just put it in there,
flow. But it is a bit like that, y’know? Whenever you What guitars did you have to rock ’n’ roll with? I sent it to Mike and he looped it, and it somehow became
finish a big art project, like an album, whatever you do On this record, I was playing a very simple Epiphone a song. And it like, “Okay, yeah, shit, this is cool.” So it
next is always going to be a little bit like a reaction, or a acoustic-electric – it’s one of the Masterbilt models, but, was definitely all about that process of experimenting
response to what came before it. So there definitely was like, at the cheaper end of the line. I would always play and trying new things that we would never have thought
a bit of that going on, but it wasn’t super deliberate. those live because plugged into an amp, it just rips. And to do in the past. And y’know, Mike Sapone is the best of
then y’know, I’m not really like a gear head, so I would the best to experiment with. I don’t know how his brain
On some of these songs – especially like just kind of grab whatever was around in the studio. works, but it does some wacky shit, man.

| www.guitarworld.com/australianguitar
 | 15

SOPHIE HOPES FINDS HER ROAR

THE DUMB DAYS ARE OVER AND TIRED LION ARE READY FOR A SECOND SHOT AT LIFE,
THANKS IN NO SHORT PART TO THE RED-HOT RESILIENCE OF THEIR BADASS FRONTWOMAN.
WORDS BY MATT DORIA. PHOTO BY HAIDEE LORENZ.

T
o say it’s been a long time coming would percent me is terrifying. But it is also very liberating. that little, shitty Strat pack, all the way to playing
be one hell of an understatement, but after shows in Perth and kind of moving up the chain,
almost three icy years of anxiety, uncertainty This record feels a lot tighter and more to then playing shows in different countries and
and difficult self-care, Tired Lion are finally back on focussed than Dumb Days – which isn’t to stuff – and he was just staring at me, looking at
the prowl and ready to make their next attack on say that record wasn’t great, this one is just this guitar. I was like, “Man, I so want this! I wish I
Australia’s thriving grunge-punk revival scene. a total step up in those respects. Was that could buy it.” You know what it’s like being a
‘Their’ might not be the right word, however: despite something you wanted to nail with this LP? musician when you’re just barely scraping by – you
her insistence of it not technically being a solo project I really appreciate that, because I have worked so can’t afford shit like that. But Tony turned around
given the new record’s full-bodied sound, and the fact f***ing hard on this record for the last three years. and just said, “I ordered that guitar for you.”
she’ll drag a team of mates up onstage with her once And you get kind of nervous, y’know? Like I was Like… What!? And he was like, “You can take as
touring becomes viable, everything in Tired Lion – and saying, when it’s all down to one person, you can’t long as you want to pay it off.” I was just like, “Are
everything on the ripping new album Breakfast For hide behind anyone – so that’s awesome to hear. And you serious dude? This is insane!”
Pathetics, out in November on Dew Process – comes that’s exactly what I was aiming for. I don’t know, It was pretty cool, because we had this really
at the helm of sole surviving member Sophie Hopes, maybe I just wanted to prove to myself that I’ve got important show that night – this was before we got
following a period of chaotic upheaval after the cycle this, and that I could do a record all on my own. signed to a booking agent, and we had some
for 2017’s Dumb Days came to an unceremonious end. And it’s been scary, because I had so many industry people coming to check us out – and Tony
After relocating from Perth to Brisbane, Hopes comments on our three-year anniversary post for secretly let me take the Jazzmaster out of the store,
was effectively abandoned by her bandmates, Dumb Days where people were saying, “Oh my use it that night and bring it back the next day.
who scuttled off to form a new project while the God, I love this record, it got me through all of this I just love that guitar so much, and it’s never
frontwoman was left to rebuild Tired Lion from shit, I still listen to it in my car…” And I’m just here failed me. I did try to buy a new guitar recently. I
the ground up. But thanks in no short part to her like, “Shit, I wonder if this new record is good thought, “I want something fresh!” I was in the
unwavering resilience, determination to prove her enough to compete with that.” middle of writing this record, and you know how
strength and unf***withable talent with axe in hand, picking out a new instrument can give you a
Hopes was able to bounce right back with an album I feel like you learn a lot from doing the different type of inspiration, or whatever? So I gave
bigger, boomier and more impenetrably badass than debut album that really helps out when it it a shot and I bought a Jag-Stang, but I ended up
anything her old crew could’ve wished to scrounge up. comes time to do the next one. being like, “Oh… This is shit.” Kurt Cobain designed
Now Breakfast is ready to be served, and Hopes Oh, absolutely. I have grown so much as a musician a horrible f***ing guitar, man! Like, there’s no
is looking straight down a bright new path ahead for since Dumb Days came out – like, I am so much better cutaway – it especially sucks for girls as well, your
Tired Lion. Let’s find out how she lined up the pavers. at guitar now. I always used to just kind of take it easy, boobs just sit flat with the guitar. But I’ll give it one
because Matt [Tanner, ex-lead guitarist] would come in thing: the neck is a lot shorter than my Jazzmaster,
Were you always determined to keep with his parts and handle everything. So doing this so I felt like a total shredlord.
pushing on with this project as Tired Lion, record, I didn’t really have the choice to not improve. So yeah, I gave that a go for a while, but I ended
or was that up in the air for a while? I worked on it every single day, I learned how to up just thinking, “Nah, this isn’t doing it for me.”
It was definitely up in the air for a while. It wasn’t program drums, and I just practised whenever I could. And then I picked up the Jazzmaster – which I’d
easy. I got to a point where I kind of thought, “Well, And I’ve kind of developed my own – in a non-lame neglected for about a year at that point – and I was
everyone else has given up, so maybe I should too.” way – signature guitar vibe. It’s not too complicated… like, “Man, why did I put this thing down!?” It’s the
And then I just… Like, I wish I was a quitter [laughs]. I guess you could say it’s kind of like best! I can’t get over it.
But unfortunately, my parents didn’t raise me to be that Pavement-esque style where
one – I just stuck at it for ages, and for while I thought, it’s like the shit version of being
“Maybe I should just change everything and f*** Tired good at the guitar.
Lion off completely, just do it under a different name
and start from the very beginning.” So in this photo, you’re posing
But it kind of sucks because everything I had been with the classic off-white
working towards up until that moment, it all counts. I Jazzmaster that’s been on
wasn’t ready to just throw that all in the bin. So it was your hip since the very early
pretty difficult at the start, trying to figure out where I days of Tired Lion. What
was going to take it, and the journey that it’s taken me is it about this guitar that
on has been really interesting. But I feel like this was makes you so inseparable
totally meant to happen, in some weird way. I think from it?
I’ve really come into my own through this experience, The story behind it just means so
and I’ve figured a lot of things out about myself. much to me. I didn’t have a whole
lot of money when the band was
So having really taken the reins with this starting off, but I went into this
record, do the songs feel more creatively music store called Concept Music in
liberating, or do you feel closer to them? Perth – that’s where I bought my
Totally. I guess when you’re in a band, you’ve very first guitar, which one of those
everybody around you and there’s sort of like this super cute beginner Strat packs
extra layer of security – if you’re putting yourself out where it comes with the solid-state
there, it’s not as scary because it’s a ‘band thing’, and amp and the tuner and all that
there’s no direct spotlight on you. You can kind of hide cheap stuff. I went back into that
behind your bandmates whenever you want to. And store and I was just, like, frothing
that was the scary thing about doing it on my own, over this Jazzmaster.
because I hate talking about my songs! I hate putting And the dude behind the
myself out there. I write music because it helps me to counter, Tony – he’d been watching
get through things, so the fact that this is all 100 me grow from the minute I bought
16 | FEATURE

PANIC ATTACK
ROCK ’N’ ROLL AIN’T DEAD – JUST LOOK AT ENGLISH SHREDHEADS
NOTHING BUT THIEVES FOR PROOF. IN FACT ON ALBUM #3, THEY’RE TAKING
THEIR SIGNATURE MODERN ROCK MAYHEM TO A WHOLE NEW LEVEL.

WORDS BY MATT DORIA.

B
ack in 2017 (ah, simpler times), Australian one and two. are crunchy guitars and real drums in every
Guitar was granted the privilege to hang out I feel like it just comes from experience, and from track – hell, even some math-rock vibes on
with Nothing But Thieves ahead of their Sydney knowing ourselves better as artists now. And of course, “Phobia”! Was it important for you to
show opening for Muse – a gig that would see them just getting better at our craft. I think it’s like anything – maintain that authenticity as instrumentalists?
blast 30 minutes of their powerful and poignant if you made Wotsits for a living, you’d get better at 100 percent! That’s another thing I’ve noticed a lot
pop-rock directly into the eardrums of approximately it after making them for 10,000 hours. The amount more of lately – when bands try to become modern, they
21,000 concertgoers. of hours that I’ve spent writing, that Dom [Craik] has think the way to do that is just slap a crappy synth on the
At this point, the English fivesome had just lifted spent with a guitar in his lap and that Joe [Langridge- sound they already have and call it a day. And it’s not.
the cloche on their hotly anticipated second album, Brown] has spent doing everything behind the scenes… For us, we still want to keep things as organic as we can,
Broken Machine, and had been kicking around All of that has just made us better songwriters. using real instruments and having real songs – and just
the scene for a little over five years. They were no finding ways to make that atmosphere more modern-
certainly no small-time hobbying rockers at this stage So how did you want this record to build sounding and experimental without compromising on
(they were, after all, the direct support for one of the creatively on everything you’d done before? our authenticity as a band.
world’s biggest rock acts on a sold-out arena tour), It actually started in Australia! I had a day off in I do think that with this record, if you stripped
but we could sense the nerves bounding around – it Sydney and I was walking with Dom, doing that whole everything back down to its barest form, there’d still
was clear that Nothing But Thieves were, however well kind of Harbour Walk thing. This was just after we did be songs in there. There’s always the soul of a song
they hid it, unprepared for their recent catapulting the second album, and out of nowhere he just turned that exists when you take away all the synths and the
into the mainstream. to me and he was like, “Mate, I think our melodies production, and that’s always been really important for
Three years later, the band have grown well into could be better. I think we could be more interesting.” us. But just because our songwriting has gotten better,
their fit of modern rock’s new ringleaders: frontman And I remember at the time being, like… Not offended, we’ve been able to build more on those souls and do
Conor Mason speaks jovially with as much confidence but just like, “Oh… Really?” [Laughs]. But then I was more with our sound.
as pride, rearing to wax lyrical on how he’s exploring reflecting back on it, and I was like, “Yeah, okay, he
an exciting new world of pop and hip-hop influences. does have a point.” So I started studying the flow and So what’s the dynamic like between yourself,
Broken Machine is old news, too – it’s all about Moral rhythm of hip-hop, and pop movements throughout Joe and Dom as guitarists?
Panic now: an album that builds on the roaring rock history, and all this stuff that I wouldn’t normally study. Joe and Dom are both the driving force of the guitars.
’n’ roll that NBT cut their teeth on with kaleidoscopic I think that’s all just kind of transcended into Dom’s brain is always in this odd, boisterous, zany,
synths and songwriting detours that take them in a what we write now. And Dom is a wicked producer – jaunty sort of world. He’s always going, “Where can I
myriad of unanticipated new directions. he’s been producing pop and hip-hop artists for years move around the beat? How can I make this guitar part
But don’t sweat about their comfort in fame leading now, and I think that’s just made him more aware of as hard and as interesting as possible?” And I really like
to them ditching their guitars. Mason swears up and what we could do and where we could take our songs. that – he’s always trying to pull it and push it, and he
down to us that six strings, four chords and the truth And he’s really pushed us with that knowledge. He’s just never wants to do any kind of standard settings or
are all the band will ever care about at their core… always trying to find the newest way to present a rock stereotypical rock tones.
But then again, since they have the opportunity to band, and I really like that. People always say shit like, I think Dom writes most of the guitar parts, but Joe’s
explore beyond the boundaries of such, why wouldn’t “They need to bring rock back,” but I hate that phrase – got this great ear for the lead playing – he’s got a really
they? Moral Panic only just came out, but it’s already I think we need to move rock forward. Because it died good ear for solos and the melodic side of it all. And
dominating the charts from Sydney to Spain – thanks in its tracks for a reason, I think. then where I come in, in terms of anything to do with
in no short part because Nothing But Thieves refuse Even outside of Nothing But Thieves, I’m always the guitars or the music – I’ll just take a step back from
to rest on their laurels. writing from the perspective of a learner. And under everything and listen to each part individually, like I
It’s a weird, wild and uneasy new world that lies a pop background, that just has more energy and it’s would with a melody or anything else. So whether it’s a
ahead for us – and as you’ll read in our following more interesting to me, rhythmically and in terms of synth, a guitar or a melody line, this or that, I’ll always
down-to-earth chat with him, Mason wants to make what’s possible to present with your sound. think, “Can I sing that back? How I can make that the
the soundtrack for it. best it can possibly be?”
I can name at least a dozen bands that started Sometimes if Dom’s writing a riff and he comes up
It’s always a cop-out to go, “Oh, you can tell off with a heavy rock slant, tasted chart with something super interesting, I’ll just question him
you’ve improved your skills” or whatever – success and then went full bore into the digital and be like, “How about that note there stays in the
but this really does sound like the definitive pop realm. But even as Nothing But Thieves same beat as that hook, so the sequence flows better?”
Nothing But Thieves record: a true evolution continues to climb the ladder, you’ve kept But I think it’s good for me to take a step back and not
of the stylistic threads you’d sown in albums things very analogue and instrumental: there actually touch the guitar when it comes to writing.

| www.guitarworld.com/australianguitar
 | 17

THE BEGINNING
OF THE END
THEIR NEW ALBUM MAY BE CALLED A CELEBRATION OF
ENDINGS, BUT DON’T GET IT TWISTED: BIFFY CLYRO
AIN’T GOING ANYWHERE SOON.
WORDS BY MATT DORIA.

I
t was a ballsy move when, in an era marked Ellipsis was definitely our last real album, and
predominantly by its crippling (if well-earned) that was three or four years ago now. But we
negativity, Biffy Clyro set out to make the like to stay busy as a band, y’know? We love
happiest album of the year. Their eighth proper LP being a band and we love making music – it’s
of genre-bending glory (not counting last year’s not a job to us at all, it’s our life – so it just
full-length soundtrack to the Balance, Not Symmetry felt obvious for us to just keep pushing ahead
film), A Celebration Of Endings is an overwhelmingly with the next thing as soon as we finished the
optimistic offering from the Scottish rockers, who Balance, Not Symmetry album.
spend 45 minutes searching earnestly for diamonds
in a mountain of shit. And beyond all odds, they Listening to this record front to back,
unearth some – eleven of them, to be exact, their it’s a bit of a rollercoaster ride – one
haul shiny and succinct. moment, you have these huge wallops
A Celebration Of Endings launched to some of of attack and distortion, and then the
the most intense critical acclaim that Biffy Clyro next you’ve got these really tight,
had ever seen, and for good reason: we could all cruisy pop melodies. How did you go
use a smile right now, and the trio elicit more than about striking that balance between
plenty of them with riff after riff of loveably crunchy the light and the dark?
guitars and the kind of wonderfully accented wails I think we’ll always have one foot firmly in the door band. It’s really important for us to take you on a
only Simon Neil can belt with such aplomb. as a guitar rock band – y’know, that’s our history and journey with each album. And y’know, [A Celebration
We caught up with Biffy’s bassist James Johnson that’s our makeup, that’s who we are. But we’re a Of Endings] isn’t a long album – it’s 40 minutes or
to find out how LP8 made it over the line and band that likes to push ourselves as well, and we something – but when you get to the end of “Cop
why it’s such a special release for the band, the don’t want to keep making the same record over and Syrup”, you really feel that you’ve listened to a huge
unexpected catalyst for why it’s so damn loud and over again. We want to feel that we’ve got something body of work. And that’s kind of what we wanted: we
caked in colour, and how he and his bandmates new to say, musically and lyrically, and we always want to take you on a journey. We want the record to
managed to come up with the most the outright want to be pushing ourselves in new directions. be a companion piece to your life – we don’t want it
most insane Biffy Clyro tune to date. We always take influences from a lot of different to be a little bit of noise in the background.
places – maybe less so on this record, actually. I know
The conspiracy theorist in me is worried that seems strange, but mostly, what brought us to I’m glad you mentioned “Cop Syrup”,
about that title: is this foretelling the end this point is what we’d been doing musically over the because that is easily one of the most
of Biffy Clyro? last couple of albums, the Balance, Not Symmetry batshit crazy tracks in Biffy Clyro’s entire
You can rest easy, Matt, we’re not going anywhere! soundtrack and the MTV Unplugged show – those catalogue. How did that song come to be?
The album is really about change. It was partially things really informed what we were trying to do this I think a lot of ambition went into that song, to be
about changing the personal circumstances within time around. Every album we do is a a reaction to honest. Adam and Simon had the idea for that
the band, because we had a couple of long-term what came before – whether that was Ellipsis as our middle section of the song – that big kind of
relationships that came to a bit of an acrimonious last album, or the Balance, Not Symmetry soundtrack, orchestral, psychedelic section. Simon was playing
end before we started making the record. And it’s or doing Unplugged. around with that chord pattern, and we all felt that
about dealing with the changes that society has been MTV Unplugged was especially eye-opening for it was really strong and really dreamlike – it just
going through, and the changes it needs to go us, actually. Sitting down and playing in these really moved us to a beautiful place in our minds. And
through. It’s about celebrating and embracing all of posh venues, really exploring the songs in a then one day, we had the idea to make it collide
that change. Because change can be a difficult thing different way and sharing that with the audience – with this punk rock song that we had. I think it sort
in life – but society is going to change for the better, it was such an amazing experience, and it took us of shows the two sides of Simon’s brain – y’know,
and I think it’s time to celebrate that. right out of our comfort zone. But that being said, it nobody is a straight line, and “Cop Syrup” is a great
did also remind us that we wanted to rock the f*** example of the ambition that Simon has for the
Even with the COVID delay, this marks the out on whatever we did next. band and for the music.
shortest gap there’s been between Biffy Y’know, we’ve been a band for a long time, and
Clyro records. What made you guys want to Would you say that’s a testament to the there’s influences all round – but ultimately, it’s just
jump right back into the studio and bash chemistry you have as a band? about the feel of a song for us. And I think when you
this one out so quickly? I think so. We have a connection as people that go through a tough moment and you come out on the
The Balance, Not Symmetry album was a really goes way back to when we were kids – y’know, we other side with more confidence, it’s a really special
exciting project for us – it was such an amazing all grew up together, so I think there’s a reasonable thing. That’s where I think we’ve found ourselves as a
experience, because it had always been a dream of amount of telepathy going on when we’re making band, and that’s where those lyrics comes from: “It’s
ours to go out and make a movie soundtrack. But I music as a band. We’ve made so much music self preservation / Baby, I’m scorched earth / You’re
think the way that came around, the way we kind of together, and spent so much time in each other’s hearts and minds / F*** everybody!”
wrote for it and how it all came together… I don’t company, that we have our own language when it Simon came up with those lyrics – he was like,
want to rubbish it, but it doesn’t feel like a proper comes to being creative. And I think that’s really “I only need Ben and James to make music!” And
album – we don’t consider that to be a part of our important – it allows the band to take these massive it’s slightly tongue-in-cheek: he’s not that cruel a
actual discography. But again, that’s not to rubbish right-hand turns at moments. man [laughs]. But it does come from that feeling
it, or to imply that we didn’t put all of our effort into That’s the key to how we’re able to change up our that we’ve got a real strength as a band, with the
it – it was just something different for us to do. sound without changing the core elements of our connection that we have.
18 | FEATURE

15 YEARS OF
REASONING
LOOK AT THIS PHOTOGRAPH… OKAY, NOW READ THIS INTERVIEW, WHERE NICKELBACK BASSIST
MIKE KROEGER LOOKS BACK ON 15 YEARS OF THE ICONIC ALL THE RIGHT REASONS.

WORDS BY MATT DORIA. PHOTO BY RICHARD BELAND.

L
ove ‘em or hate ‘em, the cultural impact of million copies. Such a big failure, right!? in a limo somewhere in Dallas, a little bit drunk and
Canadian crunch-pop quartet Nickelback is simply And then we came out with All The Right Reasons, listening to Christina Aguilera. And I remember Vinnie
irrefutable. It started out of desperation: frontman and that gave us an even bigger resurgence – it turned just going crazy, saying how he thought it was the best
Chad Kroeger was working a dead-end job at a Starbucks out to be our biggest record to date! shit ever. I was just sitting there going, “What am I
(where prices ending in ‘.99’ meant he’d often hand witnessing right now!?” They were really just fans of
customers a nickel back in change – so now you know A good handful of the most iconic Nickelback music – they didn’t really let genres or personalities get
where that name comes from), and recorded the band’s songs are on this record. What was that in the way of what they liked. They just liked what they
debut EP on half a $4,000 loan from his stepfather (the writing process like? Were the ideas just liked, and they appreciated what they appreciated. And
other half went, naturally, to his shroom dealer). pouring out of you? like you say, that’s so f***ing metal.
The investment quite obviously paid off, and by It was productive, but there were definitely some
the turn of the 21st century, Nickelback were packing hard times. Creativity is like that, y’know? Sometimes Speaking of which, last year you noted that
stadiums full of radio-rock fans young and old alike in it flows freely, and sometimes you’ve gotta kind of you wanted to put a full-on metal record out.
any city that would host them. And in 2005 – defying fight for it a little bit – and fight with it a little bit. But Is that still the goal?
the odds waged against them by their own team – overall, it was a great experience. It was intense and I know the interview you’re talking about – that
Nickelback would release one of the most successful it was a lot of work, but we came out of it with a great was an interesting one, because there was a little bit
albums in rock history with All The Right Reasons. album. It seems that if you don’t leave a little bit of of context manipulation going on there. That’s the
And one glance at the tracklist makes it clear just why: your sanity behind when you make an album, you same article, I believe, where the person wrote that
“Photograph”, “Far Away”, “Rockstar”, “Animals”… It’s haven’t dug deep enough. And we most definitely left I wanted Nickelback to make a Slayer cover album –
absolutely jam-packed (pun intended) with setlist staples. some of our sanity behind on All The Right Reasons. which is not really what I said. What I said was that
15 years later, bassist Mike Kroeger looks back on I would like to make a Slayer cover album – y’know,
the album with a fond reverence – which makes sense You guys were able to use a guitar part from me, Mike, not the band Nickelback, but just myself.
when you learn how little faith Roadrunner Records the late, great Dimebag Darrell on “Side Of A And the same kind of goes for a heavy metal
had towards it at the time of release, before it went on Bullet”. How did that happen? record; [2017’s] Feed The Machine is about as
to become one of a very select few diamond-certified We’d known the Pantera guys since a really early consistently heavy as we’re ever going to get. There
rock LPs. To celebrate the anniversary, the band have time in our career. They were fans of ours from the was that goal there to make a heavier album, which
released a special expanded edition of All The Right beginning, and we would always see them out on the we obviously did – but y’know, we’re looking to the
Reasons featuring rarities, live performances and a full road or whenever we would go through Dallas; they next thing now. I do still want to make a metal album
remaster of the original album mix. would come out and ply us with alcohol. It was always for myself, though. That’s certainly where I live, and
He also gifted us with a few minutes of his time to help fun to be around those guys. They were our brothers. that’s where I’m the most comfortable as a musician.
crank up the nostalgia machine. Shall we dive right in? And then when Dime was murdered, we wanted to
pay tribute to him. We were able to get some of his What I love most about Nickelback is that
Looking back on this record as the artist and unused solos and a few other bits of his playing that you’ve got a very catchy and approachable,
the music lover you are today, how do you we would actually lay into the track… It was a really pop-oriented rock sound, but there is this
feel about it? Do you think it’s aged well? special thing for us. underlying energy and grit that feels very
Well, I suppose I do. The initial response to the The guy was a legend, as well as his brother – that much in line with what you’d expect from a
album was very good, and the tour went forever whole band was, y’know? They didn’t give a f***. I metal band. Are you always trying to find
which is usually a good sign – if you go on the road mean, if you know anything about Pantera, you know new ways to inject a bit of that influence into
and never come home, that usually means you’ve they didn’t give a f***. They were just doing what they your songwriting?
done something right. It was two years on the road did. A lot of people didn’t like the fact that they were We all come from different places, musically, but
with multiple trips to virtually every inhabited friends with us, or fans of our music – but the metal the one thing all four of us have in common is that
continent, and it was fantastic. world can be a little intense to its own, y’know? So it we all have our roots in heavy metal. So it’s not that
And y’know, it was funny because after the was just really cool that they didn’t care about that, hard for any one of us to coax out some heavier shit,
success that we had with Silver Side Up, with the and they just wanted to be friends with us because y’know? We all grew up on Metallica, Megadeth,
song “How You Remind Me” and all that, everybody they liked what we did. Anthrax, Slayer… The boys are a little lighter on the
was saying, “Okay guys, it’s pretty normal now that Slayer than I am, but they’re certainly one of my
your career is going to wind down.” And then we did There is nothing more metal than favourites to glean some influence from. I’m really
another record, The Long Road, and that was largely being friends with a band like Nickelback. on a Slayer jag right now, actually, just going through
considered to be a failure because it only sold five I remember the first time I met those guys, we were their whole catalogue again.

| www.guitarworld.com/australianguitar
 | 21

A NEW AGE WAR CRY

2020 HAS PUT UP ONE HELL OF A FIGHT THUS FAR, BUT FOR THE SOUTH AFRICAN NU-METAL MANIACS
IN SEETHER, IT’S JUST ANOTHER YEAR IN THE LIFE – ONE THEY’RE READY TO SHOW WHAT’S WHAT.
WORDS BY MATT DORIA.

T
hough inspired by the sounds of the ‘90s, the he’s a producer, fine, I don’t love or hate the guy – but friends between all three bands. It was a brotherhood.
South African hard-rockers in Seether have he and his engineer, they would buy up a bunch of It was an absolute circus, but it was a brotherhood.
delivered an album notably well-suited for guitars and amps, and because they spent all their So I’ve known Corey since then, but the thing is,
2020 in Si Vis Pacem, Para Bellum (translating from money on those guitars and amps, they just wanted to he never told me he played guitar. And that’s the
Latin to If You Want Peace, Prepare For War). use them all the time. So you’d come into the studio interesting thing about it! Because I’ve always just
As frontman Shaun Morgan agrees with palpable and they’d say, “Okay, this will be your distorted guitar known him as a bassist – he’d only ever been a bassist
enthusiasm, the 50-minute monolith marks a for the album, this will be your clean guitar, and these in all the bands he’s been in since I met him. So every
major turning point for the band: it’s not only their are the amps we’ll use.” And so ultimately, they’re just time I asked him, “Hey man, do you know a guitarist?”
sharpest and most meticulous effort to date – that creating albums where it’s different bands all sounding He would say, “Yeah, yeah,” and would help me find
much due to Morgan returning to the producer’s the same – which doesn’t make any sense to me, somebody else, never telling me that he could play the
chair after cutting his teeth on 2017’s Poison The y’know? So I learned from Howard not to ever do that. damn guitar. And then he finally did, and he came out
Parish – but it’s also their most authentic, Morgan But yeah, it’s always exciting to steer the ship! It and played guitar with us, and I was like, “Goddammit
tapping deep into his inner turmoil to brew an was especially fun this time around because Corey man, this is who we’ve needed forever!”
artistic statement as bleak as it is bold. had just joined the band, and he assistant-engineered He brings a lot to the table with his personality
In addition, Si Vis Pacem, Para Bellum is the first the record alongside Matt Hyde, who we did the last alone – he’s a really energetic and positive guy – and he
Seether album to feature Corey Lowery on lead one with as well. And we made a really great team brings a lot of expertise with him as well. He’s a great
guitars. With his frenetic frettage, Lowery brings a between the three of us. It went really smoothly. Pro Tools engineer. And he’s just one of those guys that
deft edge of heavy metal to the fold – but he also I mean, we did 21 entire tracks – not mixed, but you like to be around, y’know? He will find a reason to
helped out behind the scenes, making the team completely edited and put together with all the band be happy when there certainly doesn’t seem to be one.
behind the desk the strongest Seether en masse guys – in 17 days. That’s a rate of productivity we
have ever had to work with. haven’t seen in quite some time. What was the studio dynamic like between
As the band gears up to conquer the world On the first album we ever did, the producer dragged the two of you as guitarists? Were you
virtually via livestreamed performance, we had a us out into a three-month process to do 12 songs, throwing many ideas back and forth, or
chat with Morgan about why taking over the reins which I thought was ridiculous; we had to record “Fine experimenting with different parts together?
as producer was the best decision he’s made in Again” from the ground up four or five times, because Well, I wrote all the stuff. I think the understanding
Seether thus far, why Lowery was the perfect man he was never in the studio to do it properly. So being with these guys is just that Seether is my thing, as
for the job left open by Bryan Wickman, and why at the helm of it all myself is quite thrilling. Last time it far as the songwriting goes. There have been times
you should never fill your studio with expensive was nerve wracking and I was terrified, but this time I where we’ve written albums together – we’ve been
gear if your intentions are to force it all on people. actually felt pretty good; I feel like the songs are even in a room and we’ve jammed and written stuff as a
stronger than they were last time, to be honest. unit – and there’s other times when I’m doing it and
So this is the second Seether album that I guess the only pressure I felt this time was that I they just kind of let me run with it, because y’know,
you’ve produced yourself, after Poison The needed to exceed the expectations we laid down with Seether is basically everything that I hear in my head.
Parish in 2017. Did going into this record the last one, and I needed to leap right over the bar I So what Corey was instrumental with – no pun
feel easier, or more exciting, having already set on that record. And I think I did it! I can confidently intended – was that he came to the studio and he
dipped your feet into the process? say that this is the best album I’ve done – certainly the learned all the guitar parts, so that I didn’t have to
Yeah, I was very excited about it. The first one was better of the two that I’ve produced. track all the guitars like I normally do. Usually I’m
terrifying, because the onus was on me to deliver the only guitarist, so I have to play the rhythms, the
[laughs]. I opted to take on that responsibility and What made Corey the best choice to take overdubs and the solos, the re-dos… And y’know,
that risk myself, and I’m glad I did, because I’ve finally the reins on lead guitar? it’s not a chore, but it takes up time. So what’s nice
learned, after so many years, to trust my instincts. Well, he came out on tour with us – that was the about him knowing the parts was that could record
We’ve worked with great producers in the past, tour we did with Nickelback in the UK. Then we did them all interchangeably. One day I’d say, “Okay,
and we’ve worked with terrible producers in the South Africa, then Australia and New Zealand, and well you play this rhythm part, I’ll play the solo, you
past. The best producer we ever had was Brendan then we flew back to the UK – and that was all in the do the overdub, and then…” And then the other day
O’Brien – I learned everything I needed to know span of four weeks. We did all these countries and all we’d do the opposite.
from him. He gave me confidence in myself and my these time zones, and we managed to get through it in It was cool to have that freedom and flexibility –
songwriting, and because of that, I felt like I could one piece without killing each other. So we knew right and the fact that I was able to trust him was amazing.
get to the point where I’d be able to do a record away that he was up for the challenge. I’ve had guitarists before where they were great
without anybody’s help. And to be quite honest, the But I’ve known him for 15, 16 years now. He was in a players, but they didn’t have the feel that I was
last two albums, Poison The Parish and now this band called Dark New Day, and we were on a tour with looking for. And you almost don’t want them to ruin
one, they’re my favourite sounding Seether albums – them and a band called Crossfade way back in the day – a moment that you’re got in your head, because the
because I didn’t have a producer trying to inject their it was probably the most fun I’ve ever had in my life. way they bend their notes was just not how you’d
own sound into it. At the end of that tour, a lot of us were crying over the imagine it. So Corey and I are quite simpatico in that
We worked with this one guy, Howard Benson: fact it was ending, because we had become such good sense, where we both play quite similarly.
22 | FEATURE

BEHIND THE BLOOD

THEY CONQUERED THE ‘90S, NOUGHTS AND TENS, AND NOW SEVENDUST ARE KICKING OFF THEIR
ROARING ‘20S WITH AN ALBUM SET TO REDEFINE THE VERY CORE OF THEIR SIGNATURE STYLE.

WORDS BY MATT DORIA.

W
hether you consider it lucky, unlucky, or And we’re from the South, y’know? There’s a flavour any updates – I don’t if it’s canned or if it’s going to go
don’t give a shit about superstition, it’s to that which is hard to describe – it’s just an attitude, I through, or what the situation in Australia and New
hard to deny that 13 is a pretty impressive suppose, just like you have an attitude in punk rock, or Zealand is as far as allowing people in. You guys have
number when it comes to the amount of albums one has in hip-hop, or in the blues. W have that vibe; we have a handled the pandemic a lot better than we have, so I
put out. Especially in the case of a band like Sevendust, culture, and a presence that you know can only come don’t know if they’d even allow us in.
who continue to one-up themselves – and their signature from the South. As far as I know, we’re still on – but you know how
searing and commandeering alt-metal sound – with it all is, and how it’s all been unfolding – they keep
each new release. Blood & Stone is no different, shaking Do you find that you’re still discovering new pushing things back, so would it surprise me if they
things up with the beautifully balls-to-the-wall riffs, ways to present yourself as a guitarist? postponed again? No. But as of right now, everyone
maniacally monstrous singalongs, and the occasional Yeah, I mean, there’s always a new trick that you’re seems to be optimistic.
unexpected plot-twist (like a cover of Soundgarden’s trying to add to the arsenal. There’s always a discovery
“The Day I Tried To Live”, presented in tribute to the late, to be made. When I was younger, I played all the Are there any songs on the new record that
great Chris Cornell). time – I played for eight hours a day, just bullshitting you’re especially keen to bust out?
As we learned chatting with lead guitarist Clint constantly, so I discovered those things quicker. Now I’ll I put together a setlist that we’re going to do for a
Lowery, the key to Sevendust’s enduring success is their play the guitar just to write, for the most part – I don’t livestream coming up, and I have to say, a couple of the
refusal to stagnate – for as long as their hands can lift really practise for soloing or anything like that. But songs on this record are the ones I’m most excited to
their instruments and their vocal chords can muster the occasionally I’ll stumble upon some kind of movement play. There’s a song called “Dying To Live” that I really,
lyrics, they’re keen to keep reinventing the wheel, then that excites me. really love. We’ll play about three or four songs off the
promptly smashing it to pieces. At the moment, I’m doing these things with slide new record, because it’s a really exciting record for us
techniques and string-skipping – that’s my flavour of and we want to celebrate it as much as we can.
It’s not often that a band’s 13th album will be the month. And then in the studio, I’ve really gotten into Usually we’d only play about one or two songs from a
their best, but this is just an absolute ripper. layering, and trying new ways orchestrate how I’ll layer new record – maybe three, at the most – just because we
This far into your career, how do you manage guitars – making sure they don’t fight for frequency, have other songs that we have to get to. But we’re going
to keep things feeling fresh and exciting, not making sure they all have a place in the mix… I love to play a lot of these new ones. Obviously we’ve got to
just for the fans but for yourselves as artists? doing that stuff, I could do that all day! play “Blood From A Stone”, and the Soundgarden cover
Oh man, that’s always the challenge. To be honest that we did [“The Day I Tried To Live”]. And then there’s a
with you, we never expected to go past two or three What guitars did you have in the studio this few others on there that I really want to do – there’s one
records, y’know? But one thing I think has kept us on time around? called “Alone” that I’m super excited to rip out.
our toes, and kept the chemistry alive and the thrill
I always have the PRS Custom 22 that I’ve named
still there, is just the relationship we have with each
Bruce Lee; it always has to make an appearance. PRS Do you write many of your parts with the live
other – there’s a very strong mutual respect that we
sent it to me years and years and years ago – probably show in mind?
all have for each other. I mean, we’re brothers – we
fight, and we do all the things that people who spend around the time of our second record [Home], and I fell I was talking to Morgan about this the other day, and
a lot of time together do, but at the end of the day, we in love with it there and then. It has its own soul, man. So I think in the future, we’re going to make much more
adore our fans. that’s always been one of my favourites to record with. of a conscious effort to. After doing this for so long,
Sure, music is our livelihood – it keeps the lights on I used a lot of the PRS baritone guitars as well – you get a sense of how things are going to go. After
and keeps food on the table – but at the end of the day, they’re what I call the war horses for the type of music watching a song perform well and really translate to a
we still get those chills when the lights go down and we we play. There’s a couple of songs in drop G# sharp, so crowd, you learn what kinds of tempos, fills and riffs are
hear the crowd start to cheer. I honestly see every one I need that longer scale neck and that chunkier sort of going to be attractive to the audiences.
of the guys, at some point, get pepped up on that stuff. built. So we used those a lot for the main parts. And And y’know, sometimes it doesn’t go as planned –
So it’s cool. We still dig it! And we’re going to continue then for the colour, I was messing around with some sometimes you think, “Aw, this song’s gonna be great,”
to do it for as long as we all dig it. other guitars, like a PRS Star, just to kind of get more of but then you play it and nobody really cares about it.
a thin, nitty kind of tone. But it’s usually the case that we know our audiences
So is this the definitive Sevendust album? well enough that we can predict what they’ll be into,
I think it definitely has all of the ingredients that You guys were initially scheduled to tour and we’ll take advantage of those things when it comes
makes up our sound. We always accomplish that on Australia with Steel Panther back in May, to putting a set together.
some level: sometimes we stray a little bit towards which obviously didn’t happen; but the last We definitely want to keep the energy alive, so the
the melodic side and sometimes we go a little heavier, word we got was that you’re back on for first thing we think about when we’re writing a setlist
sometimes we go a little more odd or a little more February 2021. Is that still the plan? is what kind of songs will get people moving. But when
technical – but at the end of the day, it always just I was actually thinking about that yesterday, I’ve we’re writing the songs, the live show doesn’t even
comes down to Lajon [Witherspoon] being a soulful been meaning to reach out to them about it. I talk to enter our minds – we want the song to serve the song,
singer, Morgan [Rose] being very persuasive… the Steel Panther guys quite a bit, but I haven’t heard first and foremost.

| www.guitarworld.com/australianguitar
 | 23

KNOT WHAT
YOU’D EXPECT
HE BROUGHT NU-METAL TO THE MASSES IN SLIPKNOT AND GOT GRUNGY WITH STONE SOUR – NOW,
COREY TAYLOR IS PUTTING HIS PEDAL TO THE METAL WITH A SOLO ALBUM OF SEARING ‘70S ROCK ’N’ ROLL.

WORDS BY MATT DORIA.

B
etween the sadistic and visceral nu-metal grit what I needed!” That f***ing makes my life, man! that every song may not be a single, but every song is
of Slipknot and the pummelling post-grunge important – every song is f***ing vital to this record. I
punch of Stone Sour, it’s safe to say that Did you look at this record as an don’t want to f*** around, y’know? I just wanted killer
Corey Taylor’s creative heels are planted firmly in opportunity to explore all the genres of songs that people would want to sing along to.
the ‘90s. Or it would’ve been until recently: with music you love and make your own sort of
his long-gestating solo album finally upon us, the playlist of influences? You’ve put together an insanely talented
46-year-old Iowan has tapped way back into his A little bit. To me, it was more about sharing group of collaborators to bring this record to
roots and embraced the equally cool and uncouth my influences, and realising that I’m influenced by life. What was it like to curate the CMFT band?
crunch of ‘50s-thru-‘70s rock ’n’ roll – think along the so many different genres, bands, movements and They’re some of my best friends, man. I’ve had the
lines of AC/DC, Rose Tattoo and all the other classic whatnot, that there was no way this album wasn’t privilege of playing with these guys in various projects
bands that called Alberts home back in the day. going to feel very diverse. But it still just feels like an over the course of almost 20 years. My best friend
But of course, this is Corey Taylor we’re talking awesome rock album, y’know? Jason [Christopher] is on bass, we’ve got [Christian
about – CMFT was never going to be a simple or My approach to making albums has always been, ‘Tooch’ Martucci] from Stone Sour… I was jamming
straightforward 50 minutes for you to pop on and y’know, let’s not lay everything out for people and with Tooch for years before Stone Sour. Zach Throne,
rock out to from cover to cover. This is a dude make it easy – let’s challenge the listener; let’s put who is an incredible guitar player, he and I have been
whose entire existence revolves around sharp things together differently and make sure that it isn’t doing stuff together since 2003.
and severe left-hand turns – from the belting first reminiscent of anything that I’ve done before. And And then Dustin [Robert], who was in Jericho, is
solo on “HWY 666” to the semi-satirical hardcore that was the case with this album as well – I wanted such a criminally underrated drummer – he can just
punk juts on “European Tour Bus Bathroom Song”, to put something together that would really grab play anything! And that was key. Y’know, anybody can
Taylor takes the listener on an all-out rollercoaster people by surprise, throw them through a loop and put together a diverse album, but if your drummer
ride through distant peaks and valleys of classic leave them going, “Holy f***!” can’t really make his way through all of those different
rock. It’s an absolutely breathtaking experience to I do take people through a lot of different genres genres, it’s not going to work. And that’s just how
embark on – but one that demands you shed all on this album, but you don’t really feel it until you talented that kid is, man. I’ve known him since 2005,
expectations for before you do, if only so that you listen to it in retrospect and you go, “Huh, that was 2006 – so we’ve been good friends for 14 years.
can truly be prepared for anything. Because with a pretty all over the place!” But when you’re in it, it This band was such a great unit, talent-wise. But the
record like this, you really should be. feels very connected. most important thing was how good we all get along –
With CMFT now out and wreaking havoc in the how much excitement we bring to the table when we
wild (courtesy of Roadrunner Records), we went You mentioned that a lot of these songs came get together. It’s one thing to be able to go onstage
one-on-one with Taylor to figure out how he made from your archives – why is it only now that with a bunch of people who can play the parts, but it’s
it all happen. you feel you were able to make this record? another thing entirely to be stoked about being able to
I was just waiting for the time to do it. It had to hang out with your friends and play music with them.
We’ve been fans of Slipknot and Stone Sour be the right vibe. But I was going to go in and make
since the beginning, but nothing could have this album regardless of COVID. My plan was to finish Were you recording live to tape?
prepared us for how totally f***ing crazy up the tour cycle with Slipknot throughout this year, Probably 99 percent of the music was done live,
this LP is. Was it your goal to surprise then go in and record this album in January and with the exception of acoustics, vocals, keys and some
everyone with how wild and loose you get February of 2021. I just moved it up because y’know, of the solos. But everything else is live – everything is
on the record? everything got put on hold. right there in the room, all of us just jamming it and
I don’t know if that was the goal – I think it’s It just felt like it was time to get it all out of my going f***ing wild with it.
a byproduct, absolutely. I’ve always been the system. The more time I spent listening to these
guy that puts it out there that if I’m going to do songs, the more I knew that I wanted to put them out. Was that important to capture the raw
something, I’m going to do it wholeheartedly. So if I knew that none of them fit with either band – and energy you were all feeling?
I was going to do a solo album, I didn’t want it to after doing so many records with Slipknot and Stone I think so. I mean, it was definitely something we all
feel like either of my other band. There would have Sour, I felt like it was time for me to show people wanted to try. There was such a great vibe when we
been no point if I was going to do that, y’know? something different; to really put myself out there in were rehearsing, so we looked at each other and we
If I was going to do a solo album, I wanted it to a way that nobody had ever seen before. were like, “Man, we should try to do this live.” And it
represent a whole different part of my musical just worked! Honestly, we spent less time recording
prowess, and songwriting talent. So why these 13 songs in particular? than we did just hanging out. We would all do the same
And that’s really where this stuff came from – Because they were the best songs at the time. I thing – we’d come in for two hours, bullshit and drink
most of these songs have been sitting around for wanted this album to be stacked with the best songs coffee with everybody, and then we would go in and
almost 20 years. I love the fact that people are so that I have, because you don’t get a second chance to play a few songs. It was f***ing ridiculous, dude, we
taken aback by it – that’s the best compliment I’ve make that first impression. It was like, “Let’s just go were such assholes about it. We were just like, “Oh, I
heard about this album so far, that people are like, all-out, right out the gate, and just make everyone lose guess we should f***in’ go in and play.” And then we’d
“I didn’t know what to expect, but it was exactly their minds.” I wanted it to have that old-school feel just bang it out. It was the best bro-hang ever.
 THE
24 | FEATURE

BRIGHTEST
BULB IN
THE ROOM PERIPHERY MAY BE OFF-SEASON, BUT MISHA MANSOOR IS KEEPING BUSY – LIKE,
“TEN BULB ALBUMS IN FIVE MONTHS, WITH EVEN MORE IN THE MAKING” KIND OF BUSY.

WORDS BY MATT DORIA. PHOTO BY EKATERINA GORBACHEVA.

B
parts of them will end up in a Periphery song or
efore he hit the big leagues as the backbone of half of me progressively learning how to make and whatever – who knows, right? But at least it’s out there,
djent-pioneering mosh powerhouse Periphery, produce music, and not really knowing what I’m doing and not just sitting in my Dropbox wasting storage.
turning brains to liquid by the theatre-load with for a good chunk of it. So the quality definitely varies, But then I also like the idea of having solo albums,
his breakneck-paced riffs and turbulent bends, Misha without a doubt. which will be these very deliberate collections of
Mansoor was simply a seven-string-obsessed shredhead songs that I’m especially proud of, and that I’m
with more song ideas in his mind than hours in the day So how do you feel about a lot of that early putting a lot of effort in to present to people. And
to make them a reality. It was the turn of a new decade, material, now that you’ve grown so much as those will get more formal releases with vinyl and
and forums were all the rage – so, under the moniker a guitarist and producer? Do you kind of wish merch and all of that good stuff.
Bulb, he utilised them to share hours upon hours of his you could’ve updated some of it, or do you
genre-bending fretwork. look back on it all super fondly? When do you think we might start to hear
Well I’ll put it to you this way: the stuff I wish I could some of the new-new Bulb stuff?
Nowadays, Mansoor’s formative work as Bulb has a
update, I will. There’s something very raw about those It’s all about strategic timing. There’s really nothing
devout cult following, re-uploads of his rarities garnering
original demos, and it’s kind of nostalgic for me. I don’t stopping me from just putting it all out right now, but I
millions of views each. So, before he officially reignites his look back at it like, “Wow, that sounds great” – it
old spark with a proper solo album until the Bulb name do think there should be some order to it all. I mean,
sounds rough, y’know? It brings back memories of the even with these ten archival albums, I wanted to put
(set to be released in 2021 via his own 3DOT Recordings challenges I was facing at those points in time, whether
label), Mansoor has decided to make his archive of old them all out at once, but our manager was like, “Maybe
it was with the mixing, or musically, or whatever. I can you should separate them by at least a couple weeks.”
ideas readily available in the form of ten meticulously definitely hear how I’ve improved from then to now. I think that ended up being a good call, because it
curated volumes – eight of which are solely comprised of The plan is for these archival volumes to exist as a allows people to digest each volume on its own – but
the old guitar-based cuts, with one album of electronic precursor to an official solo album – something that will it’s all still coming out quick enough that there’s
remixes and one of orchestral interpretations. be a very deliberate release, and that will have songs something to look forward to. Because I think if I just
With all ten volumes now available to stream (we I’m recording, or re-recording, right now. And a lot of dropped 110 songs at once, the first ten or 20 would’ve
recommend pacing yourself, though – there’s over six those will be songs from the archives, but sort of done gotten listened to, and then the other 90 would have
hours of delicious djent to chew through here), we got properly – given the justice they deserve. just fallen into the abyss.
Mansoor on the line to run us through the whole shebang. I’ll put the solo album out this year if I can, and either
How do you differentiate between a proper leading up to that or after it, further archives will come
Did you update any of these old recordings, song and a demo? out. And I might just keep updating those as I keep
or are all of the LPs just pure, cut-and-dry Moving forward, there’s going to be two categories writing and demoing stuff, because I don’t think any of it
collections of those snapshots in time? that a project will fall into. Because I write a lot of stuff is really sacred. If something from the archive ends up as
I didn’t – the main reason being that I wouldn’t even and I write with a lot of different projects, there’s a lot a complete song on a Periphery album, that won’t really
be able to open most of those projects if I tried [laughs]. of stuff out there that literally nobody has ever heard – bother me. That’s always been kind of the ‘easter egg’
I think the impetus for all of this was the fact that and that nobody likely ever will hear. There are lots of relationship we’ve had with our fans anyway – in a lot of
currently, if you wanted to listen to any of this stuff, demos that just never materialised into real songs, and the back catalogue, you can hear ideas or riffs, or even
you’d have to know about it – which would require maybe to some extent they’ll fit into a continuation of entire sections of songs, that started off as demos on my
knowing about the forums I used to be a part of, and these archival volumes. Soundcloud. Some musicians wouldn’t want that stuff to
maybe some of the stuff on my old Soundcloud, neither I’ve just been writing more stuff than ever lately, but I be out there, but I personally don’t care.
of which are very well-known or publicised. And then I haven’t been uploading things because to some degree,
see people passing around Dropbox links for the songs, I’ve been protecting the material – in case it ends up on Would it be safe to assume that Periphery V
posting them up on YouTube and circulating them in a Periphery album or some other project, y’know? But is on the cards as well?
their own ways. And so I was like, “Maybe I should it’s also a matter of there now being years and years In theory, yes! The biggest logistical problem right
make this a little bit easier on everyone.” worth of material like that. So the way I’m thinking now is just that we can’t easily meet up, and the whole
So that was kind of the main reason: I wanted it all to about it is that, while for now Volume 8 is the last one, point of Periphery is that we all write and collaborate
be easier to find and listen to. But it’s not about it’s far from the last archive album I’ve got ready to go. together. I have all these ideas that would be cool for
rediscovering or reimagining any of it. The only thing I Volume 9 could very easily happen, and that would Periphery, but it doesn’t really start until we all meet
did was I had some of the tracks remastered – but it’s a just be something along the same lines where it would up. But y’know, it’s looking like it’s going to be pretty
very light mastering job, just so everything would fit the be a compilation of either incomplete ideas, or difficult to move around the States for a while longer,
same way if you were to listen to different volumes in complete ideas that just nothing ever made it onto a so maybe we’ll have to get more creative and try some
sequence, or whatever – nothing would really jump out record. Rather than letting them fall into the ether, I’ll online sessions or something – which is honestly
as being out of place. just put them out there for people to check out, if they something I’m not thrilled about, but y’know, beggars
Of course, you’re listening to about a decade and a feel like it. And maybe I’ll revisit them one day and can’t be choosers.

| www.guitarworld.com/australianguitar
 | 25

METAL MEDITATION
NINE ALBUMS DOWN, THE ALT-METAL ASSASSINS IN DEFTONES CONTINUE TO REINVENT THEMSELVES – AND
THE SOUND THAT MADE THEM ONE OF THE WORLD’S MOST ENTICING MUSICAL OUTFITS TO BEGIN WITH.
WORDS BY MATT DORIA. PHOTO BY TAMAR LEVINE.

W
e love our bass-slinging siblings Frank [Delgado, keys and synth] got some new record. There’s something that he does that he brings
dearly, but, well, we’re called pedals and a new keyboard, and Abe [Cunningham, that out of us, y’know? For all but two songs on the
Australian Guitar for a reason, so we’ll drums] got a new kit… We all have new toys and record, I’m playing in a B tuning – it’s still a four-string
just put it bluntly: the guitar (as in, the real guitar) new sounds, and as individuals, things that are bass, but I haven’t done that before, so that allowed
is always going to be the star on any great rock exciting to us. And how that collides within the me to go deeper. And my sound has a lot of crunch
album. There are admittedly a few outlier acts band is the organic aspect of it. and a lot of compression, so it’s very articulated.
that give us a run for our money, however – one of Between Stephen and myself, with Stephen playing a
which being Californian alt-metal outfit Deftones, What did you introduce into your arsenal nine-string guitar, we can get pretty deep!
who’d be nothing without the gravelly grunt of for this record? The way that Terry captures music, and the way
Sergio Vega’s four-string fury. For me, it was all new tunings. My writing process that he works with instruments, is really exciting.
Their ninth album, Ohms, is a career-defining was the same – I think it was the same for everyone – I just consider him to be a genius. And Chino also
onslaught of delightfully down-tuned volatility. It but I just introduced some new tunings. I write a lot tunes down as well – we’re playing in a couple of
was released to some of the most fervent critical of my stuff on a Fender Bass VI – I did over half of different tunings to shake things up between songs,
acclaim the quintet have seen since their 2000 Gore on that – and I also write on a guitar. but Chino has one tuning where he has his low string
magnum opus, White Pony, and deservedly so: And because I do a lot of home demos, I can down to A, so we’re all playing in lower registers.
the way they balance airiness and aggression, smash out a song idea from start to finish whenever I Just for fun, y’know? It’s nothing intentional. It didn’t
and explore a wealth tones ranging from angelic like. For instance, there’s a song on this record called factor into the songwriting process as a conscious
to angular, is simply phenomenal – as too is the “Genesis” where I started demoing that as soon as creative thing, but it was definitely a fun thing to do.
continued strength of their collective songwriting the idea popped up into my head – I programmed
chops and determination to evolve stylistically. the drums and keyboards, played the bass and guitar Is it a very collaborative sort of energy
And at the core of it all, of course, is Vega’s parts, and then emailed it out to the guys. when you’re all in a room together?
next-level bassage. The sheer gallantry with which But what made that new for me was that I did it Yes! I think that’s really how it all works.
he juts against lead guitarist Stephen Carpenter all in a new tuning – because at a certain point in There’s a lot of active listening in the rehearsal
cannot be understated – not can the way his the process, some of the stuff I had written on the room, so if someone has an idea, we can all
floor-rattling rumbles weave around Chino Moreno’s Bass VI, I showed Chino and he was like, “Hey, what jump in and put our fingerprints on it. Let’s say
impassioned vocals. We’re not implying that it’s a if we played it like this?” So that was cool. Frank plays something on a keyboard, and Chino
competition, but if it were, Vega would be the true finds it exciting – he’s quick to pick up on that
MVP of this album – which is why we were over the You play a lot harder and with a lot more riff and accompany it on the guitar. So it can
moon when we heard he was keen to wax lyrical attack than I’ve seen from a lot of rock start from anywhere.
about it for Australian Guitar! bassists. Do you consider your approach And everything is constantly being recorded,
towards the instrument to be more in line from the first rehearsals or the first writing
Heading into this enormous ninth chapter of with that of a traditional guitarist? sessions that we’re all there for – I’ll set up my
the Deftones story, how did you want Ohms I don’t know if it’s so much that I approach it like laptop and we’ll put a couple of mics in the
to push yourselves one step further, and a guitar, but I certainly like to explore the bass as room, and we’ll have everything documented.
what did you want to explore on this record a lead instrument. Some of my all-time favourite
that you haven’t before? bands are bass-driven. I think some people associate So you can watch songs shapeshift and
Well, I would say that we never head into an the bass as being a reactionary instrument – other evolve in realtime.
album with an overarching goal. Our goal as a people write the songs, and the bassist just finds Exactly. And it’s a huge thing, because the
band, and as a collective of artists, is just to make their space in that song. But that’s not my dynamic. songs do shapeshift. You can be playing one riff
something that we’re all excited about. Now as It’s a very forward-charging instrument, and it has for an hour straight, but it’ll go through several
individuals, we all have specific agendas and ideas to be for me to enjoy playing it. permutations throughout that time. So we have the
that we want to explore. ability to go back and listen to it from when the idea
We like to enter a recording process with a sort Especially on a track like “The Spell Of first came up, and choose whatever the best version
of palate refresh – for this one, Stephen [Carpenter, Mathematics”, it is that really deep, driving of it is. And ideas don’t get lost that way, either –
lead guitars] started playing a nine-string, I low-end that carries the album at large. if we take an idea too far in one direction and it
introduced some new tunings to my rig, and Chino I have to give my kudos to Terry Date [producer] becomes something else entirely, we’re still able to
[Moreno, vocals and guitar] got some new pedals, in terms of the overall richness and sonic girth of this go back and see what the original idea was.
26 | FEATURE

POWER FOR THE PUBLIC

AFTER TWO ENORMOUS, GAME-CHANGING CONCEPT ALBUMS, THE LEMON TWIGS DIAL THINGS
BACK A NOTCH FOR THEIR AMBITIOUSLY LOWKEY THIRD ALBUM.

WORDS BY MATT DORIA. PHOTO BY MICHAEL HILI.

I
t’s not exactly common that a relatively straightforward pop album, and there are tonnes of records that we’ve radio-friendly pop album I thought it was.” We thought
pop-rock album would be a shock to the system for started floating around, but the one that I want to finish that we were appealing to what people like, but we
any pop-rock band’s fanbase. But then again, The next is a really sparse acoustic record. were obviously just appealing to what it is that we think
Lemon Twigs are anything but straightforward. In a Because there’s a lot going on with this one – every people like – which we’re so disconnected from. We don’t
storied six years, the Long Island-native duo, comprised song is very big and powerful, and we were just kind of know what people like – we just know what we like.
of emphatic and eccentric brothers Brian and Michael throwing every idea that we had onto them. Some more
D’Addario, have made quite a name for themselves than others, of course – there weren’t any strings on What guitars were you playing for this record?
as wickedly experimental and obsessively ambitious, this record, for example, but they’re all pretty heavily I used a Fender Strat for the most of it. For song
whose retro-flavoured concept albums (like 2018’s Go arranged and there’s lot of instruments and synths and “Fight” we used a BC Rich guitar alongside the Strat,
To School) simply need to be heard to be believed. stuff. So for the next one, we want to be very natural. but we used the BC Rich for all of the lead stuff. It was
Songs For The General Public is their third album, and So far it seems like everything that we’ve done has a Mockingbird – it’s the one that Slash played, and it
although it did end up straying a good slick to the left been, in a way, a response to what we did before it. was such a beautiful guitar. Michael used this Gibson
of your standard Top 40 fare, it started off conceptually We’re trying to approach The Lemon Twigs from a very at Sonora [Studios] in LA that actually got stolen – this
as just that: an album Brian or Mike could hand any different angle every time we do. We could produce all Gibson that was made out of a table. I guess it wasn’t
regular fan of pop or rock (albeit hopefully one with a of our records the same way – I mean, our songwriting even really a Gibson, it was a custom guitar that had
soft spot for the old-school psychedelic era of such) and style is kind of just our songwriting style, that’s always a Gibson neck and a chunk of wood from an old 18th
immediately convert them to the cult of the Twigs. And the same – but then it wouldn’t be as interesting or fun. or 19th century dining table for the body. It had a very
it is an easily approachable album, in all the best ways heavy sound.
one could be – catchy, fun, stimulating – without ever So in making an album that would appeal to
veering into mundane territory. the general public first and foremost, did you What is it about the Strat that just makes
Above all, what The Lemon Twigs have mastered with find that you had to… Not necessarily water your heart skip a beat?
Songs For The General Public is the ability to make their yourselves or your style down, but consciously I like the way that mine feels. It’s very comfortable –
trademark stylistic schtick – bright, throwback thrillers avoid getting too weird or experimental with I’ve played it onstage more than any other guitar, and
packed from start to finish with instrumental idiosyncrasy – some of these songs? the ideas just kind of flow from it for me. If I’m in a studio
work for listeners who may not typically be so musically Not really. I mean, the title itself – in the middle of or something, and there are all these guitars that are
adventurous. It’s an entry point to their one-of-a-kind the recording process, we thought the album would unfamiliar to me, it’s kind of hard to be creative.
sonic circus: if you dig what you hear on this LP, there’s be titled Hell On Wheels. Because once we introduced But y’know, I don’t necessarily have a loyalty to the
a good chance they can rope you into either of its more those types of songs – like “Hell On Wheels” and Strat or anything – it’s just the guitar that I gravitate
out-there predecessors. And by that point, just try to shed “Leather Together” – the whole thing took on a very towards most because I know my way around it. When
your obsession with this deliriously dynamic duo. different attitude. It wasn’t just, like, “These are pop there’s a guitar that you haven’t really used that much,
Australian Guitar caught up with Brian to chat songs and this a pop Lemon Twigs record” anymore; it or a tone that you’re not really familiar with, sometimes
about how the band set out to make set of Songs For was about a directness that we felt calling to us. it’s hard to work with. But when it’s that guitar, I know
The General Public, what’s next on the cards (spoiler: The title doesn’t really have to do with this album exactly what i’m doing. I’m just so comfortable with it.
something entirely different), and why you just can’t beat necessarily being for everybody; there is a sense of
the good ol’ Fender Strat for a great guitar-pop tune. reaching out – whether it hits them negatively or Do you find that you and Michael have very
positively – and it’s not like there’s this record that different approaches to the guitar?
After putting out a record like Go To School – exists and you have to kind of get inside it, y’know? Oh yeah! I mean, you can hear it all over the record:
this sprawling, conceptual epic about a This record kind of comes at you and either hits you “The One” and “Live In Favour Of Tomorrow”, those are
chimpanzee raised as a human boy – did it positively or negatively. We wanted you to be able to my songs, and they have a very slick style which I like
feel like an obvious decision to follow it up a hear everything and soak in all the instrumentation, to play with – the solos are pretty well thought-out and
looser and more down-to-earth record? but it didn’t mean that we weren’t going to throw some smooth. And with Michael’s guitar playing, like on “Hell
Yeah. I really like the idea of having all of our records things off-kilter. On Wheels” or “Leather Together”, it’s like everything
be very contrasting and going in a totally different And then once we finished the record and we started is so spontaneous, and it has a really exciting, kind of
direction with every new one that we make. For example, playing it for people, I started to realise that the title is rough sound. And y’know, one is good for certain songs,
with this record, we’ve made a pretty straightforward almost ironic, in a way. I was like, “Okay, this isn’t the and the other is good for other songs.

| www.guitarworld.com/australianguitar
 | 27

THE SOUNDTRACK
TO INSANITY FOR HIS FOURTH ALBUM, THE GENRE-BENDING MUSICAL
MAGICIAN BEST KNOWN AS FANTASTIC NEGRITO POSES A
STRIKINGLY TIMELY QUESTION: HAVE YOU LOST YOUR MIND YET?

WORDS BY MATT DORIA. PHOTO BY LYLE OWERKO.

T
here are effectively two categories of people It was good to break out and do some collaborations, by sitting in that studio, man, firing up that Hammond
alive in 2020: those whose mental health and too. I did one with E-40, “Searching For Captain Save B3, grabbing my trusty guitars and bass, and letting
overall sanity have taken a meteoric nosedive A Hoe”, and then one with my fellow NPR Tiny Desk the songwriting games begin.
since January, and those who aren’t paying enough Concert winner, Tarriona ‘Tank’ Ball, on “I’m So Happy I
attention to the world around them. It feels like these Cry”. That was a different one, but I love that song. What were those trusty guitars?
past ten months have lasted a decade each, what with And it’s so diverse. This record is spread across four There’s three of them. I used the Chapman semi-
the bushfires, floods, global health crisis, economic different genres on Spotify – it’s on the rock playlist, hollow Telecaster model, which was just outstanding.
downfall, rise in Western neo-fascism, etcetera, it’s on the funk/soul playlist, it’s on the blues playlist, This guy from England, Rob Chapman: he’s a genius,
etcetera… Can you tell we’re a little bit jaded? it’s on the alternative hip-hop playlist… I’m very man. I played that on all the rhythm parts on the
The music industry has especially taken one hell happy with those results – I feel great that people are album. The Gibson Les Paul – y’know, I always have to
of a kick to its metaphorical crotch. Most bands out listening to it and becoming engaged, and it’s great use that, that one’s a classic.
there can’t tour, push records out on schedule or get that it means something to them, because that’s why I But the strange star of the record was this ABS-style
out and about with their fans – it’s not a great time to do this – I did this to become a contributor. hollowbody that had… Man, I can’t even call it a pickup,
be on the precipice of your mainstream breakthrough, it’s a microphone! It was this 1960s Harmony that was
to say the least. And if you’re active in both politics How does music help you to reckon with, broken, battered… It was literally split into four pieces,
and music, you’re almost certain to be on, what, your or process everything that’s happening and I had it glued back together – and all the slide
fourth mental breakdown of the year so far? Fifth? around you? solos that you hear were played on that guitar.
Some artists have been fortunate enough to It’s extremely cathartic. It’s a vehicle for myself to
channel their frustrations into art, however. For the express what I’m feeling, and human expression is What made you want to take so much care
Californian blues and roots luminary best known extremely vital – that’s how we resonate, that’s how to restore that guitar?
as Fantastic Negrito, music quickly became a we survive and that’s how we individualise ourselves. It’s like me, y’know? It’s the story of Fantastic
coping mechanism to deal with the oppression and And my message goes out to you, man, it goes out to Negrito: discarded, broken, battered, lost in the
depression his day-to-day life was being flooded my peers. My struggle and my joy and my optimism – world… But I had a feeling about it – just like I have
by. The end result is a timely album with a timely it all goes out to you. a feeling about Have You Lost Your Mind Yet? and all
question for its listener: Have You Lost Your Mind Yet? I mean, this album is… It’s visceral. It’s a feeling the records I’ve done: it’s gotta be beautiful. And it
The two-time Grammy winner’s fourth album, album – I feel like it was so important to bring in the was – if you listen to the guitar solo on “Chocolate
out now on Cooking Vinyl, is his most insular work Hammond B3 to kind of be the star of the record, Samurai”, or that really strange part that almost
to date, each of its 11 tracks dedicated to someone because it’s an extremely visceral instrument; it’s not sounds like a glockenspiel on “King Frustration” – all
Fantastic Negrito is close to. But musically it’s his most a very heady, y’know, brainiac album; it’s this soulful these solos are played on that guitar, and they sound
far-reaching, with hints of pop, rap, funk, soul, rock rock, blues, stompin’, gospel, black roots, funk-rock, incredible. It was an amazing piece of wood.
’n’ roll, blues and beyond all gelling into one beautiful soul… Blues, alligator shoes, cornbread – I mean,
chasm of sonic colour. As we learned from the man it’s swanky and it’s unapologetic, and… I need that. I Some of the tones you play with on this
himself, it’s as crucial a body of work for himself as it need that for myself. record… I think the best way I could describe
is for the world he’s still figuring out how to navigate. them is that they’re luscious. They’re bright,
Funk, soul and blues – this kind of music is bouncy and catchy, but simultaneously so
How are you vibing on everything now that innately very personal, but when you deep and funky. What are your secrets?
the record’s out there, and people have had invite someone into your world and have This is probably going to make you cringe a little
a chance to really soak it all in? them connect with you through that music, bit, but I usually just had an amp – the Orange
I always change so much between each of my it’s a special thing. It means something Tremlord on this record, to be exact – and I’d just
records, I think people are going to hate them when more than just the sum of its parts. plug right into that baby. I turn everything off on that
they come out; the jump in sound between The Last That’s it, man. This was the hardest album that amp and it’s just so clean. I get it in there clean, and
Days Of Oakland and Please Don’t Be Dead was really I ever made, because it was so personal – it was then once I’m in there, I’m able to do a little bit of
drastic for some people, and I think the leap from that more micro than macro. Each song was about a manipulation with a couple of pedals. I’ve got a pretty
record to Have You Lost Your Mind Yet? is even wider. I specific person I knew and how they were dealing standard wah pedal that I use, and I’ve got a fuzz
was in a funkier mood when I was making this record, with the world – their mental health through all pedal. But I don’t really try to do too much, y’know?
so it’s a lot funkier. And that’s a good thing, y’know? this technological chaos, and the internet, and the A lot of it’s just ugly tones that end up being very big
I think the question is very timely, too. I could’ve proliferation of too much information, where the and beautiful and warm – but there’s still an ugliness
asked that question at any time in history: “Have mainstream machine is telling us how to think, how to them. I try to keep some of that ugliness in there.
you lost your mind yet?” But I think it’s all extremely to vote, what to say, what slogan we should repeat, It’s very organic. I’m very open to what can happen –
relevant today with everything going on right now. A who we should scream it at… what the possibilities are when it comes to effects and
song like “How Long?” is extremely timely, especially Left-wing politics is extremely polarising, and it’s pedals. The spring reverb is a go-to, of course, and
with the proliferation of gun violence in America and so exhausting and toxic – I did lose my mind through that Tremlord amp has an incredible vibrato. But other
this recent insurgence in police brutality. all of it. And the way that I lived to reclaim it was just than that, I don’t like to play favourites.
28 | FEATURE

A DOUBLE SHOT OF THE BLUES

THOUGH THEY’RE BOTH UNDENIABLY PHENOMENAL SONGWRITERS IN THEIR OWN RESPECTS, SOMETHING
TRULY MAGICAL HAPPENED WHEN JOSH TESKEY AND ASH GRUNWALD TEAMED UP…

WORDS BY MATT DORIA. PHOTO BY TOM DUNPHY.

Y
ou only have to look at next year’s Bluesfest and just make a real straight-up blues album – just a what it was in the ‘40s, ‘50s and ‘60s. What is
lineup for proof that roots, blues and folk couple of guitars, a harmonica, and just have fun with it about the blues that you think has kept it so
music is alive and thriving Down Under. Hell, it.” And y’know, Ash being the hustle that he is, a few untouchably timeless?
even in the underground there is no short supply of months later he hit me up and said, “Hey, we should Josh: It’s always been around, y’know? It was
fantastic hollowbody harmonisers out there – and actually do that blues record!” old-timey stuff back in the ‘50s when rock ’n’ roll was
right at the tippy top of the food chain, thanks to We’d just finished the cycle for a Teskey Brothers just starting to take over. It’s always been here, and I
their transcendental talents behind the fretboard and record so I had a bit of time on my hands, and Mojo think it’s always going to stay here. People can put their
viscerally powerful voices, are Ash Grunwald and The was finished as well so Ash had a bit of time on his spin on it and it’ll have its place in a modern pop or soul
Teskey Brothers. Both have reigned high and mighty hands, and we just went, “Yeah, let’s do it.” We gave or RnB record – it sneaks its way in there and finds a
as the 2010s’ defacto icons of Australian rhythm ourselves about two weeks before we got into it, and way to rub its influence off on other styles – but then
and blues, with Grunwald’s 2015 opus Now and the we both started doing some old-fashioned blues-style you have these kinds of albums like what we’ve done,
Teskeys’ ripping 2017 breakthrough Half Mile Harvest songwriting. We got my brother Sam to produce and that are really true to what the blues was in its heyday.
especially notable releases. engineer the record for us – it was all on analogue I think it’s just always going to have a place in
For 2020, Grunwald and Josh Teskey have teamed tape, pretty much everything played live in the room, people’s hearts – people continue to love those old
up – with the other brother Sam close by as he mans just real raw and down-to-earth. It was such a blast. records, and they’re just kind of timeless. They create a
the console – for their most faithful approach to the really nice atmosphere – it’s the kind of stuff you’ll put
blues yet: a raw, rootsy and all-over ripping collection What is it about the blues that resonates so on and it’ll instantly transport you to a time and place
of tunes as organic and authentic as they come, both much with you as a musician? you wish you could go back to.
in respect to how they’re presented and how they were Ash: I’ve always been drawn to it, since I was a little
written. Push The Blues Away isn’t a particularly weighty kid. I was 12 in 1988, so y’know, I went headfirst into What guitars were you both jamming on?
release, at just 30 minutes of back-and-forth jamming, the ‘90s where guitar solos were off! But in the ‘80s, Josh: I’m mostly playing my Memphis Custom
but therein lies part of its charm: Teskey and Grunwald in a mainstream song they’d usually have a slide solo 335 – I think it’s a 1957 reissue, it’s one of the ones
didn’t set out to create some big, career-defining or something, and as a kid, I’d hear that and go, “What from the custom shop with the hand-cast neck and
masterpiece with this record – rather, they were just is that!? Why does that sound cool!?” After a while, I the old, original lacquers on it. I love that guitar. I
keen to hop into a studio, pick up some guitars and see learned there was a word for that soulful thing that was bought it myself right before we released Half Mile
what would happen. always catching my ear: blues. And so I was hooked. Harvest, just when we started doing music full-
It’s this ‘go with the flow’ attitude that’s led to one Melbourne community radio played a really big part time as The Teskey Brothers. So that’s that kind of
of the year’s cruisiest and most easily approachable in that when I was a kid – I used to have a tape player Gibson-y sound that you hear on the record – it’s
releases; you won’t need a money-back guarantee that I’d radio shows on and listen back to them over mostly in the background but it sticks out a bit.
because if you like the blues, or Grunwald or Teskey’s and over again. And there was a really good live blues On the acoustic numbers and the fingerpicking-style
other works, you’re almost certain to love this record. scene in Melbourne as well, so I became influenced by ones that I’m doing, I’m actually just playing my Cole
Before it lands on shelves in November, we caught up that and eventually became a part of it. I was about Clark – the Fat Lady, which is just that classic sort of
for a chat with both of the soulful songwriters. 20, playing at a country pub before I was even a real Australian acoustic sound. And that one, I’ve been
musician, and there used to be these ten-year-olds playing forever. I got that guitar when I was about
Let’s kick things off at the very start: how did busking across the street every weekend – and that 15 years old, and it’s been to hell and back, the poor
the idea for this record come about? was Josh and Sam Teskey! And so the cycle continues! thing! I did a lot of busking on that, so it’s got a lot of
Josh: It all began when Ash asked The Teskey beautiful wear and tear. It’s unfortunately taken a bit
Brothers to be the rhythm section on one of the songs That is some Disney movie-level coincidental of a backseat lately, just because it hasn’t quite got the
for his last album, Mojo – we obviously jumped at that shit right there! resonance it used to have onstage – but it still sounds
opportunity, and I did a bit of singing on that one as Ash: The funniest thing about this whole project is that beautiful when it’s miced up, so that’s always my go-to
well, and we just had a lot of fun. Chatting with Ash, it goes so far back. It was the St. Andrews Pub – I used to acoustic in the studio.
talking through the record he was making and really play there on Saturday afternoons, and the boys would Ash: I was playing my National Steels. I a baritone
getting to know him, we just had such a blast doing busk over at the markets across the street. I didn’t even tri-cone National Steel, which is just a beautiful
that. We got together to do a film clip for our song, and have an album out, I was just getting started out myself. instrument, and then I also have one called a
it was the first time we’d actually met – I’d seen him So it’s actually pretty insane how far back we go! That’s Revolver – it’s a cedar body, almost looks a little bit
play a bunch of shows over the years, but he came out also why this album is so special, because we’ve got so like an electric, but it’s got a single cone in it and it’s
to our studio in Warrandyte and hung out. much in common, right down to where we came from. really good for strumming. It has a really barky kind
We had a lot of downtime between shots, and in of sound; you can really hear the onset of the notes,
that time, we just started jamming on some old blues While other guitar-driven genres like metal, whatever you strum goes ‘tuk-tuk-tuk’. Whereas the
songs. Ash had his guitar in hand, I was playing a bit of punk and rock have all gone through different tri-cone is a smoother, more sustained sound – it
harmonica, and we just got to playing some old tunes! waves and generational shifts throughout the almost sounds like it’s plugged in, like it’s an electric,
And we just started thinking out loud, y’know, “How decades, the blues are almost sacred in that and there’s a more sing-y kind of slide tone that you
cool would it be, one day, to go right back to basics as a style, it’s remained pretty authentic to can get out of that thing.

| www.guitarworld.com/australianguitar
 | 29

HI-FI SOUNDS FOR

HIGH TENSION
SOMETHING FOR KATE ARE BACK WITH AN EPIC NEW ALBUM OF BIG, LUSH MUSICAL ATMOSPHERES
AND WARM, KALEIDOSCOPIC MELODIES: EXACTLY WHAT THIS CLUSTERF*** OF A YEAR HAS NEEDED.

WORDS BY MATT DORIA. PHOTO BY DANIEL BOUD.

I
t's been a great year for comebacks, hasn’t it? our way, and to please ourselves. listen to a record that sounds like 2020!
I mean, the world as we know it may be rapidly I suppose that’s how you could encapsulate
decaying beneath our feet, but at least all our old Something For Kate: after 25 years, we still don’t seem If people want something that sounds like
favourite bands have swung back into action to help to give a shit about what is considered ‘popular’. And Elsewhere For Eight Minutes, that LP still exists.
beef up our doomsday playlists! thankfully, it seems like that’s just as irrelevant as ever Exactly. But again, it’s all completely subjective. I will
One such act making quite a fitting addition to the anyway – from what I can observe, there aren’t really never judge anyone for what they like. There’s enough
fray is Melbourne’s pop-rock powerhouse Something any fads or trends in music anymore because anything other people doing that.
For Kate. Their first album since 2012’s Leave Your Soul and everything is possible. People don’t give a f***
To Science is a broad, booming epic of brittle keys, about radio presenters, or what’s going to get you on Were there any new playing techniques or
beautiful strings, boisterous drum beats and belting this playlist or that blog. styles that you were keen to explore on this LP?
guitar riffs – soundscapes that sprawl out into the Yeah! I feel like as a guitarist, I was incredibly late
horizon as Paul Dempsey [vocals and guitar], Steph I wanted to ask because of this quote you to learn things about tone, and just how much you can
Ashworth [bass] and Clint Hyndman [drums] explore gave in the album’s press release: “We wanted evoke in someone by the tones you choose. You listen
every corner of their motley and manic musicality. to make a really polished hi-fi rock record, to a record like Elsewhere For Eight Minutes and it’s
Fittingly dubbed The Modern Medieval for its lyrical because so much of what I hear these days is pretty much the same guitar sound all the way through
themes (how archaic systems of oppression still wreak deliberately unpolished.” When I talk to – because I just didn’t know any better. I just turned it
havoc on supposedly ‘established’ societies), LP7 is bands that have that sort of lo-fi, garage-y up loud and went! I always just let my playing do the
much more than just a riveting return to form for sound, a lot of them say it’s because they talking, and I’ve only just recently learning how I can
the band who virtually defined Australian alt-rock in want to channel the energy of bands from the also use all these other technical tools – amps, guitars,
the 2000s. It’s their most ambitious, determined and ‘90s and the 2000s – around when Something pedals – all these different things that will take my
intriguing body of work yet – and goddammit, they hit For Kate was in its breakout period. Are you playing and put it through some different lenses.
every notch on the goalposts with effortless aplomb. just tired of hearing bands try to recapture This is the first album we’ve made where I was really
It’s as if Something For Kate have spent years artificially what it is you were doing naturally? confident about choosing different tones and sounds
hiding in the shadows, watching patiently as we all I’m not tired of anyone else doing whatever they that I wanted, and because of that I think there’s a lot
progressively lost more and more or our sanity, waiting want. I am suspicious, though, of artists trying to more textures and colours and atmospheric things
until the world finally cracked the barrier on breaking channel the sounds of other artists. For me, it’s on this record. And playing-wise as well, my style
point until they swung into action, the exact album we always been about trying to channel something you sort of keeps changing – there’s some really complex
need for right now tucked firmly in tow. haven’t heard before. When we were thinking about fingerpicking-type things on this album that I never
From his home studio – which is littered with guitars the songs that we’d written for this album, and all would have thought to do 15 years ago.
of every shape, size and colour you could think of – we the myriads of different ways we could go about I think by making those two solo records that were
caught up with Dempsey (taking a break from sitting capturing them and producing them, we didn’t want a little bit more acoustic, I’ve been able to evolve a bit
in on his son’s online math lessons) to explore just how to low-fi it. We didn’t want to be coy about sounding as a guitarist. I’ve always liked polyrhythmic things,
The Modern Medieval came to life. good; sounding big; sounding lush. and things with confusing melodies or surprising time
I’m generalising, obviously, but it seems like there’s signatures – and I’ve found that fingerpicking allows
How would you say this record best almost a stigma nowadays about sounding too good me to do more of those things, as opposed to just
encapsulates what Something For Kate is in or too polished or too hi-fi. It’s a weird conversation, playing with a plectrum.
the year 2020? because obviously it’s all completely subjective, but I But if there’s one pretty constant thing about
I don’t know if it does encapsulate the band, because don’t know – I had noticed what seemed to me like this Something For Kate, it’s that we always want the songs
y’know, we’ve had a really long career up to this point – concerted effort on the part of some people to try and to flow. We don’t want them to be jarring or whatever;
to encapsulate ourselves entirely in one record would make their records sound like they were made with it’s important that they flow from beginning to end.
be impossible, just because we’ve changed so much. equipment that nobody uses anymore, in studios that But at the same time, we don’t necessarily want you
We started out as very angry, noisy, almost punk sort don’t exist anymore, to sound like a time that isn’t now. to be able to predict what’s going to happen next.
of band, and then we learned how to make records and And I get it – nostalgia is a heavy thing for a lot You don’t want it to be jarring or confusing or overtly
how to write songs a little better, and everything got a of people, they get nostalgic about a certain time prog-rock, but you also don’t want it to just be a
bit more crafted and polished… Y’know, we’ve tried on or certain sounds… I guess I’m just less interested straightforward 4/4 bore, where you know the second
a number of different hats over the years, but I guess in nostalgia. All that old stuff exists already. If I’m chorus is the same as the first one, then you know it’s
the one consistent thing is that we’ve only ever done it listening to a record that came out in 2020, I want to going to go to a bridge, etcetera.
30 | COVER STORY

THE MUSIC INDUSTRY HAS CHANGED IN ENDLESS AND ENTIRELY UNPREDICTABLE WAYS SINCE
THE GLORY DAYS OF THE EARLY ‘70S. BUT ONE THING REMAINS THE SAME: HARD AND HEAVY,
NO-BULLSHIT ROCK ’N’ ROLL IS AS CRUCIAL AS EVER. AND THE ENTRY POINT FOR ANY ROCK
OR METAL FAN WORTH THEIR PATCH-PADDED LEATHER JACKET IS THE GENRE-SPURRING EPIC
PARANOID, AS MUCH A STAPLE OF THE BLACK SABBATH CATALOGUE AS IT IS ONE OF GUITAR
MUSIC ITSELF. TO CELEBRATE THE ALBUM’S 50TH ANNIVERSARY, WE SWUNG WAY BACK TO ITS
INCEPTION WITH THE MAN, MYTH AND MANIAC HIMSELF, TONY IOMMI.

WORDS BY MATT DORIA

| www.guitarworld.com/australianguitar
 | 31

P
erhaps it’s the big, belting crang that introduces stunning re-release. It’s crazy to think, honestly:
us to “War Pigs”. Maybe it’s the wailing drawl that the year is 2020, the music industry has changed
rips into frame without warning, scaring many a in so many unthinkable ways since the ‘70s, and
tike shitless before the lead riff of “Iron Man” bleeds in. yet Paranoid remains an absolutely essential
Or, if your roots lie in rock tones a tad more melodic, it entry point for any true rock or metal fan. Were
might be the unsuspecting first notes that start “Fairies you thinking about the longevity of the record, or
Wear Boots”. But whatever it is, there’s something about whether it would have a lasting impact on people
Paranoid – the smash-hit second album by British hard- back when it was all coming together?
rock pioneers Black Sabbath (one could brand them Well, you never really think about that when you’re
metal, but purists’ eyes would roll, then glare in one’s actually recording an album – you never think about how
long it’s going to last or whatever. You make albums
direction) – that almost any fan of the guitar can note as
because you enjoy doing it, and that’s what you’re about.
a pivotal moment in their musical upbringing.
Y’know, back then we were just desperate to get music
Paranoid didn’t invent heavy rock music, but its out – that’s all you’d think about in them days. But you’re
impact on the genre is downright undeniable. The record right, it’s brilliant that the early [Black Sabbath] albums
launched a generation of would-be virtuosos into the are going stronger than ever. New generations are
limelight, many of whom started out with their fretboards catching onto this music we’d done back in the ‘70s as if
in hand as nothing more than a conduit to imitate Tony it was something the label put out last week. And we’re
Iommi. The same is true 50 years on from its October ’70 finding more of it being used in things like car
release – Paranoid hasn’t aged a day, sonically, and its commercials and movies – the songs keep popping up
themes are more relevant now than ever before. everywhere, which is great.
Such is something Iommi himself certainly doesn’t
take for granted. Australian Guitar calls him up on an How do you feel about the record today? Do you
otherwise average weekday morning to chat about the see it as the classic we all do, or do you have to
album’s recently issued deluxe edition – and though one look at it more critically, from the lens of the
might expect such a rock ’n’ roll legend of his caliber to undeniable virtuoso you’ve grown into?
shrug through the motions of such an interview, Iommi Those records are history, them. They’re part of my
is instead warm and buoyant and bursting at the seams makeup, and I really like them. I really do! It’s great when
of his bath robe with excitement. Given a chance to I can listen back to the Black Sabbath album and the
reminisce on Black Sabbath’s halcyon days, there’s a Paranoid album, and be reminded of the band we were in
palpable sense of giddiness in his voice; Iommi doesn’t them days. They’ve got that character in them, which only
so much care to chat about the band’s so-called ‘peak’ we had in them days. They were done with meaning and
or the years that saw him rake in millions they were done basic as could be – they
per tour – it’s the blood, sweat and tears weren’t overly produced or anything like
which bred Sabbath’s first few albums
that he’s most proud of. In my lunch break, that, we just sort of went into the studio,
plugged in and played our hearts out!

How’s everything in your corner of when the other guys It wasn’t like things are today, where
you’ve got all these computers and
the world right now?
I’m hanging in there! I do what went out to get a you’re overdubbing this, modulating that,
putting this effect on that track… In them
everybody else does in my world – I go out
for walks in the morning, play for a bit,
do some other stuff around the house…
pint and a pie or days, you had to make your sound – you
couldn’t buy a gadget that made whatever
sound you wanted, you had to put the
There’s quite a bit going on in my life, but
not a lot musically I must admit. I have
whatever they had, I hard yards in and build a tone yourself.
And I felt that was great, really, because
done a few things in the studio recently – I
did a track with the chap from Pink Floyd
sat in the studio and you believe in it more when you’ve made
it all yourself. I mean, my guitar sound –
a few weeks ago, Nick Mason. Yeah, we did
a little thing for charity which was really
just twiddled around I worked on that. I overloaded the amp
and stuff and found my own ways to
good. And that’s about it, really. I’ve been
putting a few ideas down with my engineer
for a bit, and I came get that heavy sound. In them days, you
couldn’t buy amps that sounded like that
here and there – I’ve had all these riffs
piling up over the years, and finally I’ve
up with “Paranoid”. naturally – I had to play around with them
and mess with the electronics so that it
decided to start putting them down. would give me that sound.
Same with any of the effects on the album, they
Are you working towards a new solo album? were always made by us. It wasn’t like today, where you
Well, for the minute I’m just putting ideas down to get can go into a folder on a computer and go, “Yep, we’ll
them out of my head. I could possibly do a solo album, use that tone.” You had to make your own effects with
either instrumentally or with vocals – I don’t know yet, pedals and amps – which I think was such a big part of
though, I’m not exactly sure what I’m doing to do with Black Sabbath back then. It was good to be able to do
these ideas. I just know that I want to do them, because that, because it made us creative.
I’ve got hundreds and hundreds of riffs that I’ve come up
with and recorded very roughly, but I need to actually do That makes it even more impressive when you
something with them properly – y’know, with drums and consider how little time you all to get that stuff in
bass and whatnot. order for the Paranoid album – you were in the
Originally, the idea was to do some scoring work for studio just four months after the self-titled
a few films, or maybe something else along those lines. Sabbath record came out. What drew you back
They could be used for a lot of things, really. So I might into the fray so quickly? Were the ideas just
do some of that, some with singers and some without pouring out in those early years?
singers. That’s the good thing about the position I’m in Well… No [laughs]. What it was was that we’d done the
at the moment – I can’t go on tour, but I can still pick and first album, and it started taking off and we were selling
choose what I want to do. a pretty decent amount of records after a few weeks. And
we were working hard – we were doing shows every night,
The hot topic right now is the 50th anniversary of and the label wanted us to go in and do another album
Paranoid, which you and the rest of the Black fairly quick to keep the momentum up. So we started
Sabbath team have celebrated with a downright writing some songs, and I used some of the ideas that I’d
32 | COVER STORY

had while we were touring. Because we were doing nightclubs and bars, and we’d put ideas down and go back to them, because I have the technology that allows me
play these ridiculously long hours as the house band. to. But in them days, you didn’t have that luxury – you had to come up with a riff
When we played in Germany, we’d play seven 45-minute spots in a single night – and put it down on tape, and that was it.
a bloody long time in them days! You’d play 45 minutes, then you’d have a 15-minute But it was a lot different then as well, because the scope was broader: there
break, and then you’d play another 45 minutes, and so on… And of course, we weren’t many bands around playing the sort of things that we were playing in
only had enough songs for one 45-minute set, so we had to extend stuff and make them days. So we had a lot of creative real estate to come up with different riffs.
stuff up on the spot. And that, in a lot of ways, helped us create some of our most Nowadays, there’s millions of bands playing metal riffs, so you can quite easily step
interesting songs. I’d come up with different riffs in the jam section, and we had a on any of those toes and say, “Well, that sounds like that,” or, “They’re copying
couple of songs come out of that – “War Pigs” was one of them. them.” But with our early stuff, you couldn’t say any of that because there was
Then when it came time to make the album, we went into the studio and nobody else doing it.
got everything ready, but we didn’t have enough songs for a proper album. We
recorded everything we had, and then the producer, Rodger Bain, said, “We need You were really just trying to capture the immediacy of the excitement,
one more song!” So in my lunch break, when the other guys went out to get a and the energy you all had in those days.
pint and a pie or whatever they had, I sat in the studio and just twiddled around Yes, absolutely! I mean, on the first two albums we only had a short period to
for a bit, and I came up with “Paranoid”. put these ideas down. With the first album, we only had a couple of days. We took
It was a tricky one, because Rodger said, “We need a song that’s short – it a few more days to do Paranoid, and that was sort of a luxury, really, because we
can’t be long,” and I sort of went, “Oh God!” I’d never written a short song wouldn’t have to put everything down in the same day – we could take a few days
before! All the Sabbath stuff was quite long in them days, because we liked those to really figure everything out and get the songs right, which was good.
big, epic numbers that took you for a ride. But I came up with this riff, and when But it was all the same procedure – you’d set your gear up, the engineer would
the band came back I played it to them, and they all seemed to like it. And it was put a mic in front of the cabinet, and you’d play like you’d play at a gig. You’d give it
really basic – it was just going to be a bit of filler for the album because we didn’t the same sort of energy, the same power, and then you’d capture it all on tape. The
have enough songs, but of course it ended up becoming a hit! Geezer did all the bloke at the console might say, “Oh, can you do it again?” But most of the songs, we
lyrics for that one, so obviously it was great. didn’t play that much at all – we played them a few times each and that was it.

Had you been sitting on that lick for much time before then, or was it That’s all you really need when you have a great song on your hands!
truly spur-of-the-moment? That’s right. When you do too many takes, you can start to go too deep. And I
No, I had no idea to base it on, I just came up with it in that moment. I tended have gone down that road, later in life, where I’d get too involved with the songs
to do that with a lot of the stuff on those Sabbath records – a lot of the stuff we’ve and I’d start changing things around – but the songs didn’t need it, y’know? I’d
put out in the past was written there and then; the ideas would come up less than waste all this time chopping and changing, and then I would listen to the original
a minute before we’d put them through the amp. I mean, in this day and age, now, I idea and go, “Oh yeah, that’s what I was going for! That sounds better!” But in them
days, you didn’t do that – you built it all up at that time, while the idea was still
fresh on your hands.

So when you’d play the songs from Paranoid live as the years went on,
would you improvise much with the parts or take them in any wild
directions, or were you always pretty staunch on playing by the rules?
No, we’d improvise! None of those early tracks would sound the same when we
played them live, because they’d either get a bit faster or a bit slower, or I’d play
a different guitar, mess around with some different bits… They’d all be slightly
different. And that, again, was a good thing because we’d be playing how we felt
[the song] at the time when we’d play it. And that’s what’s good about writing the
song and recording it fairly quickly – you’re capturing that sort of rawness, y’know,
instead of working it all out and letting it turn into something else.
Quite often we’d play a song in the rehearsal and we’d play it one way, and then
we’d take a break, do something else, and then come back to that song in a totally
different way. Because we never played to metronomes and all that stuff in them
days – you’d play it however you felt it, and whatever timing we’d start off with was
what we went with. And we’d always end up in a different timing – it’d get faster or
slower, or go through a few changes – but that was part of it, y’know? The feel, and
where it took you, was so crucial to the energy of a song.

www.guitarworld.com/australianguitar
 Generally, we’d get
into a rehearsal room
and just dick around
for a bit, they’d wait
for me to come up
ZLWKDULø,ÙGFRPH
XSZLWKDULøDQG
WKH\ÙGHLWKHUVD\Û,
OLNHLWÜRUÛ,GRQÙW
like it,” and then
we’d build a song
from that.

The second album is always a big stepping stone for bands, whereas the We wanted genuine fans who would be with us right through to the end. But
first is often a little more intimidating because you don’t have any real when we did “Paranoid” as a single and we did all the TV stuff, we started
studio experience under your belt. What did you learn from doing the having people come to the shows to hear “Paranoid” and then go home.
first Sabbath album that you were able to utilise, or take advantage of, And these sorts of people: they’d come to a show and see what else we were
when you were making Paranoid? about, and then we’d never see them again. But we wanted to build up a solid
Well I mean for us, that first album… We were very excited about it, but we’d base of real fans – and I mean yeah, some of them would have stuck around
obviously never done an album before, so it was a whole new thing for us. We’d from the TV crowds, but we tried to get away from that scene. We didn’t want
never worked with a producer or had an engineer hovering over us. And when we to be pulled into that image of being a pop band, because we weren’t!
did the second album, we had the same producer, Rodger Bain, so by that point So after “Paranoid”, we said to our management that we wouldn’t do
we’d already worked with him, and that made it a lot easier because we sort of another single. And we didn’t, for a while – and then we did, but y’know, by
knew what to expect. We’d gotten friendly together, and it became a little team. that point we’d attracted the right people and we were touring properly on
And so it was a lot more comfortable to do the second album, really – mostly our own merit.
because there wasn’t that insane rush. With the first album, everything was
rushed – we had a matter of days to get our stuff together and pull out an album, Look at where metal has come in the half-century since then:
and most of the tracks had to be done there and then; you couldn’t have another so many bands have tried to emulate the sound and spirit of
go at them if you messed something up, which was a terrifying prospect for a Black Sabbath, but nobody has ever really cracked the code.
small-time band doing their first record. So the second album was a lot more What is it about the authenticity of Black Sabbath that makes
relaxed, as far as that all went. it impossible to replicate?
It was after Paranoid came out that we really felt the heat of it. Because that Well, I wouldn’t know [laughs]. I think it’s one of those things where when
album went to number one – then it became a pressure for us. Because once you play as that unit, that’s what it is. If you ever hear Queen play, you
you’ve been to number one, then the next album… Where are you gonna go with can tell it’s Brian May playing the guitar – y’know, he’s got that sound. And
it? What is there to achieve? different people have different things that make their sounds so unique. It’s
hard to copy that thing because it’s not just the way you play, it’s the vibrato,
The impact of Paranoid on heavy music was pretty much instant: it it’s the way your fingers move around the fretboard, it’s the energy you put
charted high right off the bat, and it wasn’t long before people started into every note… It’s a whole range of things that makes that sound, and for
declaring it one of the greatest and most influential albums of the rock me… Well, I don’t know how hard it would be to top because I can obviously
genre. It feels like that would’ve been a blessing and a curse, though. do it – I can just plug in and get that Tony Iommi sound because I am Tony
Did those early wins put much pressure on you, as a songwriter, to hit Iommi. So it’s hard to explain from another angle.
those same highs or achieve that same level of success?
The main pressure it put on us was around what kind of band we were. We How important was the creative chemistry that you had when
were getting onto all these TV shows in England – we did Top Of The Pops because the four of you got into a room together?
“Paranoid” became a hit single, and we were attracting a different type of audience That’s the other part of it. We had such a great chemistry. Generally, we’d
which we didn’t really want. Y’know, we didn’t really want screaming kids and stuff get into a rehearsal room and just dick around for a bit, they’d wait for me to
like that, but that’s the crowd Top Of The Pops had – they had a lot of young girls come up with a riff, I’d come up with a riff and they’d either say, “I like it” or,
and kids that listened to the radio. And we weren’t that type of band, y’know? “I don’t like it,” and then we’d build a song from that. And everybody would
34 | COVER STORY

Eventually, I met a guy

who was a pretty decent
guitar builder; I teamed
up with him and put the
money in for him to make
me something custom.
The idea I came up with
was to build my own
pickups and do a 24-fret
guitar – and it sort of
worked, surprisingly.

come up with their parts around that riff, and then Ozzy would put some kind of I didn’t have a lot of guitars back then – I only really had that one to play on, so
melody on it, and then we’d build the song up. Everybody contributed to all their I used to carry it around with me everywhere, and it became like gold to me.
parts like their lives relied on it. I’d have it right next to my bed in the hotels, I wouldn’t let anyone touch it and
I wouldn’t take my eyes off it – it was one of those… It’s just a precious thing,
Were you ever swapping instruments or experimenting with different y’know? It’s a part of me. Everyone has that thing where it’s your thing, and if
versions of the formula? you lose that, you lose your value. And that became my thing.
We tried that – but it was a bit disastrous, really! Geezer and I decided we were
going to do all the string sections ourselves, so we got ourselves a violin and a Did you look at it as your good luck charm?
cello, and gave it a whack… And it was bloody awful. I mean it just didn’t work at all. Well, it was! It was a good luck charm and a bad luck charm, because I used
And then I bought a sitar and tried that, and that was crap. We used to try different to have so many bloody problems with it. Because of the setup I had – I used
things, and I think as far as I got, I played the flute on a couple of tracks… Well, I lighter strings, and the neck on this particular one, in them days you could
think it made it onto one track in the end. But that was about it, really. touch it and it would go eww-ooh-ah-ooh-ah-eww. Y’know, it wasn’t very
stable. But I got used to it over the years and had a lot of the issues fixed, and
I remember reading that just before you recorded Paranoid, you had a it became glued to me. I really liked it! That’s why we recently did another
few small modifications made to your Gibson SG – like the inclusion of model of it at Gibson.
Simplux pickups. What was the importance of those?
In them days, the pickups were P-90s, and they used to whistle and feed back Do you find that you’re still finding new ways to explore the guitar
all the time. Because we played loud, and because I used the amp and I had this and enhance your arsenal of techniques?
preamp modified to boost the channel, it used to pick up everything – taxis and I don’t really know – I mean I’m certainly not a technical player, by any
street dogs and God knows what else – and the pickups were very sensitive, so means. Especially these days, you see some of the kids out there and they’re
they’d sort of start whistling and feeding back and sounding absolutely horrid. So I just brilliant, y’know, they’re inventing all these new techniques with scales and
tried all different ways to stop that – insulating the inside of the guitar with copper, stuff… I’m not that type of player. I’ll come up with something that I like, and
and then having the pickups dipped in wax… All sorts of bloody things. that’s it – it might be very basic, but to me, music is about what you can present;
And eventually, I met a guy who was a pretty decent guitar builder; I teamed up it doesn’t have to be technically brilliant, it’s just about how you put it out there.
with him and put the money in for him to make me something custom. The idea I So if you come up with a simple riff that really captivates you, then that’s as
came up with was to build my own pickups and do a 24-fret guitar – and it sort of good as all the other guitar players out there doing all these crazy fretboard
worked, surprisingly. Mainly just for myself at first, of course, but it benefitted other gymnastics. And those kids are fantastic, y’know – I couldn’t do that stuff! But
people as well. I mean, my guitar used to scream like mad – it was uncontrollable! I’m from a different era, and I still play in the same vein I did in them days.
The volume, the treble boost and the booster, all together, just made for this That’s what I was about with my playing. I play what I can manage, really.
unbearable screech. And I wanted to try and stop that. So by working on that, we
created the pickups that are still part of the Monkey SG today. So what’s next? Do you still feel like bringing Sabbath back for the
2022 Commonwealth Games?
You’ve played a lot of different guitars throughout the years, but it’s Yeah! We spoke about that, and we were asked by them if we’d do it… But
always that SG you come back to in the end. Is that just the y’know, you never truly know what’s down the line. It depends on how healthy
quintessential heavy rock guitar? everybody in the band is by then. But it’d be nice to do it – I’d really love to
When we did the first album, it was a Strat, but the pickup went on the second play with the guys again. Certainly no big tours, of course – but I’d like to do a
song. I only had the SG as a backup, really – I bought it ages beforehand, but I’d few shows with them. We’ll have to see.
really never used it ’til then. But I had to use it when we did the first album, and I do miss actually being onstage and playing – I miss playing shows in general,
that was basically the first time I played that guitar properly. It was a bit of a worry because that’s really what it’s all about, y’know? It’s that chemistry between the
at the time, but after that session, that became the guitar. I did have a white, fans and yourselves which creates that real euphoria. I’m not into doing most
three-pickup SG as well, which is actually the one I recorded Paranoid with. But the of the other stuff you have to do to be a career musician – photographs and
red ‘Monkey’ guitar was the one I used all the time onstage. interviews and all of that stuff. What we’re about is the music, and that’s it.

| www.guitarworld.com/australianguitar
W
idely regarded as the innovators of heavy metal, EVERY ISSUE OF AUSTRALIAN
legendary Birmingham band Black Sabbath
celebrate 2020 with the 50th anniversary of their
GUITAR INCLUDES:
multi-million selling album Paranoid, ringing in • The hottest interviews and artist features
the occasion with a 5-LP/4CD edition featuring • News on the latest and greatest happenings
the vinyl debut of two 1970 concerts. Dubbed the Super Deluxe in the guitar world
Edition, the box-set includes the original album in addition to a rare • Product and gear reviews to keep you in the know
quadraphonic mix folded down to stereo, plus two concerts from
• Tabs, technique lessons and DIY guides for all
1970 – one laid to tape in Montreux and the other in Brussels – which
are pressed on vinyl for the first time. The set also comes with a levels of guitarists
hardbound book with extensive liner notes featuring interviews with • And much more!
all four original band members, rare photos, memorabilia, a poster,
and a replica of the tour book sold during the Paranoid tour. GREAT REASONS TO SUBSCRIBE:
• Get 12 issues for only $99 – save $32 on the
retail cover price!
Thanks to our good mates over at • Your exclusive chance to win a super-deluxe
Maric Media and BMG, we’ve got Paranoid box-set
• Never miss an issue
one of these ridiculously epic • Delivery direct to your door
Paranoid box-sets to give away.

For your chance to rediscover the most iconic

metal album of all time, subscribe and tell us
in 25 words or less: what’s your favourite song
from Paranoid, and why?

Two easy ways to subscribe to Australian Guitar Magazine:

visit techmags.com.auor call(02) 8227 6486
Terms & Conditions apply – see website for full details. Competition entries close 20/12/2020.
36 | HOT GEAR

FISHMAN FLUENCE GREG KOCH

GRISTLE-TONE PICKUP SET
RRP: $719 • dynamicmusic.com.au

Known for doing things to a guitar that the roughest

ranch hand wouldn’t do to a farm animal, Greg Koch’s
moniker Gristleman comes from the term “pounding
the gristle”, which refers to the act of engaging in
fierce musical congress. Each of these signature-series
Fishman Fluence pickups has two distinct and useful
sounds onboard. These start with the revolutionary
Fluence Core, the heart of Fluence tone. From this,
Fishman then creates the classic timbres and tones
that make their products so well-respected – colours
you expect from great guitar pickups, as well as some
RRP: $1,995 • cmcmusic.com.au you’d never imagine.

Designed as the perfect nylon-string guitar for non-classical specialists, the Faith Lyra has a
specially profiled neck – slimmer than a traditional classical guitar, but not so narrow that proper
fingerstyle technique is inhibited; you’ll be well-served whether playing Rodrigo or Radiohead.
The Lyra features a mahogany neck with a figured ebony bridge and fingerboard, alongside a
five-millimetre Waru soundhole border. This model is fitted with a Fishman Sonitone preamp
and pickup specifically designed for nylon-string guitars, the controls for which are mounted
discreetly inside the soundhole of the guitar.

ZOOM G11 MULTI-EFFECTS

PROCESSOR
RRP: $1,799 • dynamicmusic.com.au

Zoom have spent over 30 years

designing multi-effects processors
for all types of guitar players. The G11
presents the culmination of all that
engineering prowess and passion –
Zoom’s best engineers took the tonal
qualities of the greatest amps in
history, combined them, and crafted
all new amp models designed to give
you unimaginable new palettes of tone

DV MARK EGC RAW DAWG 60

and take your creativity to a whole new VOX VALVENERGY
RRP: $1,595 • cmcmusic.com.au
level. The G11 includes six original amp
models, featuring everything from ’80s
PEDAL SERIES
British style tones to gritty vintage RRP: $329.99 • au.yamaha.com
Following the amazing worldwide success of sounds – there’s even a model designed
the Eric Gales signature Raw Dawg head, DV specifically for modern drop-tunings! New for 2020, the Vox VALVENERGY series offers
Mark were pushed to expand Gales’ lineup four valve distortion pedals – the Copperhead Drive,
of signature amps. Cue the DV Raw Dawg Cutting Edge, Mystic Edge and Silk Drive – with each
60 head, featuring a 60-watt MPT (Mark providing the authentic feel and harmonics of a
Proprietary Technology) power amp. DV Mark tube amp thanks to their all-analog signal paths and
declares this head perfect to fit in a small proprietary Nutube systems. Each pedal is inspired
combo amp to create the ultimate portable, by a classic amp sound. The three modes found in
tube-driven companion for all guitar players each pedal offer standard use, line-level preamp
needing a great clean, warm and dynamic output, and an analog cab sim output. In addition,
channel to use with their pedals – all in a the new channel switching mode allows players to
small and cool looking cabinet. chain two or more VALVENERGY pedals together.

| www.guitarworld.com/australianguitar
 | 37

FENDER BILLIE EILISH SIGNATURE UKULELE

RRP: $599 • fender.com

As soon as she burst onto the scene with her 2015 single “Ocean Eyes”, it was clear that Billie
Eilish was a force to be reckoned with. In the years since, she’s established herself as a new kind
of pop culture icon, taking the fashion and music industries by storm on her own terms. Billie’s
meteoric ascent to pop stardom started with the ukulele, the first instrument she learned to
play. Designed in collaboration with Billie, her Signature Ukulele is a stage-ready instrument that
embodies her bold and unmistakable style. This concert ukulele is built with sapele top, back, and
sides, featuring a matte black finish with Billie’s “blohsh” symbol. It also includes a Fishman Kula
preamp for those looking to plug in.

EARTHQUAKER DEVICES
AFTERNEATH V3 PEDAL
RRP: $399.99 • au.yamaha.com
The Afterneath sounds a lot like it looks – a
wizard bursting forth from an ethereal
cave, ready for the ambient battle. You are
the wizard – or sorceress, if you prefer –
and the cave is your instrument’s signal:
vast, expansive, and magical. Once inside,
a reflection of light from an unknown
source catches your eye, and you notice
a bizarre sheen on the walls of the cave.
You timidly inch closer to the walls of the
cave. Placing your hand gently on the
cavern wall, you feel the rock move. The
cave is alive! Alarmed, you emit a loud
gasp, which reverberates throughout the
subterranean landscape. Upon further
listening, it appears as though the
reverberations of your voice are in fact a
swarm of short digital delays which may be
used to create wild and cavernous reverbs,
or scattered, short, rhythmic delays with
bizarre characteristics.

SEYMOUR DUNCAN
805 OVERDRIVE
FENDER H.E.R. RRP: $419 • australismusic.com.au

STRATOCASTER Whether you’re looking to give your sound a bit of

a boost or trying to find harmonically rich heavy
RRP: $1,999 • fender.com gain with warm tube character, the 805 overdrive
provides the versatility needed for any type of
Dynamic R&B performer H.E.R. has wooed audiences and music – blues, country, rock, metal, and everything
earned Grammys with her powerful performances and in-between. The three-band active EQ delivers
emotional songs – her smooth rhythms and slow-burning unprecedented control – you can have a smooth,
solos always at the forefront. The H.E.R. Stratocaster lyrical, bluesy tone one minute, then crushing
makes a statement as bold as the artist who inspired modern metal crunch the next. The 805 is designed
it. Finished in dazzling Chrome Glow and featuring a to be the perfect overdrive for pushing the front end
mid-‘60s C-shape maple neck, Vintage Noiseless pickups of an already distorted amp, giving you plenty of
and an anodised aluminium pickguard, this guitar output and tone-shaping capability, but can also give
delivers effortless playability, classic Strat tone and your clean tone a controlled boost.
extraordinary good looks.

GATOR GT1610GRY PEDALBOARD BAG

RRP: $169 • australismusic.com.au

This stylish, feathered-grey accessory bag is perfect for pedalboards, multi-effect units, MIDI
controllers, drum machines, photo equipment and so much more. The interior of the bag’s main
compartment measures 16-by-ten-by-4.5 inches, and includes a movable divider to customise the
fit. Your gear will be cradled securely by the rigid foam interior, which is designed to cushion from
bumps and scrapes. The large front and rear external storage pockets are great for tossing in small
items such as cables, manuals, electronics, keys, and other little bits you need close at hand.
38 | LESSONS

GET THE SOUND

EVERYTHING YOU NEED TO KNOW BEFORE
PLAYING QUEEN’S “NOW I’M HERE”

F
eaturing on Queen’s 1974 Sheer
Brian famously plays his own
Heart Attack album, “Now
I’m Here” is about the band’s
Get the sound CHANNEL OVERDRIVE homemade Red Special guitar,
which has three single-coil
experiences on their first tour 5 pickups that can be used in
of America. The lyrics reveal 7 7 a multitude of combinations.
references to the infamous 8
1
Add to this the Vox AC30 amp
‘Dungeon’ club in New Orleans,
and the Treble Booster pedal
and to Mott The Hoople, who
GAIN BASS MID TREBLE REVERB to add gain, and you have
Queen were supporting. The song remains a
the core of Brian’s sound. For
firm fan favourite and was performed on
straight-ahead rock songs
every Queen show from 1974 to 1986 – and Opt for a bridge like this, Brian typically used
is currently the opening song on the Queen humbucker for the the middle and bridge pickups
and Adam Lambert tour. whole song. It’s in an ‘in phase’ position. For
The song has three main tonal centres: roughly equivalent our track, we used a Brian
the opening riff is in D, the main signature to Brian’s ‘in phase’
May Guitars Red Special
riff is in E and the verses and solos are in twin single-coil
approach. If you
through IK Multimedia’s
the B Mixolydian mode. Brian seamlessly
play a Strat, a lone AmpliTube Brian May plugin.
links these key changes so they are almost
bridge pickup will We selected the “Now I’m
unnoticeable. As the E riff is the main hook of
get you closer to Here” preset and off we went,
the song, there is no typical chorus section,
Brian’s tone than picking with an old English
so in our tab we refer to the ascending major
bridge and middle. sixpence for that Brian style
chords as the chorus. Read on as we break
metallic pick attack.
the track down piece by piece.

CHORDS
There are a lot of chords here, but they fit together in logical progressions,
SCALES
The two solos are played over a
X X O X X O X
which means learning them in context isn’t such a challenge. The intro B-E-A chord progression – the
starts in D and has a descending sequence (Csus2, G/B, Bb6) – these chords fifth, first and fourth chords
all have an open G note in common. The chorus section has an ascending 1 2 1 from the key of E major (the
sequence of major chords, which account for most of the chords here, but 3 3 notes of E major are E F# G#
there are only two essential shapes which are barre chords rooted on the A B C# D#). However, B is the
fifth and sixth strings. Finally we have the verse which follows a rock ’n’ roll root chord, so Brian is using a
style riff on fifth and sixth diads. ‘mode’ of the scale known as
D D5
the Mixolydian mode. This is
X X X X X X X X X X X X O O O X X X
the name given to the mode
starting on the fifth note of
1 1 1 1 1 1
5 11 7 7 9 the major scale – so here it’s
2
B Mixolydian (B C# D# E F#
3 3 3 3 4 3 3 3 3 3 3 2 3 1 G# A). Great for blues-rock
but with a sometimes overly
4 3 4 cheerful sound, a common trick
D D# E E6 F# G G5 is to darken the Mixolydian
mode by using the minor
X X O X X X X X X X X X X O X X O X X O O X X pentatonic scale. During both
11
1
5
1
5
1 1 solos you can hear Brian having
2 2 1 2 3 1 2 fun with the interplay between
3 3 3 3 4 3 4 3 the minor and major third
intervals of both scales.

G/B G# A5 A A Asus4 Bb6

1 1 1 1 1 1 1 1 1
X X X X X X X X X X X X X X X O X X X X 6 7

1 1 1 1 2 2 2 1 1
7 7 7 9
2 1 1 2 3 3 3 3
3 4 3 4 3 3 4 4 4 4 4 3 3 4 4 4
3 3 3 3 3 4
4 4
B Mixolydian B minor
B5 B B Bsus4 B6 C5 C# mode pentatonic scale

| www.guitarworld.com/australianguitar
 | 39

FULL
TAB

QUEEN
“NOW I’M HERE”
Words and Music by Brian May
Copyright © 1974 Queen Music Ltd. Copyright Renewed
All Rights Administered by Sony/ATV Music Publishing LLC,

“NOW I’M HERE” 424 Church Street, Suite 1200, Nashville, TN 37219
International Copyright Secured. All Rights Reserved
Used by Permission of Hal Leonard Europe Limited

QUEEN - “NOW I’M HERE” • Intro

q =134
D5 A D5 D D5

## 4 . Play 4 times

.. œ œœœ œœ
& 4 . œœ œœ œœ œœ œœ œœ œœ œœ
œ œœ œœ œœ œœ œœ œ œœ œœ œœ œœ œœ œœ œœ œœ
PM PM PM PM

T . . 0
2
2
3
A
B
. 2
0
2
0
2
0
2
0
2
0
2
0
2
0
2
0 . 2
0
2
0
2
0
2
0
2
0
2 2
0
2 2
0
2
0
2
0
2
0
2
0
2
0
2
0
2
0

Csus 2 Bb6
##
G/B

&
n œ¿ œœ¿ œœ¿ œœ¿ œœ¿ œœ¿ œœ¿ œœ¿
œ œ¿ œ¿ œ¿ œ¿ œ¿ œ¿ œ¿ œ¿ œ œœ œœ œœ œœ œœ œœ œœ
œ œ œ œ œ œ œ œ b œœ œ œ œ œ œ œ œ
T
A ¿0 ¿0 ¿0 ¿0 ¿0 ¿0 ¿0 ¿0 ¿0 ¿0 ¿0 ¿0 ¿0 ¿0 ¿0 ¿0 0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
B 3 3 3 3 3 3 3 3 2 2 2 2 2 2 2 2 1 1 1 1 1 1 1 1
4

Csus 2 D5 A D5 D

## .. œ .. .. œ œœœ œœ
& œ œ œœ œœ œœ n œœœ œ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œ
b œœ œœ œ œ œ œ œ
PM PM PM PM

T . . . 0
2
2
3
A
B
0
0
1
0
0
1
0
0
1
0
0
1
0
0
1
0
0
3 3
2
0 . 2
0
2
0
2
0
2
0
2
0
2
0
2
0
2
0 . . 2
0
2
0
2
0
2
0
2
0
2 2
0
2

1. 2.
D5 Csus 2 G/B Csus 2 D5 G/B A
##
& œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ œ¿ œ¿ œ¿ œ¿ œ¿ œ¿ œ¿ œ¿ œ¿ œ¿ œ¿ œ¿ œ¿ œ¿ œ¿ œœ .. œœ œœ œœ œœ œœ œœ œœ œœœ
nœ œ œ œ œ œ œ œ œ œ œ œ œ nœ œ œ œ œ œ œ œ œ œ
PM PM

T .
¿0 ¿0 ¿0 ¿0 ¿0 ¿0 ¿0 ¿0 ¿0 ¿0 ¿0 ¿0 ¿0 ¿0 ¿0
2
A
B
2
0
2
0
2
0
2
0
2
0
2
0
2
0
2
0
3 3 3 3 3 3 3 3 2 2 2 2 2 3 3
2
0 . 0
0
2
0
0
2
0
0
2
0
0
2
0
0
2
0
0
2
0
0
2
2
2
0
10

Use palm-muted downstrokes to play these D5 powerchords, lifting your palm for the accented A and D chords in the fifth bar. As you play the descending Csus2 and G/B
chords, use the underside of your fretting finger to mute the idle fourth string, so you can continue to play downstrokes across all three strings.
40 | LESSONS

QUEEN - “NOW I’M HERE” • Bridge #1

A Asus 4 A Asus 4 B

# 4 œœ ˙˙ .. œœ œœ ˙˙ œœœ # œœ
& # 4 ˙˙˙ ... œœ
œ œ ˙ .. œ
œœ
œ
˙˙ ..
˙ ..
œœ
œ œ ˙ œ œ
˙. œ œ ˙ œ œ ˙ œ œ ˙ œ œ
0:35
let ring
0
T ( 2)
( 2)
3
2
2
2
3
2
5
4
4
4
A ( 2) 2 2 2 2 4
B ( 0) 0 0 0 0 2
1

Bsus 4 B Bsus 4

# # œœ œ ˙˙ œœ # œœ œœ # œœ œœ œœ œœ œœ œœ œœ œœ
& œ œ œ œ œ œœ ˙ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ ˙ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
let ring let ring let ring

T 5
4
4
4
4
4
5
4
5
4
5
4
5
4
5
4
A 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4
B 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2
0
5

This section is loud, so don’t be afraid to hit the strings with confidence. There’s a ‘pushed’ feel, which means the chord changes happen one eighth note earlier than the first
beat of each bar – but keep your foot tapping on the downbeat throughout to ensure good timing.

QUEEN - “NOW I’M HERE” • Main riff

B5 A5 D5 A5 B5 F#5 E D A
j j j
#### 4 j œj j œœ œœ œœ œœ .. œ œœœ ‰ œœœ
& 4 œ œ œœ œ œ ‰ œ œ ‰ œj œœ œœ œœ œœ .. n œœ ‰
n œ # œ œ nœ nœ œ œ œ œ œ œ #œ œ nœ œ
œ œ nœ œ
œ
œ
œ
0:48
œ œ n œ # œ œ œ œ œ œ œ œ
1:36

T 2 2
9
9
9
9
9
9
7
7
5
6
5
6
A 2 4 2 0 0 2 4 4 0 2 9 9 9 7 7 7
B (0) 3 4 0
2 0
3 4 0
0 2 2 4
2
0 1 2
0
7
0 0
7
0
7 5 7
5
7
5

This riff uses the E blues scale (E G A Bb B D) and E Mixolydian mode (E F# G# A B C #D). Brian mixes up the notes from the two scales, rather than switching between one scale
and the other – giving a colourful sound. Keep your picking hand moving in a constant eighth-note motion to stay in the groove.

QUEEN - “NOW I’M HERE” • Verses #1 and #2

B5 B6 B5 B6 B5 B6 B5 E E5 E6 E5 E D5 A5

#### 4 œœ œœ œœ œœ .. j
œœ œœ œœ œ œœ œ œ œœ .. nn œœ ‰ œj ‰ œj
& #4 œ œ œ
œ œ œ œ
œœ œ œœ œœ œœ œœ œœ œ œœ œœ œœ œœ œœ
nœ œ œ
1:00 nœ œ
1:47 PM PM PM PM PM
PM

T 9
9
9
9 7
A 9 9 11 9 9 7 7 7
B 9
7
9
7
11
7 7
9
7 7
11
7
9
7
9
7
11
7 7
9
7
9
7
9
7
7 7 7 7 7 7 7 7 5 7
5
7
5
1

Verse 1 ending Verse 2 ending

B5 B6 B5 B6 B5 B6 B5 E E5 E6 E5 E B E E A D
j j œj
#### œ œœ œœ œ œœ œœ œ œœ œ
& # œ œ œ œ œ œœ œœ œœ œ œœ œœ œœ œœ œœ œœ œ œ œœ œ œ œœ œœ ‰ œœœ ‰ œœ ‰ j œœœ œ
‰ n œœœ ‰ n œœ ‰ j
œ œ œ œ œ œ œ œ J nœ nœ nœ œ
PM PM PM PM
PM PM

T 9
9
9
9
7
8
9
9
9
9
5
6
7
7
A 9 9 9 11 9 9 9 9 9 7 7
B 9
7
11
7 7
9
7 7
11
7
9
7
9
7
11
7 7
9
7
9
7
9
7
7 7 7 7 7 7 7 7 9
7
7
3
7 7
5
5
2
5

This section is a bluesy rock ’n’ roll riff. Play the B5 and E chords with your first and third fingers, and reach up with your fourth finger to add the 11th fret note to each chord.
Note that both verses are the same expect for the final bar. We’ve included the alternate endings in the tab for you.

| www.guitarworld.com/australianguitar
 | 41

QUEEN - “NOW I’M HERE” • Chorus #1

A5 D B E C# F# D#
j j j j
#### 4 œ œœ ‰ # œœœ œ œ œœ œœ œœ n œœœ œœœ ‰ # # œœœ œœ n œœ
& 4 œœ œœ ‰ n œœ ‰ œ ‰ œœœ ‰ œœœ œœ œœ œœ ‰ œ ‰ # œœ
œ œ nœ œ œœ
œ J œœ œœ J
œ
J
œ œ
1:14 J
T 7
7
7
7
7
8
7
8
9
9
9
9
9
9
9
10
9
10
11
11
11
11
11
12
A 7 7 7 7 9 9 9 9 9 11 11 11 11 13
B 7
5
7
5
5 5 9
7
9
7
7 7 7 11
9
11
9
9 9 13
11
1

G# F#
j
E G

#### n # œœœ # n œœœ œœ

œœ
œœ
œœ
œœ
œœ ww ˙˙ # œœ œœ nœ w w
& ‰ #œ ‰ œ ww ˙˙ œœ œœ œ ww ww
œ J J n nn œœœ ww ww
J œ œ w ˙
3
T 11
12
13
13
13
13
13
13
9
9
11
11
11
11
0
0
A 13 13 13 13 9 11 11 0
B 13
11
11 11 11
0 0
7
0
9 9
3
4

The opening change from A5 to D (a fourth interval) is essentially repeated at the seventh, ninth and 11th frets, albeit with some changes in the rhythm. Brian plays the sixth-string
root notes with his thumb over the top of the neck, but you could play ‘fingers only’ if you prefer.

QUEEN - “NOW I’M HERE” • Bridge #2

B Bsus 4 B Bsus 4

# # # # 4 ˙˙ .. œœ œœ ˙˙ .. œœ œœ ˙˙ .. œœ œœ œœ œœ œœ œœ
& 4 ˙. œœ œœ ˙˙ . œœ œœ ˙˙ . œœ œœ œœ œœ œœ œœ
˙. . . œ
1:28

T 4
4
5
4
4
4
5
4
5
4
5
4
5
4
A 4 4 4 4 4 4 4
B 2 2 2 2 2 2 2
0

This bridge is almost the same as the second half of the first bridge, except there are some slight rhythmic variations and it’s half the length. The final open E note sets up a repeat
of the main riff here too, so play this note as a ‘tie’ into that riff. After the repeat of the main riff, play the verse with the second ending, before heading into the second chorus.

QUEEN - “NOW I’M HERE” • Chorus #2

G5 C A D B E C#

j j j j j j
#### 4 œ
‰ n œœ ‰ œœ ‰ # œœœ œœœ ‰ n œœœ œœ œœ œœ œ œ
œœœ œœœ ‰ œœ ‰ œœ ‰ n œœœ
& 4 n n œœ œœ œœ œ ‰ œœ œœ œœ œœ œœ œ
nœ œ œœ nœ œ œ œ
2:01
nœ œ J J
T 5
5
5
5
5
6
5
6
7
7
7
7
7
7
7
8
7
8
9
9
9
9
9
10
A 5 5 5 5 7 7 7 7 7 9 9 9 9 11
B 5
3
5
3
3 3 7
5
7
5
5 5 5 9
7
9
7
7 7 11
9
1

F#
j D5 E E A

# # # # ‰ n œœœ ‰ # # œœœ œœ
œœ
œœ
œœ
œœ n œ œ n ww
œœ œ œ w ˙˙ œœ
œœ
œœ
œœ œœ
j
ww ww
& ˙˙
œœ œ
J nœ œ nw
J
œœ w
w
w
w
2
T 9
10
11
11
11
11
11
11
3
2
3
2
3
2
9
9
9
9
2
2
A 11 11 11 11 0 0 0 9 9 2
B 11
9
9 9 9 7 7 0
4

This chorus starts a tone lower than the first chorus – something that is almost unnoticeable in the context of the song, and testament to Queen’s genius as songwriters. The
chords ascend the neck in the same ‘up a forth, then up two frets’ fashion here as well.
42 | LESSONS

QUEEN - “NOW I’M HERE” • Solo #1

B E A B E A

# # # # 4 Œ œj n œœ # œœ œœ n œœ œœ œœ n œ œ œœ œœ œœ œœ œœ œœ œœ œ ~~~~~
& #4 œ œ # œ
œ œ
œ œ œ
œ n œ # œ œ œ œ j œ œ œ ¿ œj œ œ
œ

2:16 PB6 RP PB6

4 7 7 7 7 7 4
~~~~~
BD BU
T
¿
7 7 7 7 7 7 4 4 4 4 7 7 7 7 7 5 7
6 (7) (8) (8) (7) (7) (7) (7) (6) 4 4 4 4 7 8 4 4 6 (8) 4
A BU BU BD 6 6 9 9 4 6
B
1

####
B
œ œ
œ œ
œ œ
œ œ
œ œ œ
E
~~~ n œ n œ
œ œ
œ œ
œ œ
A
œ œ
œ # œ œ œ
B
œ œ œ œ œ
E
œ œ j nœ œ œ
A
j œ œ
# œ n œ n œ # œ œ œ œ n œ œ œ n œ # œ œ n œ # œ n œ œ œ œ œ œ œœ œ œ
œ
& # œ œ œ œ œ

6 7 7 7 7
~~~
T 6 7 7 7 7 9
9
7
7 8
8 10 10
9 11 11
10
11
10
11
10
11
9
9
9
9
7
7
7
8
9
9
7
7
7
8
9
9
7
7
7
8
8
9
10
11
10
11
10
11 9 8
8 10
9 11
10
11
A 9 9 9 9
B
5

# # # # n œœ n œœ œœj œœ œœ œœ n œœj œœ œœ
B E
n œœ œ
j œœ Aœœ œœ œ j œœ œœ n œœ
B
n œ œ # œ œœ œ
j
œ
E

& # J ‰ J ‰
œ
nœ n œœ
J ‰ n œ # œ œ œ

BU BD
T 10
11
7
7
7 10
7 11
10
11
10
11
8 10
9 11
10
11
10
11
10 12
11 13
12
13
12
13
8 10
9 11
10
11
10
11 10 9 7 8
7 9 (10)
8 9 (11 )
A 14 12 9
B
9

A B E A

# # # # œœ n œœ œ œœ œ œœ œ œœ œœ œœ œ œ œœ œœ œœ œœ n œœ # œœ œœ œœ
n œœ # œœ œ
1/4 1/4

# n œ œ n œ # œ œ œ
& œ
PM
1/4 1/4
7 7 7 7 7 7
T (9)
(9)
7
7 9
7
7
7
7
7 7 9
9
7 7
7 (8)
7 9
9
7
7
7
(8)
7 9
9
7 7
7 (8)
7 7
A 9 7 9 9 BU 9 BU 9 BU 9
B 9
12

# # # # œœ n œœ œœ œœ œœ œœ œœ œœ œœ œ œœ œ œn œj œœ œ œ œj œœ œ œ œœ œœ œœ œj œœ œ œ œ œ
B E A B
j j j j
nœ
œ nœ #œ œ nœ
& # œ œ nœ œ œ
RP RP
nœ œ
7 5 7 7 7 5 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7
T 7 5 7 7 7 5 7 7 7 10 (12 ) 7 10 (12 ) 10 (12 ) 10 (12 ) (12 ) (12 ) 10 (12 ) 9
9
7
7
7
8
A BU BU BU BU BU
9 7
B 9 7
10 7 7 5 5
15

Brian starts the solo in what looks like the G# minor pentatonic scale – but in fact it’s a B major pentatonic, thanks to the B root notes. In the fourth bar, he slides this shape up to
the seventh fret where it sounds like a B minor pentatonic, but he also adds B Mixolydian notes. Brian makes great use of minor to major thirds, double-stop slides and bluesy
bends in this solo.

| www.guitarworld.com/australianguitar
 | 43

QUEEN - “NOW I’M HERE” • Chorus #3

C# #
j
G5
j j j
C A D B
j E
j #Fœ œ
#### 4 œ œœ œœ œœ œœ œœ œœ œœ n œœœ œ œœ œœ
&
œ œ œ œ œ nœ
4 n n œœ œœ ‰ nn œœœ ‰ œœœ ‰ # œœœ œœœ œœœ ‰ n œœ œ œ œ œœ œœ ‰ œœ ‰ œœ ‰ œ ‰ n œœœ ‰ # œœœ œœœ œ
œ
œ
œ
œ œ œ œ œ œ œ œ J J œ œ J
2:49
nœ œ
T 5
5
5
5
5
6
5
6
7
7
7
7
7
7
7
8
7
8
9
9
9
9
9
10
9
10
11
11
11
11
11
11
A 5 5 5 5 7 7 7 7 7 9 9 9 9 11 11 11 11 11
B 5
3
5
3
3 3 7
5
7
5
5 5 5 9
7
9
7
7 7 11
9
11
9
9 9 9

Chorus #3 starts on the same chord as the second chorus, but this time it’s only four bars long. To help stay in time, try playing all the down-beat chords with downstrokes and
the offbeat chords with upstrokes; this will give your strumming a consistent feel.

QUEEN - “NOW I’M HERE” • Intro reprise

D5 A D5 D D5 Csus 2

## 4 . . œœ œœ
. œ œ œ œ œ œ œ œ . œ œ œ œ œ œ œ
& 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œœ œœ œœ œœ œœ œœ œœ
n œœ¿ œœ¿ œœ¿ œœ¿ œœ¿ œœ¿ œœ¿ œœ¿
2:56 PM PM PM

T . . 0 2

¿0 ¿0 ¿0 ¿0 ¿0 ¿0 ¿0 ¿0
2 3
A
B
. 2
0
2
0
2
0
2
0
2
0
2
0
2
0
2
0 . 2
0
2
0
2
0
2
0
2
0
2 2
0
2 2
0
2
0
2
0
2
0
2
0
2
0
2
0
2
0
3 3 3 3 3 3 3 3
1

Bb6 A5
#
G/B

& # œ¿ œ¿ œ¿ œ¿ œ¿ œ¿ œ¿ œ¿ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ b œ œ œ œ œ œ œ œ b œ œ œ œ œ œ œ œ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
œ
T
A ¿0 ¿0 ¿0 ¿0 ¿0 ¿0 ¿0 ¿0 0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
B 2 2 2 2 2 2 2 2 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1
3
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
0
5

Here we return to the palm-muted D5 chords we used in the intro. The dynamics of the song drop here too, so pick a little softer to naturally bring the volume and energy down. As
you reach bars nine and ten, play a little louder again by digging into the strings a little more and slightly easing off with your palm muting.

QUEEN - “NOW I’M HERE” • Extended main riff

Bb5
#### 4
B5 A5
j
D5 A5 B5
~~~~ A5 E5

j j ‰ ‰ j j j j n œj
& 4 œ œœ œœ œœ œ œ
n œ œœ œ
œœ œ œ œ œœ ‰ œœ œ œ #œ œ nœ œ œ b œ
œ nœ #œ œ nœ #œ œ nœ œ. œ
3:13
~~~~
T 2 2
A 2 4 2 0 0 2 4 4 2 2 0 2 3
B (0) 3 4 0
2 0
3 4 0
0 2 2
2
0 0 2
0
0 1 2
0
1

Here is the third and final appearance of this classic riff, which you should play as loud and confidently as possible. There is a slight variation in the fourth bar with the addition
of the A5 and E5 chords, making the riff into an ‘extended’ five-bar section, rather than the previous four bars.

QUEEN - “NOW I’M HERE” • Solo #2

B5 E A B E A

#### 4 n œœ
j n œœ œœ œœ n œœ n œœj œœ œœ œœ œœ œœj œœ œœ œœ n œœ œœ n œœ # œœ n œœj œœ œœ n œœ œœ œœ œœ n œœj œœ œœ œœ
& #4 ˙ œœ J ‰ œ J ‰
˙
3:23

T 8
9
10
11
10
11
10
11
10 8
11 9
10 10 10 10 8
11 11 11 11 9
10 10 10
11 11 11
10
11
9
9
7
7
7
8
8
9
10
11
10
11
10
11
10
11
10 10 8
11 11 9
10
11
10
11
10
11
A 4 9
B 2
1
44 | LESSONS

QUEEN - “NOW I’M HERE” • Solo #2 (cont’d)

B E A B E
j
#œ œ œ œ nœ #œ
j
œ œ nœ #œ
j
œ œ nœ #œ
j
n œœ œœ n œœ # œœ œœ œœ n œœ # œœ # œœœ œœœ
œ œ nœ #œ
j
œ œ nœ #œ
j
# # # # n œœ œœ œœ œœ œœ # œœ œœ œœ n œœ n œœ # œœ œœ œœ n œœ # œœ œœ œœ n œœ # œœ
j nœ
n œœ n # œœ
& #

10 11 11 11 11 10 11 11 11 10 11 11 11 10 11 11 11 10 11 11 11 10 11 11 11
T 10
11
8 10
9 11
10
11
10
11
10
11
9
10
10
11
10
11
10
11
10 9
11 10
10
11
10
11
10
11
9
10
10
11
10
11
10 9
11 10
10
11
10
11
10 9
11 10
10
11
10
11
10 9
11 10
10
11
11
11
11
11
A
B
5

n ## œœœ œœœ œœœ œœ n œœ œ œ

A B E A B E
j
nœ
#### œœ n œœ œœ œœ œ œ œ
œ œœ œœ
œœ n œœ œœ œœ
œ œ œœ
œœ
œ œ n œœ œœ œ œ œœ
1/4 1/4 1/4 1/4 1/4 1/4 1/4

& #
n œœ
œ œ œ œ œ
1/4 1/4 1/4 1/4 1/4 1/4 1/4
10 11 11 11
T 9
10
10 10 10
11 11 11
9
9
7
7
7
7
7
7
[7]
[7]
7
7
7
7
[7]
[7]
7
7
7
7
[7]
[7]
7
7
7
7
[7]
[7]
9
9
7
7
[7]
[7]
9
9
7
7
[7]
[7]
9
9
7
7
A 9 9 9 9 9 9 9
B
8

A B E A B5

# # # # œœ œœ n œœ œ ~~~~~ œ œ~~ œ~~ ~~~~ œœ œ œœ œœ œ œ nœ

œ œ n œœJ ‰ œœ # œ ‰ œ
1/4 1/4 1/4 1/4 1/4 1/4 1/4

& # œ œ n œ œ œ œ œ n œ œ œ œ œ œ œ œ n nœ
œ J
1/4 ~~~~~ ~~ ~~ 1/4 ~~~~ 1/4 1/4 1/4 1/4 1/4 BU
T [7]
[7]
9
9
7
7
7
7
7
7
7
7
7
7
7
7
9
9
7
7
7
7
7
7
(8)
(8)
A 9 9 7 9 9 9 9 9 9 9 9 7 9 9 9
B 9
12

#### œ œ nœ
1/4
œ œ nœ
1/4
j n œœ œœ œœ œœ œœ œœ œœ œœ
# œ œ n œJ ‰ œ # œ ‰ œ œ œ n œJ ‰ œ # œ ‰ œ nœ #œ œ Œ
n œœ
& œ ‰ J ‰ J
J J
1/4 1/4
BU BU
7 7 7
T 7
7
7
7
(8)
(8)
7
7
7
7
(8)
(8)
8
9
10
11
10
11
10
11
10
11
7 7 7 9
9 7 8
A 9 9 9 9 9
B
16

# œœ œœ œœ œœ œœ œœ œœ
j œœ œœ œœ œœ œœ œœ œ œ
#### n œœ œœ œœ œœ œœ œœ j œœ œœ n œœ nœ œ
‰ J n œ # œ œ œj ‰ ‰ J
n œœ
& # ‰ J ‰ J

7 7 7 11 12 12 12 12 12 12 12 14 14 12 12 11 11 9 9
T 8
9
10
11
10
11
10
11
10
11
7 7 7 9
9 7 8
13 14 14 14 14 14 14 14 16 16 14 14 12 12 10 10
A 9
B 11
20

# # # # œœ œœ œœ n œœ # œœ n œœ ˙˙~~~~~~~~~~~~~
œ n n œœœ œœ œœ œ œœ œœ œœ œœ œœ œ j

n n œœ n n œœ
œœ
& # œ œ œ œ œ œ œ œ œ œ
7 7
BU BD ~~~~~~~~~~~~~
T 7 7 9
9
7
7
7
8
7
7
7
7
7
7
7
7
7
7
7
7
7
7
9 (10)
9 (11 )
(9)
(9)
A 9 7 7 7 7 7 7 7
B 9 9 9
24

This solo is played over the same chord progression as the first solo, and this time Brian uses more double-stops and slides as well as repeating licks with quarter-note bends.
These bends are typically played in order to ‘sweeten’ the minor third note, which isn’t technically in the key so can sound a little out of tune without curling the note up slightly.

| www.guitarworld.com/australianguitar
 ALL NEW | T5 TRUE WIRELESS EARPHONES

ONE SLEEK SET OF WIRELESS EARPHONES TO

RULE THEM ALL. THE KLIPSCH T5 TRUE WIRELESS
EARPHONES ARE THE ULTIMATE COMBINATION
OF COMFORT, DESIGN, EFFICIENCY, AND
LEGENDARY ACOUSTIC CLARITY.

klipsch.com.au LEGENDARY SOUND. SINCE 1946.

 | 47

WORDS BY JONATHAN HORSLEY.

G
iven that the business of playing metal use Fenders with single-coils, sacrificing beefiness for doom, you’re going to need something shreddable.
makes some very specific demands of an clarity and using that clarity in heavily processed fuzz There’s no getting around it – metal is a predominantly
electric guitar, a degree of specialism can tones. It’s an approach that could work in a variety of shred-adjacent activity. Here we’ll be looking for a
help no end in finding the right guitar for the job. contexts, not least in the treble-scratch fuzz of black reasonably svelte neck profile – say 20 millimetres deep
Just as there are many types of metal, the metal metal. But for now, let’s stay on this left-hand path or less at the first fret, with not too much of a taper as
guitar comes in various guises, too. down the high-output humbucker rabbithole. it fills out towards the body, and a compound radius
Here, we’re going to take a look at some of them, The early ‘70s saw the DiMarzio Super Distortion fingerboard with jumbo frets. Of course a fine player
walking through some of the choices you will face establish itself as the humbucker of choice for rock can shred the lacquer off a fat-necked guitar, but a thin
when it comes to pickups, a hard-tail vs. floating and metal players. Compared to the low-to-medium neck eases speed. Again, it’s a question of preference.
vibrato, shape, build, and whether a blood splatter output of classic humbuckers like the PAF, the Super That goes for the bridge, too. If you want to perform
finish is too necro for playing your little sister’s Distortion was wound to punch the front end of your some harmonic dive-bombs, dousing them in reverb
eighth-grade graduation ceremony. amp hard, driving it harder. KISS’ Ace Frehley and Def for a Doppler effect, you’ll need a floating vibrato with
Leppard’s Phil Collen were early adopters. a locking nut – most commonly a Floyd Rose, but a
WHAT IS A HEAVY METAL GUITAR? The market soon exploded, Seymour Duncan and Kahler will get a similar effect.
If the original heavy metal guitar was Tony EMG joining DiMarzio in winding hotter pickups. EMG Those with no need for a whammy, and will be
Iommi’s heavily modded 1964 Gibson SG Special – was a game-changer, popularising active humbuckers routinely changing your tunings a la Iommi, seek out a
a.k.a. ‘Monkey’ – then the metal guitar of today is that came with a battery-powered preamp and a guitar with a hard-tail bridge – you’ll spend more time
much changed. Having passed through the febrile searing output. playing. Locking tuners are a bonus if you like to play
evolutionary plane of ‘80s shred guitar, it might Ideal for more extreme styles when you want a hard. Remember, this is metal: no prizes for tickling it.
take the form of a mutated S-style, hot-rodded with solid, slightly compressed chug, EMGs found fans in As for super-low tunings, and the bass-heavy
sharper cutaways and enhanced upper-fret access – Metallica’s James Hetfield and Kirk Hammett. Before hugger-mugger, consider a specialist tool such as a
such as a Jackson Soloist or a Schecter Reaper 6. long, a set of active EMG-80/81 or 61/80 humbuckers longer-scaled baritone electric or extended-range
Alternatively, we could be looking at next-gen shapes in the neck and bridge positions became a no-brainer. guitar with seven or eight strings.
from the likes of B.C. Rich, Jackson et al – guitars that Active pickups remain an attractive proposition,
took the late ‘50s modernism of Gibson’s Ted McCarty capable of keeping that low-end solid. But with so DO YOU NEED A CRAZY SHAPE?
era (the Flying V and Explorer) and ran with it. Shapes many high-output passive options, with powerful If you have the frame to carry off a Dean Razorback
such as the B.C. Rich Warlock and Jackson Kelly are old- ceramic magnets and DCR readings around ~15 kohms, or a Jackson Warrior, more power to your elbow.
school classics, tailor-made for metal. it’s certainly not a matter of ‘active or bust’. Need Shapes can be cool, but take a note of caution; not all
The last 40 years has witnessed an arm’s race for some low-end djent power? A Bare Knuckle are well-balanced for playing seated.
more gain, played out on pedalboards and guitar amps Painkiller will eat those tones up. The V shapes can be notoriously tricky to play
– but chasing metal tone is a process that And yet, have these been usurped by seated; you have to wedge it on your thigh and play it
starts with your electric guitar pickups. Fishman’s Fluence pickups? Used by Stephen a little like a classical player. We’d consider that a small
Carpenter, Devin Townsend and Tosin price to pay, but then the Jackson RR5 has always
A VULGAR DISPLAY OF PICKUPS Abasi, the Fluence set offers switchable been one of our favourite metal guitars – or rather,
For metal, we’ll typically be looking for voicings. Time will tell. If you see a favourite guitars period. Reverse headstocks are a
high-output humbucking pickups. The guitar you like, check out the pickups definite bonus – a simple power move for adding metal
rationale is simple: humbuckers have and visit their manufacturer’s site. kudos that any Ibanez RG model or old-school ESP/LTD
a fuller tone than single-coils, They’ll typically have some helpful spec Horizon wears particularly well.
and with a higher output, they and will give you an idea of what style they But shapes and pointed edges? They’re a question
will send your amp into overdrive sooner. are best suited to. of style. Ultimately, find a guitar with enough power
They also help keep unwanted noise at bay. in the pickups and a feel that allows you to express
Some metal players are moving away from this PLAYABILITY AND BUILD yourself freely, and you’ll make it metal. And if it’s got
simple calculus as they look for new textures in gain. Playability is crucial. Unless you’re a blood-splatter finish? Just make sure you write riffs
Gina Gleason and John Dyer Baizley of Baroness playing some epically glacial funeral that do it justice.
48 | FEATURE

KEEPIN’ IT WYLD
BILL & TED FACE THE MUSIC HAS BECOME 2020’S MOST TRIUMPHANT CELEBRATION
OF THE ELECTRIC GUITAR’S PAST, PRESENT AND FUTURE. MUSIC SUPERVISOR
JONATHAN LEAHY REVEALS HOW THE MOVIE’S BODACIOUS SOUNDTRACK
AND RESPLENDENT SHOWCASE OF GIBSON ELECTRICS CAME TO BE.
WORDS BY MICHAEL ASTLEY-BROWN.

W
hen news of a Bill & Ted threequel – they’re cult classics and pop culture signposts Kramer. We connected with Gibson very early on and
first broke, decades after the beloved that mark the end of the pre-grunge era. When the they were most excellent partners on this. At this
originals, it’s fair to say it set a few director [Dean Parisot] called me about doing the point, they feel like family – they worked really hard
alarm bells ringing. Could Keanu Reeves and Alex third film. I was both thrilled and terrified. It was a to make sure the film had everything it needed, all
Winter recapture the fresh-faced magic of those huge risk to revisit San Dimas after all these years, the way up to the Weezer video which we just shot
original performances? Would the film end up a but the script was great and Alex and Keanu were [“The Beginning Of The End”]. They’re caretakers of
pastiche of the ’80s rock it previously glamorised? onboard, so how could I say no? Getting the gig was Keanu’s hero guitar, and sorted out the logistics to
And would the production team get those all- a guitarist’s dream come true.” make sure that the guitar Rivers [Cuomo] plays in the
important guitars right? There are few movie franchises where getting video is the same guitar Keanu plays at the end of the
Audiences and guitarists alike needn’t have the guitars right is more important – and having a film. They are a most dependable bandmate.”
worried: Bill & Ted Face The Music is a most music supervisor who actually plays proved integral Gibson provided over 30 guitars for the
triumphant celebration of all things electric guitar to the film’s six-string accuracy. Co-producer Ashley movie from its various brands, including specific
– past, present and future. In their quest to write Waldron quickly signed Gibson Brands as the models that were absolutely essential to filming –
a song that will unite the galaxy (no pressure), the movie’s official guitar partner, providing the iconic instruments that Leahy was quick to identify.
titular duo once again travel through time, join a instruments that Bill and Ted use to save the world “When Bill and Ted travel to the future, having
band composed of the greatest musicians in history, – not to mention countless other electrics from its Steinbergers in that scene was something that I
and learn a lot about the power of music – and stable of marques, including Epiphone, Kramer absolutely insisted upon,” he recalls. “Fans would
themselves – in the process. and Steinberger. Waldron brought in Leahy and the demand it, and they’d be right. When it came to the
It’s sharply written, funny and surprisingly Gibson team to ensure music and guitar-playing big guitar solo at the end, it seemed fitting that they
heartwarming – and, crucially, delivers a killer remained a central focus of the story. play the same type of instruments – SG and Flying V
contemporary soundtrack and attention to detail on “I’m a gear guy so the instruments you see on – that they play at the end of Bogus Journey – except
the guitar front. That’s largely thanks to the watchful camera are important to me, and I knew they’d now they don’t have the custom paint jobs; they’re
eye of Jonathan Leahy, an in-demand film and music be important to fans, too,” Leahy explains. “I took more simple, classic, mature – kind of reflecting that
supervisor with credits on mega-series Girls, The a look at the most important guitars featured in Bill and Ted have grown up.”
Society and Good Girls to his name. A player himself, the first two films, the Steinbergers, the SG and Asked which guitar he wanted to take home after
Leahy was well-placed for the job. the Flying V, and discussed with the director and filming, Leahy names a Tobacco Burst Les Paul
“As a guitarist and just as a kid who grew up in supervisors what we wanted to do in this third film. Standard ’50s – albeit for reasons beyond the usual
the ’80s and ’90s, this franchise means a lot to me,” “Gibson Brands is home to all of these instruments, look and sound.
he enthuses. “The first two films are just so iconic as well as Epiphone and the shred sled supreme, “That guitar has a history which is similar to the

| www.guitarworld.com/australianguitar
 | 49

“THE FIRST TWO FILMS ARE

JUST SO ICONIC – THEY’RE
CULT CLASSICS AND POP
CULTURE SIGNPOSTS THAT
MARK THE END OF THE
PRE-GRUNGE ERA.”

years-long struggle to make Face The Music,” he laurels, the supervisor had a clear vision for the metal we trust’?”
explains. “Decades after the last Bill & Ted movie, we soundtrack: to represent guitar playing in 2020. Leahy is effusive in his praise for every artist on
went back to the original formula, were respectful “This is a Bill & Ted film, and I knew from the the soundtrack – from Big Black Delta’s Jonathan
of the characters people already knew and loved, beginning that I wanted to make the soundtrack a Bates “embracing his deepest, darkest Floyd
but also created something new at the same time. celebration of the electric guitar,” Leahy says. “Not Rose fantasies” for a pair of tracks, to FIDLAR’s
It feels a lot like the rebirth of Gibson in the JC in a retro or nostalgic way, but in a vital this-is- ferocious effort and Cold War Kids’ anthemic
[Curleigh] era, and in particular the love and care what’s-happening-right-now way.” closer – but in terms of composition, one song
that they’ve put into the new line of Les Pauls.” Alongside Reeves’ bagpipe showcase are huge stands out as a highlight.
Using guitars not only as props but as instruments tracks from Weezer, Mastodon, Lamb of God, Cold “Maybe the most fun we had was working with
that tell a story in themselves is emblematic of War Kids and FIDLAR – several of which were written Lamb of God, who agreed to build their song,
Leahy’s keen-eyed approach. That dedication was especially for the movie. It turns out the impressive ‘The Death Of Us’, around the prison chant that
echoed by Reeves and Winter, who – although both roster didn’t take much convincing. the very muscular Wyld Stallyns are performing
bass players originally – knuckled down to not only “There is a massive amount of love for this in the yard,” Leahy says. “Again, we got to work
perform live on set, but also add a couple of new franchise in the music community, and among with living legends to create something special
musical strings to their bows. guitarists in particular, so when I approached artists just for the movie. Another dream come true.
“There’s a lot of music performance in the film, I was met with enthusiasm and excitement,” Leahy That track is a beast.”
and Alex and Keanu really wanted to get it right, so says. “When I’m working on a movie, my job is to put Speaking of beasts, there was one virtuoso
I arranged to have instructors work with them on the right songs in the right spots. So when Death that immediately sprang to mind when it came
a bunch of different instruments,” Leahy reveals. gets in a SWAT van in the bowels of hell, then yells, to filling the much-coveted “air shredder”
“Keanu plays bagpipes in one scene, and he was ‘Let’s rock!’ and slams down his scythe, launching position: Tosin Abasi.
determined to get that right, so I arranged for a them through seven layers of the underworld, yeah, “He was one of the first people I called,”
professional player to work with him. After a couple you better believe I’m calling Mastodon!” recalls Leahy. “I wanted to make sure that when
lessons, they told me that Keanu was the best Alongside Mastodon at the top of Leahy’s Bill and Ted play air guitar in Face The Music,
student they ever had. wishlist was Weezer – who were coincidentally you hear something incredible being played by
“Same thing with Alex playing acoustic and singing working on their still-to-be-released album of a living legend, just as we heard Steve Vai in
‘Those Who Rock’ – they were really dedicated to guitar heroics, Van Weezer. Bogus Journey. Tosin and his Animals As Leaders
being real with the music performances. The guitar “I approached Weezer early in the process for bandmate Javier Reyes join Wyld Stallyns on the
and vocals you hear in that scene are captured live, a whole bunch of reasons,” Leahy says. “Number soundtrack version of Face The Music, which I also
performed by the actors. I had Wendy Wang, who one, they’re a great band. Number two, Rivers is thought was fitting since Steve Vai accompanied
co-wrote that song, fly to New Orleans to work with down to shred. They’re capable of making epic KISS on ‘God Gave Rock ’N’ Roll To You’.”
the guys to get it right. I feel like it’s the musical rock that has a joyful, adolescent quality, which This sense of continuity, in tandem with themes
equivalent of doing your own stunts.” reminds me of Bill and Ted jamming in that of growth and modernisation, ensures the movie
garage back in 1989. They’re an American rock and its soundtrack act as a true love letter to
A SOUNDTRACK TO UNITE THE WORLD institution that wields electric guitars with pride, the electric guitar in 2020. They celebrate the
Besides getting the action and aesthetics right and their first gig was on the same bill as [Keanu instrument’s heritage of excess, but also portray
on set, Leahy had another mammoth task before Reeves’ late ’90s alt-rock band] Dogstar, so it a future – and in the film, that’s taken quite
him: the soundtrack. While it would have been easy just seems like it was meant to be. And has there literally – where it still reigns supreme. And to
to rest on the Bill & Ted franchise’s ’80s/’90s metal ever been a more Bill & Ted lyric than ‘in heavy that, we can only say: party on, dudes!
50 | FEATURE

THE LIGHT SIDE

THE SOFTEST TUNES FROM MUSIC’S HEAVIEST HITTERS.
WORDS BY JOE BOSSO.

S
lash might’ve said it best: “There’s no lying with KANSAS - “DUST IN THE WIND” (1977) A Boy” for some deft blues-meets-flamenco work),
the acoustic guitar. There’s something very pure When Vicci Livgren overheard her husband (Kansas he was unstoppable. Although electrics bolster the
and very humbling about it.” It’s a profound guitarist Kerry) practicing finger exercises on his verses and choruses of the album’s centrepiece,
statement coming from one of rock ‘n’ roll’s most acoustic one day, she told him she heard a song there “Pinball Wizard”, a 1968 Gibson J-200 acoustic is the
celebrated electric guitarists. and suggested he add some lyrics. He listened, and dominant instrument throughout.
But strip away all the muck of multi-layered the result was “Dust In The Wind”. Townshend’s furiously strummed barre chords
overdubs, rack effects and endless symphonies of A departure from Kansas’ characteristic prog-rock (which he deemed ‘mock baroque’), heard in the intro
tracks, and you separate the dodgers hiding behind bombast, “Dust In The Wind” was a stark, plaintive and breakdown section, provide the kind of power and
studio wizardry from the artists who know that a great meditation on the meaning of life. While many assume majesty befitting a genuine rock opera.
song only needs six strings and a melody. that the track features a 12-string acoustic, the rich
Here are 25 of hard-rock’s best acoustic jams. Some unplugged sound is actually the result of multiple six- BAD COMPANY - “FEEL LIKE MAKIN’
are purely unplugged, while others start out that strings (a few in Nashville tuning), played by Livgren LOVE” (1975)
way before ascending into grand opuses. Either way, and co-guitarist Rich Williams. As the first band signed to Led Zeppelin’s Swan Song
what makes these songs iconic is their elemental The song became Kansas’ only top-ten single, label, Bad Company – led by former Free singer Paul
simplicity. In other words, all you need to bring charting at #6 in 1978. In the years since, it’s Rodgers and former Mott The Hoople guitarist Mick
them to life is an acoustic guitar and a little feeling. become something of a cultural touchstone, Ralphs – followed their bosses’ lead and specialised in
And from the looks of these rockers, some gaudy popping up everywhere from TV shows like The sweaty, swaggering blues-rock.
jewellery helps. Simpsons and Family Guy to movies like Bill & Ted’s Taking another lesson from the Zepmen, Ralphs
Note that these songs are not presented in Excellent Adventure and Old School. juxtaposed chiming acoustics with explosive power
any particular order. chords on this top-ten smash, to wondrous effect. The
THE ROLLING STONES - “STREET FIGHTING bright, jangly acoustics lend a relaxed, down-home
BOSTON - “MORE THAN A FEELING” (1976) MAN” (1968) country vibe to the verses, while the electric guitars
Tom Scholz’s soaring leads (recorded with One might assume this rebel yell, released during in the chorus scream with big, brash British rock.
an early version of his Rockman amp unit) and the tumultuous summer of 1968, would rage with Presumably, quite a few people felt like doing the
crunchy, multi-tracked electric guitar rhythms the sound of electric guitars. Not so: with the nasty after hearing this cut.
have more than a little to do with “More Than exception of an electric bass played by Keith
A Feeling” becoming one of classic rock’s Richards, the track is 100 percent acoustic. JOHNNY THUNDERS - “SO ALONE” (1978)
most enduring anthems. But it’s the song’s Preparing a demo for the song, Richards As a member of proto-punk glam-rockers The
lilting, arpeggiated acoustic intro that puts mic’d two acoustics and recorded them New York Dolls – and later with his own band, the
fans in the mood. into a cheap Phillips mono cassette Heartbreakers – Johnny Thunders knew how to dish
Working as something of a one-man recorder. The guitarist was so out rough and ragged three-chord rock. And with a Les
band in his basement, Scholz – one enamoured with the resulting distortion Paul Junior slung well below his waist, he had ‘cool’
of music’s first DIY dudes – played all (the machine had no limiters, causing written all over him.
the guitar parts on “Feeling”. For the the signal to overload) he decided to go So it came as a surprise when Thunders, on
arpeggiated intro and verses, he used a au naturel and ditch the electrics. his debut solo album, issued this poetic acoustic
Yamaha 12-string, while the more fully strummed ballad. Tempering his patented pounding style, the
choruses called for a Guild D-40. THE WHO - “PINBALL WIZARD” (1969) singer-songwriter lays out his junkie lifestyle with
A bit of trivia: Noting the similarities between By 1969, Pete Townshend was known as much unflinching candour, practically caressing his guitar
“More Than A Feeling” and “Smells Like Teen for smashing guitars as he was for playing them. strings in the process. Melancholic and remorseful,
Spirit”, Kurt Cobain teased fans at Nirvana’s 1992’s But on The Who’s groundbreaking Tommy, he the song has come to serve as an elegy of sorts for
Reading Festival performance with a few bars of demonstrated some astonishing six-string skills. the troubled Thunders, who died of an apparent
the Boston classic. And with an acoustic in his hands (check out “It’s drug overdose in 1991.

| www.guitarworld.com/australianguitar
 | 51

NIRVANA - “LAKE OF FIRE” (1994) VAN HALEN - “COULD THIS BE MAGIC?” (1980)
For their appearance on MTV’s Eddie Van Halen gave acoustic-shred fetishists
Unplugged, Nirvana abstained from much to chew on in 1979 with “Spanish Fly”, a
playing some of their biggest hits (no hummingbird-fast flamenco instrumental from
“Smells Like Teen Spirit”, for one) in Van Halen II. But guitarists of all stripes found a lot
favour of lesser-known material and to like in the bluesy and boozy, slightly off-kilter
covers of songs from artists they knew “Could This Be Magic?”.
and admired. One such artist was The track, which marks the guitarist’s first
Arizona’s Meat Puppets, a particular recorded bottleneck moment, finds Eddie’s
favourite of Kurt Cobain’s. And so, on whimsical acoustic slide-playing expertly
the night of November 18th 1993, on a shadowing David Lee Roth’s vocal on the verses.
stage decorated with flowers and black The idea to use a slide came from producer Ted
candles, Cobain invited the Puppets’ Templeman, and while Eddie was initially leery of
Curt and Cris Kirkwood out for, among trying it, he practiced for a few days and – in typical
other tunes, a mellow run-through of VH style – pulled off the part with aplomb.
their swampy “Lake Of Fire”. Another first: “Could This Be Magic?” represents
With Krist Novoselic, Dave Grohl the debut of an outside singer on a Van Halen album.
and the Kirkwoods holding down the Templeman suggested a different sound for one of
accompaniment, Cobain put aside his the choruses and brought in country singer Nicolette
guitar to hone in on the vocals, howling Larson, who was working in a neighbouring studio,
his way through the impressionistic to lend her support. Listen closely following Eddie’s
lyrics. The performance became one slide solo to hear Larson and Diamond Dave make
of the highlights of the show, and to sweet harmonised magic.
this day the song is as associated with
Nirvana as it is its originators. BON JOVI - “SLIPPERY WHEN WET” (1986)
The story is legend: Jon Bon Jovi and Richie
Sambora ride into the 1989 MTV Video Music
Awards, do the acoustic-duo thing on “Wanted
RUSH - “CLOSER TO THE HEART” (1977) which acoustics and electrics – played in classical, Dead Or Alive”, and before you can say
By 1977, Rush had firmly established themselves jazzy and rocking splendour – weave in, out and ‘dreadnought’, the Unplugged series is born.
as fine purveyors of glorious 20-minute sci-fi ‘roundabout’. As for the lyrics: well, this is prog – The song is no slouch either. On it, Sambora lays
opuses that could fill entire album sides. But on this, you’re on your own there. down some fancy acoustic finger work, picking out
their fifth studio release, the Canadian prog trio descending arpeggios and bluesy bends as JBJ rolls
demonstrated their ability to be hooky, concise and, RANDY RHOADS - “DEE” (1980) his fascination with the Old West into a story about
with “Closer To The Heart”, radio-friendly. With his inventive, neoclassical spin on Eddie Van the weariness of life on the road. The result was a
Perhaps the most surprising aspect of the song’s Halen’s already established bag of tricks, Randy smash hit, insuring that Bon Jovi would see a million
gentle, ringing 12-string acoustic guitar intro is Rhoads became the new heavy metal guitar king faces and rock them all for many years to come.
that it was written by bassist Geddy Lee, rather after fans heard his work on Ozzy Osbourne’s 1980
than guitarist Alex Lifeson. The same figure is later solo debut, Blizzard Of Ozz. But while electrified Ozz METALLICA - “FADE TO BLACK” (1984)
repeated after a particularly ripping electric guitar rockers like “Crazy Train” and “I Don’t Know” wowed Recorded way back in the early days of thrash,
solo – only this time, the 12-string acoustic is smartly the metal masses, it was the solo classical piece “Fade To Black” is rightly acknowledged as
doubled by a six-string electric. “Dee” that was Rhoads’ true masterpiece. the genre’s first power ballad. A seven-minute
Rhoads grew up in a musical family – his mother, rumination on despair and suicide, the song is
YES - “ROUNDABOUT” (1971) Delores, runs a music school in North Hollywood, built around singer and guitarist James Hetfield’s
Pick up a Martin 00-8 acoustic, pluck octave California – so it was only fitting that “Dee” paid mournful, arpeggiated acoustic picking – over
harmonics at the 12th fret (essentially comprising tribute to the woman who inspired and nurtured which Kirk Hammett adds some beautiful and
an Em chord) and voila! You’ll have a whole room his dreams. Fingerpicked on a nylon-string soaring electric leads.
of guitar dudes sitting up and taking notice. And acoustic, the piece is by turns playful, melancholic, Of course, this being Metallica, things remain
with good reason – this simple move is Steve Howe’s heartbreaking and hopeful. sweet and mellow for only so long. Midway
signature opening line to “Roundabout”, Yes’ Tragically, Rhoads was killed in a 1982 plane crash through, the song builds in intensity, shifting
breakthrough 1971 hit. at the age of 25. Five years later, Ozzy Osbourne rhythms and adding plenty of heavily distorted
Make it past Howe’s unaccompanied, harmonic- included an extended outtake version of “Dee” on his six-strings, culminating in an extended and
heavy intro, and you just might have a chance at album Tribute, reminding us all of Rhoads’ immense explosive Hammett solo.
mastering this intricate prog-rock masterpiece, in (and largely untapped) talent. While hardcore metalheads at the time accused
Metallica of selling out by recording a ballad, “Fade
To Black” remains one of the group’s most well-
LED ZEPPELIN - “STAIRWAY known and beloved songs. And it’s still a concert
TO HEAVEN” (1971) staple to this day. Besides, as Hetfield famously
Led Zeppelin III was largely an unplugged once said, “Limiting yourself to please your
affair, but “Stairway To Heaven”, from the band’s audience is bullshit.”
follow-up, wins the prize for acoustic guitar
excellence. Jimmy Page’s delicately fingerpicked POISON - “EVERY ROSE HAS ITS THORN” (1988)
arpeggios made the song Zeppelin’s – and rock’s When you think of ‘80s power ballads, one song
– definitive acoustic moment. stands head, hair and shoulders above the rest:
Over the years, “Stairway To Heaven” has “Every Rose Has Its Thorn”. Penned by singer Bret
dominated countless ‘greatest rock song ever’ Michaels after he discovered his girlfriend had been
lists, thanks to its spellbinding mix of lyrical cheating on him, the 1988 smash hit proved that
mysticism, compositional and production glam-metal dudes have feelings too.
genius, and instrumental virtuosity. But its While the recorded version features a typically
most celebrated moment remains Page’s histrionic electric guitar solo from Poison’s C.C.
unaccompanied intro: whether heard on radio DeVille, Michaels’ lyrical directness, solid song
or played by some pimply kid in a guitar store, construction and strong acoustic playing rule the day.
all it takes is those first few notes and you can Michaels has said that “people related to the song
instantly name that tune. because I related to the song,” and indeed, “Every
Rose Has Its Thorn” – which hit #1 on the charts in
52 | FEATURE

“Silent Lucidity” features songwriter and guitarist

Chris DeGarmo on Spanish six-string guitar in the intro
and verses, playing a sweetly arpeggiated pattern that
beautifully mixes fretted notes and open strings. The
song drifts steadily along, adding electrics, voice-overs
and swelling orchestration until practically busting at
the seams with sound. And yet it ends as it began, with
DeGarmo’s lone acoustic.

ALICE IN CHAINS - “NO EXCUSES” (1994)

With their 1992 EP Sap, Alice in Chains served notice
that they had more to offer than merely distorted
grunge. Melodic and full of somber beauty, Sap set the
stage for Jar Of Flies, which firmly established AIC as a
band of uncommon, if very bleak, depth.
“No Excuses” marked something of a departure for
the band. With its gentle, easygoing pace and hopeful
(for Alice in Chains, at least) lyrics about enduring life’s
hills and valleys, “No Excuses” is practically toe-tappin’
and good-timey. But the real revelation is guitarist
Jerry Cantrell’s wide-as-the-Grand-Canyon acoustic
sound – full, ringing and droning for days.

FOO FIGHTERS - “EVERLONG” (2006)

The full-band version of “Everlong” that appeared
GREEN DAY - “GOOD RIDDANCE (TIME OF YOUR LIFE)” (1997) on the Foo Fighters’ 1997 album, The Colour And The
When recording what would be the album version of this acoustic ballad, Green Day leader Billie Joe Shape, was a raging slab of rock that seemed hard
Armstrong flubbed the opening G/D chord – twice – and after the second time deadpanned, “F***.” to beat. But when Dave Grohl appeared on Howard
Fortunately, he soldiered on, and despite the uttered expletive, “Good Riddance (Time of Your Life)” Stern’s radio show later that year and performed an
enjoyed huge crossover success and stands as the band’s biggest hit to date – which was hardly anticipated. impromptu acoustic version, listeners went wild, and
At the time, Green Day were considered little more than snot-nosed (albeit multi-Platinum) Bay Area bootlegs soon abounded.
ruffians, and an acoustic guitar-and-strings ballad wasn’t what most people expected to hear from them. Musically, the composition is positively
For that reason, bassist Mike Dirnt called the song the ‘most punk’ thing they could have done. Which just Townshend-esque, built around a simple, movable
goes to show that even punks can wear their hearts on their sleeves. progression in a drop D (D-A-D-G-B-E) tuning. The
studio version features Dave Grohl pumping wildly
on the drums (Taylor Hawkins had not yet joined the
band), but it’s his tense, driving solo acoustic reading
1988 – has since become a defining tune of its era. As And so it was something of a kick in the head when that truly sets pulses quickening.
for that ex-girlfriend? She’s now a hedge fund investor. Bettencourt and singer Gary Cherone unleashed the
Everly Brothers homage “More Than Words”. STAIND - “OUTSIDE” (2001)
GUNS N’ ROSES - “PATIENCE” (1988) Aside from a couple of finger snaps, the only Sludgy, down-tuned electric guitars bulldoze the
Although GN’R Lies features a number of acoustic accompaniment to Cherone and Bettencourt’s choruses of the official recording, but originally this
tracks – including the country-ish, darkly comedic harmonising voices was Bettencourt’s fingerpicking song was an all-acoustic ballad: Staind lead singer
“Used to Love Her” – it was the lovelorn “Patience”, a on a Washburn acoustic and the percussive knocking Aaron Lewis used to perform a half-finished version of
glacial-paced ballad, that marked the most radical left- of his hand against the guitar’s top. The result was a “Outside” during solo shows.
turn for the normally hard-rocking group – and also smash hit: “More Than Words” hit #1 on the Billboard One night in Biloxi, Mississippi, as Staind were
gave them one of their biggest hits. charts in 1991, and led a generation of would-be preparing to open for Limp Bizkit on the 1999 Family
The song was recorded in a single take, with Slash, shred heroes to put down the electric, grab an Values Tour, the singer was asked to do a number
Izzy Stradlin and Duff McKagan all on acoustics. Axl acoustic, and knock the hell out of it. with Fred Durst providing backing vocals. Onstage,
Rose, for his part, contributes some fine whistling at Lewis came up with the lyrics to complete the tune
the intro. The final two minutes stand as the Gunners’ THE BLACK CROWES - “SHE TALKS TO he’d been labouring over for months. Radio stations
kumbaya moment, with the whole band cooing the ANGELS” (1990) picked up on the live acoustic version and helped build
song’s title in sweet harmony. Then everybody got in a “Jealous Again”, “Twice As Hard” and “Hard To a buzz for “Outside” months before the official version
fight – but that’s another story. Handle” put Atlanta’s Black Crowes on the map as a was released on Break The Cycle. The song – and
raucous, genuine-article blues-rock ensemble. But it the album’s – success launched a thousand nu-metal
JANE’S ADDICTION - “JANE SAYS” (1988) was this soulful acoustic-driven number, about the power ballads in its wake.
It’s five minutes long, features just two chords (G ravages of heroin addiction, that put the band over
and A), and with its steel drum ornamentation, sounds the top – and gave it a #1 hit. NICKELBACK - “PHOTOGRAPH” (2005)
like something Jimmy Buffett might have conjured up For the recording, guitarist Rich Robinson (who It sold more than 1.4 million digital downloads
after a three-day orgy of sponge cake and margaritas. wrote the music to the song when he was just 15) in the US, reached #2 on the Billboard Hot 100
Nonetheless, “Jane Says” remains one of the LA punk- played a Martin D-28 in open D tuning. Although he and was voted the fifth most annoying song of all
metal band’s most enduring songs. capoed the second fret, effectively giving him an time in a Rolling Stone poll. Such is the case with
Perhaps its durability can be attributed to the fact open E tuning, there’s a certain feel and texture to his Nickelback’s “Photograph”: love it or hate it, the
it doesn’t fit neatly in the group’s canon. In place of sound that fits the wrenching nature of the track. Add tune gets a reaction.
frenzied, psychedelic metal dispatched with tectonic in brother Chris Robinson’s soulful, yearning vocal, Like many a country-tinged power ballad,
force, we get a wistful, straightforward acoustic and you have something truly heavenly. electric guitars fire up the song’s choruses – but
ditty, tailor-made for campfires and backyard the backbone of “Photograph” rests in the heartfelt
cookouts. Coming from Perry Farrell, Dave Navarro QUEENSRŸCHE - “SILENT LUCIDITY” (1990) strumming of an unplugged axe. And if it’s a formula
and co, that’s pretty shocking. Let’s say you’re a proggy metal band (from Seattle, that Chad Kroeger and co. have repeated to great
of all places), best known for releasing a kitchen-sink success, so have scores of modern rock bands that
EXTREME - “MORE THAN WORDS” (1990) concept album about government overthrow (1988’s have followed in the band’s wake.
In the late ‘80s, Extreme carved out a niche as the Operation: Mindcrime)... or something like that. What Chances are when a power ballad with big guitars
funkiest hard rockers on the block, with a sound that, do you do for an encore? If you’re Queensrÿche, you and an even bigger chorus works its way up the
thanks to guitar hero Nuno Bettencourt, straddled the whip up a kitchen-sink acoustic song about dream charts today, there’s a little bit of that “Photograph”
line between Van Halen shred and Aerosmith strut. consciousness... Or something like that. magic in there somewhere.

| www.guitarworld.com/australianguitar
ON SALE NOW
 | 55

HANGING BY
A STRING FOUR SIGNS YOUR STRINGS NEED REPLACING,
FOUR WAYS TO EXTEND THE LIFE OF THEM, AND
ONE REASON WHY BOILING THEM SHOULD ONLY
EVER BE A LAST RESORT. WORDS BY.
WORDS BY AMIT SHARMA.

H
onestly, there’s not much point in playing reasonably dependable tuning. So when strings the line. All it means is that you’ll end up with
an expensive guitar through a high-end, are not behaving normally – particularly the a surplus of the four thickest strings which will
hand-wired guitar amp if you’re not thinner ones, which are susceptible to breakage inevitably lose their freshness, collect dust and
bothering to change your strings as needed. – it’s probably time to give them a change. end up in the bin. Considering how easy it is to
Though you might hear certain bass players order a set of singles online, it’s good practice to
speaking of their preference for the dullness that 3. OBVIOUS KINKS have spare high Es in abundance.
comes with using older and more worn-in sets, If you can see any kinks along the wire
the same appeal very rarely crosses over into – particularly above the frets – it’s usually 3. CLEAN YOUR STRINGS AND
guitar – whether you play electric or acoustic. a telltale sign of heavy usage. That doesn’t THE FRETBOARD
There’s a reason why professional touring necessarily mean they won’t hold tune, but even Cleanliness is indeed next to godliness when
and recording guitarists change their set for a minor effect on intonation is an anomaly not it comes to your strings. Getting into the habit
every show or studio session: newer strings will worth having. Naturally, they tend to appear of cleaning them before and after each use –
always breathe more life into your tone, with around the areas that get the most usage – even just five seconds with a rag – can help your
more sustain, clarity and resonance. Ultimately, guitarists tuned to standard might find that to strings sound better and last longer. Better still,
even to the untrained ear, these are noticeable be the third, fifth, seventh, twelfth and fifteenth you can use a string cleaner like Fast Fret by
differences, guaranteed to enhance your music frets – so it’s worth keeping an eye out. GHS or Ernie Ball’s Wonder Wipes. The same
and help translate it to full effect. goes for the fretboard itself, which collects
Here’s how you can tell when it’s time to 4. SIGNS OF RUST and absorbs grime from all those hours of
replace your strings, and what you can do to get While it’s good practice to keep all parts of sweaty musical navigation.
the most out of your existing set… an instrument clean, there will come a point
where the accumulation of sweat, oil and dirt 4. USE COATED STRINGS
HOW TO KNOW WHEN YOUR begins to rust and discolour your strings. The Elixir Strings have become famous for their
STRINGS NEED CHANGING time it takes may vary from player to player – coated sets, which are true to their claim of
some guitarists might find the acidity on their lasting three to five times longer than your
1. LACK OF BRIGHTNESS AND hands more potent (for lack of a better word) regular ones. By reducing the accumulation of
SUSTAIN than others, and therefore need to change debris and blocking corrosion from elements
The first thing to go with any set of strings is strings more often. like skin oil, their Nanoweb and Polyweb ranges
that initial brightness. Each player will have their also sound brighter for longer – maintaining
own preference as to how long each set will meet HOW TO GET MORE LIFE OUT that ear-pleasing response over months of
their demands, though it’s often lead guitarists – OF YOUR STRINGS usage, instead of weeks. Ernie Ball, D’Addario
who play a lot of single-note melodies and and DR Strings have also been widely praised
therefore are more dependent on natural 1. CLEAN YOUR HANDS for their coated products.
sustain – that will prefer the extra ‘oomph’ you BEFORE PLAYING
get out of a newer set. If you want those solos It seems like such an obvious idea, but let’s SO THE INTERNET TOLD ME
to really pop out, that brightness can carry you face it – we’ve all ended up picking up a guitar TO BOIL MY STRINGS…
a long way… while devouring a packet of chips, or even Arguably more common with bass players
halfway through a meal. It’s no secret that than guitarists, there is some truth to this old
2. STRINGS WON’T STAY IN TUNE inspiration can take hold at any time, but it’s myth. Guitar strings are incredibly affordable,
Perhaps most crucially of all, if your strings still worth giving your hands a quick wash before so for the majority of players this would be a
can’t stay in pitch, the instrument they are exploring it. An instrument with less chocolate waste of time and energy. But if you find
on effectively becomes redundant. How well on the neck will usually be easier to play, so yourself with no spare income and craving
the string has been strung also plays a part there is that benefit too… some freshness from a dull set of strings,
here – though assuming all is well and good boiling them for up to five minutes may work
above the nut, there is no reason for a guitar 2. NEVER OPEN A FRESH for a few hours. It’s far from ideal, so better to
to need constant adjusting. Even instruments PACK FOR ONE STRING think of it as a last-resort-meets-worst-case-
with a floating trem system should return to a We’ve all done it and regretted it later down scenario kind of option.
56 | FEATURE

T
he greatest player to ever have picked up an electric
guitar? Surely. Jimi Hendrix was a man whose sound was
rooted in blues, but seemingly refracted through the
cosmos and the psychedelic feedback loop of the swinging ‘60s.
His style is a lost art. Hendrix used volumes in ways that
were unique to him and prohibited by the practicalities of
modern stages, sound limits and so on. Who knows what
Hendrix would have come up with if he was still with us.
Thinking of Jimi as an elementary player, perhaps his earth,
wind and fire would be the Fender Stratocaster, Marshall
stack and wah/uni-vibe. There is a massive industry in
creating gear that puts some of that magic at your fingertips.
Sure, we can buy these – that’s the easy part. The rest is all in
the brain and fingers.

GUITARS

I
n the mind’s eye, Hendrix will always be Strat in hand –
but he played all kinds of guitars. When he was a session
player for the Isley Brothers, he played a blonde Fender
Duo-Sonic. When he played with Little Richard, he used a
Jazzmaster, proving – perhaps beyond doubt – that off-sets
have always been cool and everyone should chill out. He
also had a variety of Gibson Flying Vs, an SG Custom, a
Silvertone-era U-1 Danelectro with a Shorthorn body.
According to Jimi Hendrix Gear by Harry Shapiro, Michael
Heatley and Roger Mayer, he traded his U-1 for an Epiphone
Wilshire. And sure, he used the odd acoustic: notably a
Martin D-45 and an Epiphone FT-79. But for our purposes,
we’re going to stay electric and stick with the Strat, the Flying
V, and okay, one SG – because we really need an affordable
option for a vibrola.

NO EXPENSE SPARED
Fender Custom Shop Jimi Hendrix Stratocaster
in Olympic White
Nicknamed Izabella, this was the Woodstock Strat – the Star
Spangled Banner Strat – a 1968 Strat modded for Hendrix
with a strap button on the lower horn, with a stripeless maple
neck carved into an oval C-profile.
This is the one. As part of Fender’s Custom Shop Tribute
series, the detail with which it is replicated is forensic. There
are only 250 pieces available worldwide, so you’d best get
that deposit down now.

Gibson Custom 1967 Flying V with Maestro Vibrola

in Antique Natural
A meticulous Custom Shop recreation of a ’67 V, this will let
you recreate that Hendrix-with-V experience as witnessed on
blazing sets such as his at the 1970 Isle Of Wight Festival. With
its Maestro Vibrola, medium C profile neck with long tenon,
Kluson tuners and Custombucker Alnico III pickups, this is
total vintage power.

HIT IT LIKE
This is the one to dig out for jamming “Red House” or
“Dolly Dagger” – it always seemed to be on those tunes that
he broke out the Gibsons.

ON A BUDGET
Fender Jimi Hendrix Stratocaster in Olympic White

HENDRIX
The production line signature Strat has an alder body, bolt-
on maple neck and fretboard, and a slightly flatter 9.5-inch
fretboard radius (rather than the chokably old-school 7.25
that Jimi would have played), but the tone is excellent for the
money. It looks cool, too, with right-handed versions boasting
a reverse ‘70s-style Strat headstock. It has three American
Vintage ’65 single-coils, with the bridge pickup mounted on a
JIMI HENDRIX’S TONE HAS TRANSCENDED reverse slant for a warmer tone.
Want to mod this? Consider a set of Seymour Duncan’s
signature Hendrix pickups – a few hundred bucks will change
GENERATIONS AND INFLUENCED LEGIONS OF this guitar’s voice plenty and give it more of a Hendrix ’68 tone.

GUITAR PLAYERS. FIND OUT HOW TO RECREATE Epiphone SG Standard ‘61 Maestro Vibrola in
Vintage Cherry
IT IN THIS COMPREHENSIVE GEAR GUIDE. Sadly, Epiphone doesn’t yet have a Flying V with a Maestro,
but the new Inspired By Gibson collection has a really sweet
WORDS BY JONATHAN HORSLEY. SG with a Maestro that would be just the thing

| www.guitarworld.com/australianguitar
 | 57

ON A BUDGET
Marshall Origin 5C five-watt tube combo
For some Hendrix-at-home flavour, the Origin
should do the job. At just five watts there’s still plenty
of volume, but it should be a little more manageable.
The TILT blend control gives you more control over your
treble, while the three-band EQ, boost and presence
will help you find plenty of classic Marshall tones.
If the five-watts aren’t enough – or rather, if the
eight-inch speaker sounds a little dinky to your ears –
you could always scale up with the 20- or 50-watt
versions. Around a grand will get you the 50-watt
combo with a 12-inch Celestion G12N-60 Midnight.

EFFECTS

V
olume (and its volatile effect on single-coil
guitar pickups) was probably Hendrix’s
most potent effect – but he also deployed
a cornucopia of fuzzes, octave fuzzes, wah, uni-vibe
and Leslie effects. So, let’s run through some that
could definitely do the job on your pedalboard.

NO EXPENSE SPARED
Roger Mayer Octavia Classic fuzz
Roger Mayer’s name is written into rock’s
storied history for his pioneering work with
effects. This analog fuzz is his most-famous
stompbox, has been cloned countlessly, and
dates back to ’67. Its circuit is a strange brew: a
frequency doubler, envelope generator and
amplitude modulator with an additional
frequency shaping filter. It’s dynamic, unruly if
for the aforementioned “Red House” jam. Featuring you want it to be, and darn it, it’s really expensive.
PAF-like ProBuckers with Alnico II magnets, with heavy-duty construction you’d expect from Fulltone
the bridge ‘bucker wound a bit hotter, this is a Hammond Leslie 002-Leslie modulation pedal and is made in the USA.
bonafide rock machine. If you want to spirit the audience off into a
world of head-spinning bliss, you’ll need a rotary Dunlop JHF1 Jimi Hendrix Fuzz Face Pedal
AMPS speaker effect. This one has all the If we’re going to do this right, we’re going to need

M
arshall by name, Marshall dizzying swirl you could ever want. It’s something round, with a hand-wired circuitboard
by nature. Sure, Hendrix also hugely tweakable, so there is a and a BC108 silicon transistor to help recreate
used all kinds of amps – heap of tone to explore. the kind of gnarly fuzz tones Hendrix got from his
Bassmans, Twins, Supro Thunderbolts, Dallas-Arbiter fuzz in the late ‘60s.
Sunn 100s – but it was Marshall’s Fulltone Mini Deja’Vibe MkII
100-watt Super Lead that he would The Deja’Vibe achieves that Dunlop JHW1 Jimi Hendrix Signature
become synonymous with, cranking it distinctive uni-vibe throb the Fuzz Face Mini Pedal
hard and using his guitar to tame the old-fashioned way, through a 100 If you really can’t decide between the aggressive
madness when needed. The volume percent analog circuit that features silicon sounds and the softer germanium dirt, you
was crucial, and the full-stacks helped 13 discrete transistors and Fulltone’s could always plump for this, which houses both in
create the environment in which his glass lens/hermetically sealed this custom-graphic enclosure. Besides, this takes
alchemy could take effect. photocells with correct incandescent up hardly any space on your ‘board.
bulb. Top-mounted jacks and a
NO EXPENSE SPARED smaller enclosure make this very TC Electronic Vibraclone
Marshall 1959HW Handwired Plexi pedalboard-friendly. This might not be as transformative or as
Head with full stack versatile as the Leslie, but it does only cost around
If you do buy one and gig it in the Dunlop MC404 Custom Audio a hundred bucks, and will give you a nice bit of
style of Jimi Hendrix, please do send in a Electronics wah movement in your tone.
photo of the sound engineer’s face after If you’re serious about your wah
you’ve dimed it. A quartet of EL34 tubes game, you’re going to want the best – MXR Uni-Vibe M68
are housed in the power section, with a and this, designed with Bob Bradshaw, is The MXR Chorus/Vibrato is often likened to a
trio of ECC83s sitting in the preamp. quite possibly the finest you can get. At its price, it Leslie tone. Side-by-side they’re quite different, but
With a boutique ’67 reissue such as this, it would represents excellent value, too. You can tweak the if money was tight, you could forego the Leslie in
be rude indeed not to partner it with the ’67 Flying V output and the sweep, and there are two modes and favour of this beautiful warble. The MXR Uni-Vibe
and let nature take its course. The matching angled onboard MXR MC-401 Boost/LineDriver. offers excellent value for a hugely
and straight extension cabinets will make sure you musical effect.
squeeze everything you need from it. ON A BUDGET
Fulltone OF-2 Octafuzz Dunlop JH1D Jimi Hendrix
Marshall Studio Vintage 20-watt A clone of the Tycobrahe Signature Cry Baby wah
one-by-ten combo Octavia (which itself was Dunlop says that this
If you’re worried the full stack and 100-watt head a clone of Mayer’s early recreates the original wahs
might cause ear and wallet trouble – and by all rights 24V Octavia), this has an that Hendrix used, rehousing
you should – this small combo format of the 1959SLP abundance of octave-up the Thomas Organ Company’s
should hit all the right notes. Great for blues and harmonic overtones – the design in a modern crinkle
rock, this one offers a single-channel, no-fuss setup. sort of effervescent dirt and finish aluminium chassis.
It has a three-band EQ, and you can patch the inputs fizz that Hendrix got plenty of Simple, classic, and comes in
for more tonal options. mileage out of. It has the at a decent price.
58 | FEATURE

GOOD
AS GRETSCH
THE STORY OF A ROCK ’N’ ROLL ICON

BUILT FOR CHET ATKINS, THE GRETSCH

G6120 FOUND FAME IN THE HANDS OF
EDDIE COCHRAN AND HIS DISCIPLE, BRIAN
SETZER. HERE, WE EXPLORE THE LIFE AND
TIMES OF THE SIX-STRING ROCKABILLY REBEL…
WORDS BY ED MITCHELL.

I
f you happened to have been at home on February guitar’s pickguard, leaving the Perspex translucent. He
19th, 1981 and living in the UK, you were probably also replaced the G6120’s neck pickup – a single-coil
watching Top Of The Pops. That night, you would DeArmond – with a ‘dog-ear’ Gibson P-90.
have seen a trio of feral-looking kids blasting through The G6120 model was launched in 1954, just a year
their latest 45RPM single – something called “Rock before Eddie bagged his. The double-bound 16-inch
This Town”. It’s a brilliant performance: the sound wide, two-and-seven-eighths-inch-deep laminated
of rockabilly at a time when New maple-bodied guitar was shipped
Romantic was all the rage. in Amber Red and the now-iconic
Front and centre is this Brian
Setzer character, with his sky-high “ALL THAT Orange finishes. You got bound f-holes,
of course, either side of a pair of
pompadour and a big orange Gretsch
G6120. First impressions: the kid can
CHANGED IN ’59 DeArmond single-coils.
Electronics consisted of a volume
really play. And where the hell did he WAS A GRETSCH- for each pickup, a master tone and

STAMPED V
get that killer-looking guitar? a three-way pickup selector switch.
“When I started out with the whole The classic master volume knob was
Gretsch thing, I had no idea what it
would sound like,” says Setzer. “I just
BIGSBY, METAL mounted near the cutaway. Other
features included a gold Bigsby
wanted to look like Eddie Cochran…” TO BONE NUT vibrato with a fixed arm, an aluminium
floating bridge and top nut, Chet’s
CONSTANT COMPANION SWAP, AND THE signpost and signature gold pickguard,
The Gretsch G6120 might have had
Nashville picker and producer Chet ZERO FRET THAT and a longhorn steer inlay on the
headstock. The Western vibe continued
Atkins’ name on the pickguard, but it
was rock ’n’ roll rebel Eddie Cochran
BRIAN TOOK HIS with celluloid block fingerboard inlays
featuring prickly cacti and cattle on the
who made it famous. CHISEL TO ON Brazilian rosewood fingerboard, and
As his near-constant companion, the conspicuous ‘G’ brand logo burned
Eddie took his relationship with the HIS STRAY CAT into the guitar’s top.
guitar to the next level when he
made it his dance partner during a G6120.” By the middle of 1956, the G6120
was tweaked with plain block
performance of “Teenage Heaven” in fingerboard inlays, a moveable
the 1959 jukebox flick, Go, Johnny, Go! vibrato arm, and a horseshoe motif
It was with him when he was involved in a car crash on the headstock in place of the steer. A year later,
near Bath in England on April 17th, 1960. The Gretsch the ‘G’ brand was dropped and the block fingerboard
survived, but sadly, Eddie didn’t. He was just 21. inlays were given ‘humptops’. 1958 was a pivotal
Aged 16, Eddie bought his G6120 from Bell Gardens year for the G6120 – and Brian Setzer. This is the first
Music in the titular Bell Gardens, California, in 1955. He year we get Filter’Tron humbuckers, and an ebony
soon personalised the guitar, scraping the gold paint fingerboard loaded with neo-classical thumbnail
and the Atkins signpost logo off the underside of his inlays also makes its debut.

| www.guitarworld.com/australianguitar
 | 59

The ‘love it or leave it’ preset tone switch joins the three-
way pickup selector on the guitar’s upper bout joins the
party, too. All that changed in ’59 was a Gretsch-stamped
V Bigsby, metal to bone nut swap, and the zero fret that
Brian took his chisel to on his Stray Cat G6120.
That’s almost all the news that’s fit to print.
The only other thing you need to know is that
Gretsch reduced the depth of the G6120 in 1960 to
the (2.5-inch) measurement you’ll find on Brian’s new
signature models.

EYE OF THE BEHOLDER

Most of us get the aesthetic beauty of the G6120.
Pete Townshend of The Who didn’t. When Joe Walsh
gifted him a vintage model back in the day, he wasn’t
especially grateful.
As he remarked to Guitar Player in 1972: “I said, ‘Great,
cheers, man.’ I was being polite. I opened the case and
it was bright orange and I thought, ‘Ugh! It’s horrible, I
hate it.’ [But] I went home and went into my studio and
plugged it in, and it totally wrecked me out. It’s the best
guitar I’ve got now.”
Weirdly, Townshend is an Eddie Cochran nut. The
Who covered “Summertime Blues” live on countless
occasions. The guitar did earn its keep, however, when
it was used on Who’s Next (1971) and 1973’s Mod opera
Quadrophenia. He smashed the guitar in 1973, but later
had it repaired. He used it almost exclusively in the studio
since, as it wouldn’t stay in tune onstage. Brian Setzer
could help him out with that...
45 years on from the purchase of his first ’59, Brian’s
loyalty to the G6120 has never faltered. That commitment
works both ways. “At the end of the day, it’s my drill and
hammer – it’s my tool,” he says. “I make a living with it.
It’s gotta play in tune. It’s got to travel well. That guitar
has been through it all with me. I bought the thing for 100
bucks and it was all in pieces. I put it together and it was
the best thing I ever heard. It still is!”
60 | FEATURE

FENDER
WE PAY HOMAGE TO WHAT IS ARGUABLY FENDER’S MOST ICONIC ELECTRIC GUITAR,
AND HELP YOU FIGURE OUT WHICH IS THE BEST TELECASTER FOR YOU.

BENDER
WORDS BY AMIT SHARMA.

www.guitarworld.com/australianguitar
 | 61

 
egardless of what your
needs are, you’ll have
a lot of fun finding the
best Telecaster for your
style. The Tele is one of
the world’s most iconic
electric guitars, and as
such, there’s a huge choice Squier Affinity Series Telecaster
within the range. The
The best Tele for beginners on a budget.
Fender Telecaster was the

T
very first mass-produced solidbody electric guitar, and has RRP: $489 he Squier Affinity series is
a widespread appeal that is only rivalled by a few other Body: Alder Fender’s shot at offering unique
companies and builds. Neck: Maple (C-shape) designs and historic tones at
The Fender Tele has graced recordings from rock Scale: 25.5 inches the budget end of the market. For
‘n’ roll trailblazers like Led Zeppelin and The Rolling Fingerboard: Indian Laurel those starting their journey in guitar,
Stones, right the way through to Danny Gatton and Frets: 22 these instruments offer tremendous
James Burton. Even modern guitar masters like Slipknot Pickups: Two Vintage-Style value for money – and though they
and Radiohead are riding the Tele train. What this Single-Coils can’t offer the full Fender experience,
means is that you’ll be in good company if you decide to Controls: Master Volume / costing around a fifth of the cheapest
invest in one of the axes in this guide. Master Tone American-made models, these guitars
Beyond this intro, you’ll find some very tempting options Hardware: Chrome are virtually unbeatable within the
in the Telecaster stable, whether you’re a beginner player sub-grand end of the market. 
or die-hard Fender fan. But before we unveil our pick of PROS Whether you’re a beginner or
the best Telecasters, let’s take a look at what to expect. No cheaper Fender-made Tele you’ve just always wanted to add
Plenty of finish options a basic Tele to the collection, with
WHAT IS THE BEST TELE AROUND? some classic finishes including the
Our top picks for the best Tele starts with the Fender CONS Butterscotch Blonde (favoured by
American Professional Telecaster: a seriously beautiful and Not much at this price Bruce Springsteen) and tantalising
versatile guitar that pays homage to the originals while racing colours, this could very well be
bringing them right up to date. If you’re currently shopping the best Telecaster for you.
for a top-level American-made Telecaster, the American
Professionals are certainly worth a look. Unlike some of
the other options out there, these guitars pay full tribute to
the original models, with only a handful of modernisations
and updates – many which aren’t detectable to the eye.
We can also highly recommend the Fender Richie
Kotzen Telecaster. The singer/guitarist has been
responsible for some of the greatest Fender tones in
recent decades, and oftentimes that’s down to the Tele
in his hands. These DiMarzio-equipped signatures were
made available globally in 2013 (having initially only
been sold in Japan) and offer world-class tones with no
compromise in playability.
Fender Squier Classic Vibe ‘70s
CHOOSING THE RIGHT TELE FOR YOU
Telecasters come in many forms, from the original Telecaster Thinline
solid-body design through to the lighter semi-hollow
The most affordable Fender semi-hollow out there.
Thinlines that offer more of a natural acoustic resonance.

F
It’s worth having an idea of what kind of sounds you hear RRP: $899 amously used by the likes of
in your head, and which kinds of musicians have been Body: Soft Maple Bob Dylan, Thom Yorke and Jim
associated with the many models on offer.  Neck: Maple (C-shape) Adkins, Thinline Telecasters
While it’s worth bearing in mind that there are no rules Scale: 25.5 inches were originally made as a lighter-
when it comes to what you use, solidbody guitars are Fingerboard: Maple bodied alternative, with routing
generally considered more suited to those looking for Frets: 21 cavities and a single f-hole that added
punch, thickness and sustain. Semi-hollow guitars are Pickups: Two Fender to its more acoustic-sounding and
renowned for their openness and clarity – often favoured Wide-Range Humbucking warmer ‘woody’ resonance. 
by more chordal players. Controls: Master Volume / The only Thinline in the Fender
When choosing the best Telecaster for you, also Master Tone Squier range certainly offers a lot
think about whether you want or need single-coils Hardware: Nickel for its budget price-point, from build
or humbuckers. While there have never been more to playability. Like the Vintera ’70s
aftermarket electric guitar pickups available to help PROS models, it features two Wide Range
players hone in on their favourite tones, it makes sense Amazing value for money humbuckers to help players tap into
to invest in a Telecaster that can handle the sounds Revoiced wide-range humbuckers warmer and more overdriven
you’re looking for right out the box.  Great for rock sounds – which, coupled with the
Fender’s typically noiseless and lower-output semi-hollow construction, helps
single-coils work wonders for those playing funk, RnB CONS avoid some of the more shrill tones
and country, though higher-gain players may be more None classic Telecasters were famous for. 
suited to higher-output pickups like humbuckers. To get This is a great option for those
a better idea of how much power you need, look at the hoping to dial in rock tones or hit
guitarists you’re hoping to sound like. big-sounding chords on a budget.
62 | FEATURE

Fender Vintera ‘70s Telecaster Deluxe Fender Jim Root Telecaster

A highly functional and affordable throwback to the wonder years. Undoubtedly the heaviest Telecaster in Fender history.

A A
RRP: $1,799 fter an increase in higher s the guitarist in one of the
Body: Alder gain players over the course RRP: $2,499 most successful metal bands
Neck: Maple (Thin C-shape) of the 1960s, Fender hired Body: Mahogany the world has seen, Slipknot
Scale: 25.5 inches former Gibson pickup guru Seth Love Neck: Maple (Modern C-shape) guitarist Jim Root (aka #4) knows a
Fingerboard: Maple to help update their debut solidbody Scale: 25.5 inches thing or two about high-gain tones.
Frets: 21 electric design. The fruits of that Fingerboard: Ebony or Maple His signature Telecaster features
Pickups: Two Fender collaboration arrived in 1972 as the Frets: 22 some less-than-usual appointments,
Wide-Range Humbucking Telecaster Deluxe, using the all-new Pickups: EMG 60 (Neck) and EMG 81 including an ebony fingerboard,
Controls: Volume 1 (Neck) / Wide Range humbucker to dial in (Bridge) locking tuners, black hardware, no
Volume 2 (Bridge) / Tone 1 more overdriven tones. Controls: Master Volume tone control, a Hardtail strings-thru-
(Neck) / Tone 2 (Bridge) The new Ensenada factory-made Hardware: Black body bridge and his favourite active
Hardware: Nickel / Chrome Vintera series offers a whole range of EMG pickup set.
throwback Telecasters from the big F’s PROS The result of this collaboration with
PROS groundbreaking first three decades. A more affordable artist guitar Fender is a high-powered workhorse
Amazing value for money But the ’70s Deluxe – available in High-powered active EMG ‘buckers that will be able to cut through the
Revoiced wide-range humbuckers three wonderfully classic finishes – has mix, and have no problem voicing
definitely earned its place near the top CONS the kind of lower tunings that bands
CONS of our best Telecasters list. Far from an original Tele sound like Slipknot were responsible
Not as suited to brighter Tele tones The humbuckers are incredibly for popularising. It’s not a classic
musical, both clean and distorted, Telecaster by any means, but for metal
and offer a bit less of that famous fans, it’s a no-brainer.
Tele twang in favour of more grit and
power. All in all, the Fender Vintera
‘70s Telecaster Deluxe is a brilliantly
versatile and more wallet-friendly
tribute to one of the more rock-
focused models in Fender history.

Fender Richie Kotzen Telecaster

Fender Vintera ‘50s The Tele behind nearly all of the guitarist’s world-beating tones.

T
Telecaster Modified RRP: $3,299 he fact that American guitar
Body: Ash w/ Flame Maple virtuoso Richie Kotzen has stuck
A Mexican-made Telecaster powered by Custom Shop pickups.
Laminated Top with his signature Telecaster for

A
RRP: $1,999 t the slightly higher end of the Neck: Maple (Large C-shape) the large majority of his career speaks
Body: Alder or Ash Fender Vintera range sits the Scale: 25.5 inches volumes. It’s an instrument that can
Neck: Maple (Thick Soft V-shape) ’50 Modified Telecaster, which Fingerboard: Maple take him from classic Fender tones
Scale: 25.5 inches combines some of Fender’s most Frets: 22 for RnB and funky lines through to
Fingerboard: Maple sought-after Custom Shop colours Pickups: DiMarzio Twang King (Neck) incredibly musical high-powered gains
Frets: 21 with pickups from the actual Custom and The Chopper T (Bridge) with effortless ease. All that is thanks
Pickups: Custom Shop Twisted Shop. In this case, you’re getting a Controls: Master Volume / to a single-coil Alnico 5 DiMarzio
Single-Coil (Neck) and Custom Shop Vintage-Style single-coil in the neck Series/Parallel Rotary Switch Twang King in the neck and a ceramic
Vintage-Style Single-Coil (Bridge) and a high output Alnico 5 twisted Hardware: Gold stacked humbucker – the Chopper T –
Controls: Master Volume / single-coil in the bridge – which, in the bridge. 
Master Tone along with the four-way selector and PROS Then there’s the contoured ash
Hardware: Nickel / Chrome S1 switch, will be able to cover some One of the best signature Teles body for increased playability, a
serious tonal ground.  DiMarzio pickups with bound flame maple top to help cut
PROS The neck profile is a softer variation parallel switch through, a fatter neck profile, and a
Great finishes and value for money of the V-Shape profile from the late series-parallel rotary switch where
Fender Custom Shop pickups… 50s, so not quite as extreme and still CONS you’d usually find a tone control (which
…With a four-way selector quite thick-feeling. Ultimately, if you’re Neck may not suit beginners functions as a mid-boost). Finished in a
looking for a mid-priced guitar that gorgeous Brown Sunburst to match its
CONS screams class and can cover pretty exquisite gold hardware, this is without
V-shaped necks aren’t for everyone much any kind of gig, this might be the question one of the most stunning
best Telecaster for you. Telecasters in the world. 

| www.guitarworld.com/australianguitar
 | 63

Fender American
Professional Telecaster
Everything you want from a classic Telecaster
with modern functionality.

T
RRP: $2,949 he American Professional Fender American Ultra Telecaster
Body: Ash series brings the
The Big F puts a contemporary spin on its new top-line Telecaster.
Neck: Maple (Deep C-shape) Telecaster into the modern

F
Scale: 25.5 inches age while staying incredibly RRP: $3,899 ender’s American Ultra Series
Fingerboard: Maple faithful to the original design. Body: Alder* was one of those event launches
Frets: 22 A few tiny adjustments make a Neck: Maple (Bolt-On) we only see every few years or
Pickups: Two V-Mod Single-Coils world of difference – from the Scale: 25.5 inches so. It saw Fender revise its flagship
Controls: Master Volume w/ Treble Bleed circuit that retains Fingerboard: Rosewood and Maple US models, rolling out a number of
Treble Bleed / Master Tone the high-end when your guitar Frets: 22 (Medium Jumbo) contemporary features to suit today’s
Hardware: Nickel / Chrome volume is turned down, to the Pickups: Two Ultra Noiseless Vintage player, including compound radius
redesigned ‘ashtray’ bridge Tele Single-Coil fretboards, tapered heels, newly
PROS that’s angled better for the Controls: Master Control w/ S-1 Switch / sculpted bodies, noiseless pickups
American-made picking hand. Master Tone / Three-Way Blade Selector and locking tuners. The Fender logo is
Tim Shaw-designed single-coils The Deep C neck sits in Hardware: Six-Saddle American Tele w/ rendered in gold foil on the headstock. 
Treble bleed circuit between a Modern C and U in Chromed Brass Saddles The American Ultra Tele wears
terms of shape, and coupled these updates well. It has a compound
CONS with the narrow tall frets offers PROS 10-to-14-inch radius that feels right,
Neck might not suit beginners extra hold and control. As for the S-1 switching and ultra noiseless especially atop the new Modern D
circuitry, the Tim Shaw-designed pickups offer wide sweep of Tele tones profile neck. It’s a profile that plays
V-Mod single-coils are engineered A very playable Tele quick but fills the palm in all the right
using a proprietary blend of alnico Some of the smartest new Fender ways, with its satin finish a super-
magnet types. In the neck pickup, finishes in years smooth enabler for swift position shifts.
an Alnico 5 under the bass strings Locking tuners There are a suit of stunning new
delivers detailed low end, while an finishes – Texas Tea and Mocha Burst are
Alnico 2 under the treble strings CONS particularly mind-blowing – but for all the
adds warmth and clarity; the Might be too new-school for some modern accoutrements, the American
bridge is powered exclusively by Ultra Tele is still a textbook Tele, with
Alnico 5 magnets.  raunchy twang and more than a little
It’s all of these tiny extras and snarl when you turn the gain up. The S-1
adjustments which – without switch allied to the three-way pickup
affecting the visual aesthetics of position switching makes it sound a little
such a classic guitar – make the like a ‘greatest hits’ of Tele tone. That in
American Professional series a itself is enough of a recommendation.
very dominant presence in the
Telecaster lineup.

“THE DEEP
C NECK SITS Fender Parallel Universe Vol II
IN BETWEEN A Troublemaker Telecaster
MODERN C AND The Telecaster reimagined… As a Les Paul?

L
RRP: $4,899 ooking almost more like a ‘70s
U IN TERMS Body: Mahogany Gibson Les Paul Custom thanks
OF SHAPE, AND Neck: Mahogany (Modern C-shape)
Scale: 25.5 inches
to its off-white finish, humbucker
pickups, gold hardware and adjusto-matic
COUPLED WITH Fingerboard: Maple
Frets: 22
bridge, this all-new Troublemaker Tele
Deluxe (unveiled at NAMM this year) oozes
THE NARROW Pickups: Two Custom Double Tap class and functionality. And much like

TALL FRETS
Humbuckers those famous Gibsons guitars, it boasts
Controls: Volume 1 (Neck) / a mahogany body and neck for more
OFFERS EXTRA Tone 1 (Neck) / Volume 2
(Bridge) / Tone 2 (Bridge)
pronounced mids and increased sustain.
Granted, that might sound a long way
HOLD AND Hardware: Gold off what the original Telecasters were
famous for – but the Parallel Series exists
CONTROL.” PROS purely to enable Fender to go further
Unusual and collectable with their world-class engineering and
Custom Double Tap pickups defy the very conventions they helped
create. It’s further proof, if such was
CONS ever needed, that Fender are still the
One of the most expensive Teles masters of innovation.
64 | FEATURE

EDDIE
FOREVER IN THE WAKE OF EDDIE VAN
HALEN’S UNFORTUNATE PASSING
AT AGE 65,GUITAR WORLD’S MICHAEL
ASTLEY-BROWN LENDS HIS WORDS
IN MEMORIAL OF ONE OF THE
WORLD’S MOST TALENTED, INNOVATIVE
AND BELOVED GUITAR PLAYERS.

E
ddie Van Halen, trailblazing Van Halen Broken Combs while at Hamilton Elementary
guitarist and one of the greatest guitar School in Pasadena, at which time Eddie was still
players of all time, died aged 65 on in fourth grade, which inspired him to focus on
Tuesday, October 6th 2020. developing a career in music.
His son, Van Halen bassist Wolfgang Van The roots of Van Halen were established 1972
Halen, confirmed the news on Twitter with a when Alex and Eddie founded Genesis, later
statement that reads, “I can’t believe I’m having Mammoth, eventually changing the name to Van
to write this, but my father, Edward Lodewijk Halen in 1974 with the arrival of frontman David
Van Halen, has lost his long and arduous battle Lee Roth and bassist Michael Anthony. Prior
with cancer this morning. He was the best father to his joining, Eddie was handling both vocals
I could ever ask for. Every moment I’ve shared and guitars, his six-string contributions heavily
with him on and off stage was a gift. My heart inspired by idols Eric Clapton and Jimi Hendrix.
is broken and I don’t think I’ll ever fully recover “We played everywhere and anywhere, from
from this loss. I love you so much, Pop.” backyard parties to places the size of your
Eddie initially underwent treatment for throat bathroom,” Eddie told Guitar Player in 1978.
cancer in 2000, before being declared cancer- “And we did it all without a manager, agent,
free in 2002. Reports suggested the cancer had or record company. We used to print up flyers
returned late last year. He is widely regarded as announcing where we were going to play and
one of the guitar’s most groundbreaking players – stuff them into high school lockers. The first
he was recently voted fourth place on Total time we played we drew maybe 900 people, and
Guitar’s list of the greatest rock guitarists of the last time we played without a manager we
all time – and changed the landscape for every drew 3,300 people.”
player that followed with innovations in both The band’s stellar live reputation earned
playing style and gear. them a recording contract with Warner Bros in
Born in Amsterdam, the Netherlands on 1977, which led to the creation and release of
January 26 1955, Eddie emigrated to Pasadena, their landmark debut. 1978’s Van Halen went
California with his older brother, Alex Van Halen, on to change the face of guitar playing to come,
in February 1962. thanks to Eddie’s fiery and adventurous playing
Eddie’s musical career started out on piano, style, from the tight rhythmic riffs of “Runnin’
where his inability to read music would often lead With The Devil” and “Ain’t Talkin’ ’Bout Love”
to him improvising his way around pieces from to incendiary instrumental “Eruption”, whose
Bach or Mozart. But it was hearing his brother two-hand tapping techniques ushered in a whole
Alex’s performance of The Surfari’s “Wipe Out” generation of shredders.
that led him to switch to electric guitar. Recalling the creation of “Eruption” in 1996,
The brothers formed an early band called The Eddie told Guitar World, “While we were recording

| www.guitarworld.com/australianguitar
 | 65

BACK TO WHERE IT ALL STARTED

the album, I showed up at the studio early one day
and started to warm up because I had a gig on the
weekend and I wanted to practise my solo guitar spot.
Our producer, Ted Templeman, happened to walk by EDDIE VAN HALEN FIRST APPEARED ON THE COVER OF GUITAR
and he asked, ‘What’s that? Let’s put it on tape!’
“I played it two or three times for the record, and
WORLD WITH THE JANUARY ‘81 ISSUE. THEY ASKED READERS IF
we kept the one that seemed to flow. Ted and Donn A YOUNG EVH WAS THE WORLD’S GREATEST GUITARIST, AND, VIA
[Landee, engineer] liked it, and everyone else agreed HEADLINE, DUBBED HIM THE NEW KING OF HEAVY METAL GUITAR.
that we should throw it on. I didn’t even play it right.
There’s a mistake at the top end of it. Whenever I hear To celebrate Eddie’s perennial legacy in the wake of his untimely passing, we’re presenting
it, I always think, ‘Man, I could have played that better.’” the original interview, as conducted for Guitar World by John Stix, in its entirety.
Eddie’s status as one of a new breed of guitar gods
was cemented when Michael Jackson tapped him up
to perform the iconic solo on global smash “Beat It”. Were you as good a piano player as you But there’s always a difference between a person
As well as his playing, Eddie’s gear innovations proved are a guitarist? who has the feel and those who don’t. The
similarly influential, as he fused Stratocaster-style I won first prize four years in a row at Long difference is in the amount of emotion expressed
bodies with Gibson PAF humbuckers in his iconic striped Beach City College for my category. The piano is a in your playing. I listened to Debussy by two
“Frankenstein” model, which gave rise to a whole new universal instrument. If you start there, learn your different pianists and it was like day and night.
trend of SuperStrat electric guitars in the ’80s. theory and how to read, you can go on to any One guy had it and every note was beautiful. The
“Nobody taught me how to do guitar work: I other instrument. other guy had lead fingers.
learned by trial and error,” he told Guitar Player. “I
have messed up a lot of good guitars that way, but Sounds like you had a solid foundation in Did you go through a period of imitation
now I know what I’m doing, and I can do whatever I the basics. before your own days of invention?
want to get them the way I want them. I hate store- Well, I’m not a good reader. I would read and Definitely, and Clapton was it. I knew every
bought, off-the-rack guitars. They don’t do what I remember. The one thing I do have is good ears. note he played. That’s what I was known for
want them to do, which is kick ass and scream.” I don’t mean perfect pitch, but ears for picking around home. Me, Alex and another bass player
Van Halen’s legendary ‘brown sound’ came things up. I developed my ear through called ourselves Mammoth and we
courtesy of Marshall Super Lead 100-watt heads, piano theory, but I never had a guitar were the junior Cream. [Shortly before
run at lower voltages for a warmer, fatter overdriven lesson in my life, except from Eric going on stage, Eddie played Clapton’s
tone. The sought-after tone was made available to Clapton off of records. Crossroads solo for me, calling it “one
the rest of the guitar world with the announcement of the best live recorded songs ever”.]
of a signature amp, the Peavey 5150, in 1992, before Do you have the ability to think It’s funny; when I do interviews
it became part of the EVH Gear product line-up at its something and play it and tell people Clapton was my main
launch in 2007. immediately? influence, they go “Who?” Because
A string of successful albums with David Lee Roth Not automatically or perfectly, but they’re thinking about Clapton doing
followed Van Halen’s debut, including 1984, which that’s the thing I don’t think when I Lay Down Sally, not the Bluesbreakers
showcased some of Eddie’s incandescent guitar playing play. It’s spontaneous, it’s feeling. It’s or Cream.”
yet with “Hot For Teacher”, and a surprise shift to a not calculated or figured out ahead
more synth-driven sound courtesy of “Jump”. of time. That’s why you might say I play off the Your current trio and a singer format is not
“When I first played ‘Jump’ for the band, nobody wall. When I was in junior college at Pasadena much different than Cream. Have you ever
wanted to have anything to do with it,” he told Guitar City, I took scoring and arranging class with a Dr. thought of working with another guitarist?
World in 2014. “Dave said that I was a guitar hero Fischer. Frank Zappa had also been his student. I’ve never played with another guitarist
and I shouldn’t be playing keyboards. My response Dr. Fischer was very avant-garde and the one because I make enough sound on my own. What
was if I want to play a tuba or Bavarian cheese thing he taught me was f*** the rules. If it sounds I loved about Cream is that everybody had to put
whistle, I will do it.” good, it is good. out It was three people making all this noise and
Tensions mounted within the band during touring you could hear each person.
of the album, leading to Roth’s departure and the I take it you took to the guitar fairly easily? The Allman Brothers’ feel is something I never
arrival of new frontman Sammy Hagar in 1986. Four Not to sound-ego-out, but I was a natural. My got into. Duane was an excellent slide guitarist,
albums followed with Hagar, with the band winning a father has been a professional musician all his but I never cared for Dickie Betts. I found their
Grammy Award for Best Hard Rock Performance With life, and he said, ‘Kid you’ve got it,’ Some people music too cluttered for my taste.
Vocal for the album For Unlawful Carnal Knowledge have got it and some people don’t, Even people
in 1992. Hagar departed in 1996, after which followed who don’t have it can practise long enough to get In your Clapton days, I’m sure you did some
a short-lived reunion with Roth and a single album it down to a point. intense studying on the instrument. Do you
fronted by Extreme’s Gary Cherone.
Van Halen reunited with Roth, and released what
would prove to be their final album, A Different Kind Of
Truth, in 2012. The band toured in support of the album,
concluding their final live dates in October 2015.
All in all, Eddie’s legacy is impossible to
overestimate. From rock to blues, metal and beyond,
his seismic rhythm playing, virtuosic leads and gear
innovations have impacted every electric guitar
player who has followed, and ensure his legacy will
live on forever.
“If you want to be a rock guitarist you have to
enjoy what you are doing,” Eddie told Guitar Player
in 1978. “You can’t pick up a guitar and say, ‘I want
to be a rock star’ just because you want to be one.
You have to enjoy playing guitar. If you don’t enjoy it,
then it’s useless.”
There are few guitarists outside of his heroes,
Clapton and Hendrix, who can match the degree of
influence with which Eddie Van Halen has exerted on
popular music.
 Hard rock is usually associated with a younger crowd. I
think it’s something you grow through more than with.

When I want to rock out, I put on the albums

that were happening when I was 15. Does that
make sense to you?
Yes. It might be that’s what you remember as the
good times. It could be because you don’t like what’s
on now. Rock ‘n’ roll is for 12- to 21-year-olds. When you
get past that age, people have more responsibilities.
They don’t buy records anymore, they stop going to
concerts, they have jobs, and a lot more troubles.

What about your quieter side? Beck, Page and

Leslie West all put out acoustic guitar pieces
that contrasted with their normal styles.
There’s a lot you haven’t heard yet. I had more of an
acoustic intro to “In A Simple Rhyme”, but the reason
we didn’t do it is because everyone would immediately
still work as hard to improve your playing? Clapton. I do a guitar solo in the live show which is go, “He’s pulling a Zeppelin.” We did “Could This Be
Yes, but I don’t call it practise. This will sound real long, and some people may think boring, but I have Magic?”, but it’s a joke.
funny to you, but we tour for eight weeks and then fun. Clapton was my favourite.
take eight days off. When I’m home on a break, I lock With his feel he’d hit one note where someone Have you started thinking about the fourth
myself in my room and play guitar. else would hit twenty, and his one would do album?
After two or three hours, I start getting into this something to you, whereas the other person’s I’ve got a load of ideas, but we don’t know what
total meditation. It’s a feeling few people experience, twenty would leave you flat. we’re going to do until we walk into that studio. What
and that’s usually when I come up with weird stuff. It we do is tour for ten months, come home, go to the
Just flows. I can’t force myself. I don’t sit down and say I’m going to turn that against you, pointing out basement and make songs out of the ideas.
I’ve got to practise. your own note-y-ness. We invite Ted [Templeman, producer] down and he
I’m not Eric Clapton. I might play fast, but there’s picks what he likes. We argue a bit, compromise, and
Can you be specific about how you play a lot of people who play fast with no feel at all. I we usually have a final say on what material goes on.
better today than, say, when the first album think I’m high-energy, but I think I combine a little We spend a week rehearsing in the basement and go
was released? more feel and some different techniques than other straight in the studio.
I don’t consider myself a better player. I consider high-energy players.
myself different. With the technical ability I have, Sounds like you like to work quickly.
I can play just about as fast as I’d like to play. Any Have you ever thought that you may now be For “Women And Children First”, it took four days
faster at the volume I play, and I’d have distortion. So part of the guitar heritage you once studied? for the music and six days for the singing. “Dance The
technically there’s no reason to get any faster. Thinking of players like Beck, Page, Clapton Night Away” (on Van Halen II) was written on the spot,
and Hendrix, you may be next in line. in the studio. I never played slide guitar before “Could
But do you still reach any new plateaus? It’s very hard to say. That’s like me telling you I’m This Be Magic?” I had something totally different in
Sure I do. the best. I can’t say that. I’m not. I can’t say I’m going mind for the song, and Ted says, ‘Try playing slide?’ I
to influence people, but I know a lot of people are did it right there on the spot and that was it.
Can you point some out on your records? using their right hand on the fingerboard now that “Cradle Will Rock” was first take. A bunch of songs
The solo on “Cradle Will Rock” is different. One never did it before. were first takes. We don’t go for perfection, we just
guitar player who I respect and think is the baddest, is go for spirit. There are mistakes, but I’m happy with
Allan Holdsworth. I do one short lick on “Cradle which Would you like to be thought of as a great everything that’s on our records. That’s not to say when
is very spontaneous. That came out because I’ve been player? we do them live we might do it differently.”
listening to this guy. On the second album I expanded I’d Just like people to like what I play. I don’t want
a little more on harmonics. people to say, “You’re Number One”. It’s a matter of Do you have a preference between live work
taste. To me Allan Holdsworth is Number One. Other and recording?
You’re talking about hitting false harmonics by kids might listen to him and not even understand what Performing, of course! I play for self-satisfaction, but
using your right hand to hit the fretboard? he’s doing. Older people might think I suck. it makes it even better when other people enjoy it.
Yes. First I just used my first finger on the right
hand to hit a note (Heard on Eruption from the first
Van Halen album). Then I discovered the harmonic by
hitting the fret an octave above where
the left hand is positioned. Now I’m
expanding on that, by using all the
harmonics in between the octave.
I also use the slap technique, which
I got from black bass players. Jimi
Hendrix influenced me on how to hold
the pick when I do the harmonics. I saw
the Hendrix movie and discovered where
the pick goes when it disappears. He holds
it between the joints of his middle finger.
I pick weird too. I use the thumb and the
middle finger.

One thing that strikes me about your

playing is that of all the high-energy
players, you don’t take long guitar solos.
I haven’t heard anyone do a long
interesting guitar solo outside of early

| www.guitarworld.com/australianguitar
The EVOLVE 30M is designed to deliver a significant step up in all-around
performance for a column system in its size/price category – superior
Electro-Voice sound quality and flexible functionality combined in a very
compact package.

It is equipped with the most complete feature set in its class, including MIX YOUR SHOW LIKE A PRO
an eight-channel digital mixer, studio-quality onboard effects, and remote
control of all audio, effects and mix functions via the next-generation OPTIMIZE EVERY DETAIL OF YOUR SOUND
Electro-Voice QuickSmart Mobile application.
ROOM-FILLING COVERAGE
©2019 Bosch Security Systems, Inc.
SUPER-QUICK SETUP
SINGLE-TRIP PORTABILITY

Distributed by

www.jands.com.au
 CAPTURE THE SOUND

HUM M I N G
TO A N E W
TUNE
WITH ALAIN JOHANNES

BROUGHT TO YOU BY

ROAD-TESTED RECORDING TIPS

POSITIVE GRID BIAS 15 WAYS TO IMPROVE
FX 2 MOBILE YOUR STUDIO MIXES
70 | PRODUCER PROFILE

What is it about the way music was

made in the ‘90s that makes it so
beloved amongst people today?
My first recordings were in the
‘80s, straight out of high school, and
so that time period was particularly
exciting for me. But my approach was
just what everybody else was doing –
and everybody was doing it that way.
You can spot an ‘80s-sounding song a
mile away. And I think the way things

RECORDING
changed in the ‘90s was a reaction to
that – and MTV, and a lot of the things
that happened in the cultural shift back
then. And also, the energy in Seattle at

TECHNIQUES WITH
the time – there was just this amazing
pool of talent that happened to be
there for some reason. I don’t know if
it was the environment that fostered

ALAIN JOHANNES
it – a little darker and colder, more
melancholy, and just more interesting
than what came from a lot of the
happier pop or hair metal or whatever
else was happening at the time.
I think the way that a lot of those
WHETHER FOR HIS FRENZIED FRETTING AND BOISTEROUS BASS WORK IN BANDS records were made – especially in some
LIKE ELEVEN, QUEENS OF THE STONE AGE AND THEM CROOKED VULTURES, OR of the earlier studios that still had the
analogue technology, before everyone
FOR HIS GENRE-DEFINING WIZARDRY BEHIND THE CONSOLE AS A PRODUCER AND went digital – they made them more
ENGINEER, THERE ARE PLENTY OF REASONS WHY ALAIN JOHANNES IS SUCH A timeless sounding. It’s like jeans, a
REVERED NAME IN ROCK, GRUNGE, PUNK, AND PRETTY MUCH ANY GENRE OF GUITAR t-shirt, a leather jacket and a pair of
MUSIC THAT MADE IT THROUGH THE ‘90S. WITH HIS LATEST SOLO ALBUM HUM DOING boots: there aren’t too many distinctive
features about that outfit, but it’s always
THE ROUNDS, WE CAUGHT UP WITH JOHANNES TO GLEAN SOME OF HIS SIGNATURE cool – that kind of stuff works almost any
BRIGHT, ENERGETIC WISDOM. WORDS BY MATT DORIA. time, anywhere – you can wear that and
just know you look stylish. And when you
When you’re making your own music, percussion and my horns, my 60-plus whether it’s good or not, or whatever – record music without too many effects
do you follow the same formulas you stringed instruments and all the exotic I’m really trying to just document the and you’re just capturing the energy, it
would as a producer with any other instruments – they’re all basically living feeling I have and my state of being in tends to have a more timeless kind of
band, or do you need to approach it in this space, just ready to be grabbed. a particular time. sound. A lot of those recordings in the
from a different perspective? I love flowing with whatever the The first takes are always some of my ‘90s were very full-sounding and very
I approach every project in the music dictates, or whatever my instincts favourites. The closest I can get to the powerful, but they didn’t have a lot of fat
way that I feel is most natural – my are telling me to do. For example, on a exact moment song appears is usually around the edges.
resonance and my empathy and my couple of tunes I used a banjo, because the best, because it has the most energy I mean sonically, y’know, you can’t
desire to connect to the project as a part I’m yet to purchase a hurdy-gurdy but to me – it has the particular kind of that really pigeonhole it – it’s more the feeling
of it, whether as an assistant, a guide or I wanted that kind of medieval, pagan energy that I like, which I listen for in of the music that you look at and say,
a team player, or a family member to feeling. And I totally knew that if I tuned other music as well. And y’know, I know “Oh, that’s from the ‘90s.” There was just
the music – which means that every time the banjo in roots and fifths and played full well that if I start to obsess over a something in the air at that point in time;
I work on a new record, it’s a different it with a bow, with that midrange that it tone or a guitar solo, and then I might especially in Seattle. The movement and
set of things that happen. I don’t have has, and get a couple strings droning in do ten takes of it before I realise that the the name ‘grunge’ was ascribed to it
one definitive way of doing it. First of the same note, I would get that feeling. first one was the one that felt the best after the fact, but it just happened to be
all, I need to resonate with what the And I just love that kind of spontaneous, for the song. Learning that throughout one of those moments and places.
artist I’m producing wants to achieve, improvisational kind of approach – it the years was crucial – especially when
and figure out what my role is in helping happens really quickly and there’s very I was younger, because y’know, when What’s the biggest lesson you’ve
them do that. Sometimes it’s intensive, little thinking to it. you’re green to it all, you think that learned about making music?
and sometimes it’s very mild. It might there has to be a process and it has to I think this constant surge towards
just be that I need to make a happy Do you it difficult to be objective be arduous, and you have to torture autonomy is so overdue. Music used to
environment for them to feel creative when you’re in that position? yourself, and only through blood, sweat be so prohibitive, y’know? You could
in, and make sure that creativity gets I don’t, because for some reason I’ve and tears can you get amazing results. rehearse and do demos and stuff,
documented and recorded properly. got this view towards my music that But that couldn’t be less true. but to actually go and make a master
Sometimes they want me to get in there it’s something that already exists in the I’ll tell you what though, starting recording, you had to hire a studio
and contribute to the writing and the ether – I’m just receiving a transmission the record is always the hardest part. and pay for engineers, producers,
arrangement and all of that stuff. from the universe that I’m supposed to I can’t will that to happen – I can never maybe session musicians… So pretty
When it comes to my own stuff, I decode through my particular filters. convince myself to just sit down and go, early on, Natasha [Shneider] and I
think I’ve prepared my entire life by I don’t really look at it like, “Oh, this “Alright, I’m going to start making music started keeping some recording gear
loving and learning other instruments. is mine, I did this” – I mean obviously, now,” because if I’m going to come around – enough to get things going
I’ve spent years collecting equipment, y’know, it says ‘written and performed up with a good idea, then it’s going that we could make good recordings
and I’ve got my setup to a very efficient by Alain Johannes’ on the sticker, but it’s to happen at whatever spontaneous on our own. And I think the key was
point – I can just go into the room and not mine to claim – the music is there, moment it’s going to happen in, y’know? having our own studio when Eleven was
there’s five or six different microphones and I’m just here to help it come into And to put a timeframe on making an born, thanks to Chris Cornell inviting
ready in different positions, and existence. It feels natural to me that album just doesn’t make sense. A good the president of A&M over, him liking
depending on what instrument I’m way, and it helps me be able to look at it album might take four days to make, our music and giving us a record deal,
using, I’ll choose what microphone afterwards and go, “Yeah, this is music!” like Spark, or 14, like Fragments – or and then letting us use the budget for
to use. And all the microphones and It just happens to be mine, y’know? other records I’ve been a part of where the album to buy the gear that would
the instruments and everything – the I don’t want to attach an ego to it – it took ten months or whatever. become the studio in our house.

| www.guitarworld.com/australianguitar
 | 71

15 WAYS TO IMPROVE
YOUR MIXES
BY FOLLOWING SOME BASIC STEPS USED BY MOST PROFESSIONAL MIXDOWN
ENGINEERS, YOUR TRACKS WILL BE IMPROVED EXPONENTIALLY.
WORDS BY RON ZABROCKI.

1. USE REFERENCES 5. LOWER MIDRANGE way better. Not always, but this can be a great
Listen to tried-and-true mixes, possibly similar This is the biggest area where we find starting point. Trust yourself.
to what you are mixing. This will get your ears muddiness and cluttered, ill-defined mixes.
used to the monitors and put your head in the Learn to cut it, not boost it. 10. DYNAMICS /
right place. Without references, you might be COMPRESSION / LIMITING
lost before you begin – unless you do tonnes of 6. EQ These can and should be used to correct
mixing in your own professional studio. As far as EQ is concerned, cut before you problems, shape the overall sound, and tame
boost. Listen before you do anything. Once less-than-controlled drummers and bassists.
2. VOLUME understood, be fearless – when need be. But Keep the rhythm section solid. These can
Obvious, right? But use volume changes mostly be cautious. Use EQ also to carve out also be used to keep a vocal present – not to
to enhance dynamics. A de-esser is a frequencies to make room for vocals and such. mention pump up a less-than-powerful sound.
frequency-based volume control – use one to Learn about shelving and bell curves. Learn
tame sibilance. And remember, silence is also a what we mean by “Q”. 11. SPATIAL EFFECTS /
part of volume. Use it. Mutes. Automation. Try DELAYS / REVERBS
some old-school tricks like matching bass volume 7. DO IT YOUR WAY Use only as much of these as needed. Use
to the vocals. And begin watching the output Build a mix in a way you are comfortable. only where needed. Use delay before the
level – it needs to be constantly watched. Some start with drums. Others, vocals. All reverb to separate the reverb from the
ways are valid. source. Less mud. More clarity and definition.
3. PANNING
Be realistic first and abstract later. Use panning 8. START DRY 12. MODULATION EFFECTS
to increase definition, width and depth. Ask You’ll be surprised how much better your Flange, phase, etcetera – use as ear candy.
yourself if the drums really need to be in mixes will be when concentrating on the Enhance sections. Can be used on entire
stereo. Or is mono a better choice for verses steak instead of the sizzle. If you can make mixes for wild sounds. Most often used on
and stereo for choruses? Should guitars be hard a mix sound great dry, enhancing with small individual instruments in small doses to
right and left? Maybe three quarters of the way amounts of special effects will only help. add interest.
is right, and wider on choruses.
9. GUT INSTINCTS 13. OUTPUT LEVEL
4. MIDRANGE Learn to set up a mix fast using instincts, and Be careful here. Too loud and you will add
It’s all about the midrange – this is where most save it. Overthinking will often result in a distortion; too low and noise might become
music lives. Learn it. Embrace it. Learn to lifeless mix. I have often toiled for hours on a present. I am safe at this point and I check my
control it with volume and panning. Do not let it mix only to realise it ended up sounding like output level often. I do use a limiter to grab
clutter up the middle. But do not be afraid of it. crap. Then I started over and worked fast – peaks only, just to be safe. I also use an EQ
and compressor here, but both of these are
not always used. Glue the mix together a bit.
And watch the volume. Mixing too loud will
only hurt your ears, fatigue you and create
mixes that only sound good when played loud.
Low to moderate listening volumes go a long
way to revealing a true mix.

14. MIXES
I always do alternate mixes – especially if I am
fatigued and questions arise. I always listen
back the next day with a fresh perspective.
Mixes with vocals up or down, bass up or
down, drums up or down, etcetera – having
these done already helps me immediately
compare them, and usually aids in my
remixing using these changes.

15. BREAK THE RULES

You have to know the rules in order to
truly break them! Start with the previously
mentioned mixing considerations, then do
what you feel sounds correct! Exploration and
experimentation have no pathway, nor any real
expected payoff. You have to get through it to
realise the fruits of your labor! That new sound
could be sitting in the area between your mind
and your laptop. Find your sound.
72 | REVIEWS

POSITIVE GRID BIAS FX 2 MOBILE

NEXT-GENERATION IOS MOBILE GUITAR PROCESSING FROM POSITIVE GRID.

A
fter a decade of growing familiar with through two individual amp and effects rigs before it to back, you’ll most certainly enjoy flicking through the
apps and interfaces for our mobiles, we’re blends them back to your stereo output. list on offer here, ranging from straight digital delays
past the novelty of being able to play our Making changes to your pedals and amp is as simple through analogue-style, tape emulations, harmonised
guitar through our phone or tablet. Our main first as double-tapping an existing pedal, or pressing the echoes, reversed delays… You get the point.
world problem is no longer how to do it, but rather add or replace buttons if you’re starting from scratch. Obviously this cavernous list of gear is the top
which app we choose to indulge our guitar playing From here you get an enlarged view of the module offering – unless you pay for the full Elite bundle, you’ll
on-the-go. Positive Grid’s BIAS FX was something of a you’re editing with easily-accessible controls for amps receive around half this amount from the Professional
game-changer in this regard, and now, five years on and pedals, plus the model finder drop-down menu bundle, and fewer again if you opt for the Standard or
from its original tablet-only release, Positive Grid has allowing you to switch to different pedals or amps. Free versions. As mentioned, all four levels come with
followed up with the BIAS FX 2 Mobile app. When you’ve finished tweaking, you simply close the the looper, which in itself is a creative, fun and easy-to-
So what’s new? Well, quite a lot, actually. BIAS FX 2 screen and you’re back to your main rig overview. use addition which we actually found ourselves going
Mobile is available in four different versions, unlocked Amp-wise, BIAS has you covered for everything back to again and again while experimenting with
via in-app purchases: Free, Standard, Professional and from the cleanest of cleans with models based on different presets. It’s a credit to Positive Grid that it is
Elite. Not only has Positive Grid vastly expanded the amps such as the Roland JC-120, right up to modern included across the board, as it could quite easily have
number of amps, cabs and effects on offer, it’s added high-gain amps. But what we really like about the been an add-on purchase in its own right.
a built-in looper, its new Guitar Match function and selection is that you’re by no means limited to the The one feature that left us slightly cold is the
ToneCloud preset resource across the board. usual handful of ‘Tweed’, ‘Plexi’ ‘Treadplate’ models. new Guitar Match function. The idea is that you can
Meanwhile, the Professional and Elite versions Positive Grid has clearly set out to deliver not ‘sample’ the sound of a guitar’s pickups and then apply
of the app offer IR-loading capabilities, dual-mic just variety, but a comprehensive list of emulations the captured response to another guitar; even if it has
positioning and the Elite version benefits from three including all the big guns you’d expect (Marshall, completely different electronics.
new Fuzz, Time and Harmonizer models as well as Fender, Vox, Mesa-Boogie, Peavey, Orange etc.) but On paper, it sounds brilliant, and while it works to
eight new HD studio rack-style effects. there are also Dumbles, Dr Z, Matchless, Two Rock. In a point, we found that it added a noticeable change in
There’s quite a lot to digest, and depending on many cases there are multiple emulations of brands feel regardless of the guitars we used. The result was
which version you choose you’ll receive more of within each category too. definitely an altered tone, however, it introduced a short
everything. For example, the Free version of the app The same goes for the effects section. Need a latency, which also seems to have the effect of dulling
comes with four amps and eight effects pedals to noise gate? Positive Grid has provided four. Each with the attack of our picking somewhat. It’s definitely a
experiment with. By comparison, the $109.99 Elite their own list of modes and options for you to tweak. useable function, but not quite ready to morph a Strat
version (at the time of writing currently on offer at Obviously it would be a strange effect to really get into a Les Paul Terminator 1000-style just yet.
$79.99) comes with 106 amps and 141 effects pedals. excited about, but the point here is that every section We should also mention that Positive Grid has
That’s a hardware-worthy number of features – and of BIAS FX 2 Mobile is packed with features. included detailed MIDI control of every function of
with a desktop plug-in price to match for the full Elite The sonic quality is there to match, too. The every piece of gear on the list. This means that with
version, our expectations are high! overdrive section alone contains thirteen drive pedals an addition of a MIDI foot pedal you can not only jump
The main screen of the app displays your complete ranging from Tube Screamers (both kinds) to a Klon. between presets, but switch amps, change volumes,
signal path, as well as this you can see your input and There are vintage Fuzz Face emulations right through EQ settings, drive levels, or any other function of
output levels, access the tuner, metronome, looper, to an approximation of modern classics like the Z.Vex the gear by simply ‘long-pressing’ the unit you wish
Guitar Match function and output settings. It’s laid out Fuzz Factory, while the EQ, Modulation, Delay and to have control over, and quickly assign any of its
in an intuitive manner, with options for a dual or single Reverb categories are as equally well-stocked. parameters to an external switch, knob or expression
signal path, allowing you to split your signal and run it If you’ve never tried auditioning 20 delay pedals back pedal with the simple MIDI Learn function.

WHAT WE RECKON CONTACT

PROS CONS LINK AUDIO
Easy to understand The higher tiers do become
Brilliant sound quality expensive ‘for an app’ Ph: (03) 8373 4817
Huge number of models in the full version No Positive Grid foot controller Web: linkaudio.com.au
Generous inclusions even in the free version available at the time of writing
Full MIDI controller support for footswitches No Android version yet

| www.guitarworld.com/australianguitar
 INSTANT
SAVINGS

SAVE
UP TO 10% *

ON SELECT SHURE
LISTENING, MICROPHONES
AND WIRELESS

Distributed by Available on selected Shure products from an

www.jands.com.au Australian Authorised Shure Dealer. Valid 1st Nov 2020 – 31st Dec 2020.
Visit www.jands.com.au/promotions for terms and conditions.
 DIY | 75

MEET YOUR EXPERT

Jack Ellis runs Jack’s Instrument

Services from his workshop in
Manchester. In his career he

SKILL
has worked on thousands of
instruments, from simple fixes
and upgrades, to complete

LEVEL
rebuilds. For more info, see:
jacksinstrumentservices.co.uk

EASY

remem
Modern ber
st
with tw yle Strat bridg
with th o posts do aw es
e a
misund need for thes y

SETTING UP STRAT
erst e six
reduce ood screws an
friction d
same tim at the

TREMOLO SCREWS
e.

WHAT YOU NEED: YOUR GUIDE TO UNDERSTANDING AND SETTING

• New tremolo THE COUPLING SCREWS THAT HOLD YOUR BRIDGE ON.
to install
• Trem parts:
• Tremolo claw WORDS BY JACK ELLIS.
• Tremolo claw

I
screws
• Tremolo springs n this article we’re covering a strange, small but Why are there six of them?
• 6x Tremolo crucial part of setting up a ‘vintage’ Strat-style Each screw increases the surface area that’s
fastening screws tremolo – you can have as many goes at it connected to the wood. This is called coupling –
• Tremolo arm
as you like until you’re happy, but once it’s set you can set up your six-screw trem with only
• Wax Candle
• PH2 Screwdriver properly there’s no reason to ever change it. the outer two screws, but you’ll suffer a worse
coupling. Coupling is responsible for the
What do these screws do? transfer of string vibration to the guitar body
Well for a starter they’re the fastening and therefore sustain and tonality!
SHARP SHINE
wood screws for the tremolo. That’s not all There’s one true setting for these screws that
You can get some extra bling though; they also allow the trem plate to tilt allows your tremolo to be set floating, flat or
from your bone saddle by
just like a hinge thanks to a bevel on the rear even blocked – they all need the same. We’ll
polishing up to a super-fine
2,000 grit to get it gleaming! of the tremolo plate. show you how this mysterious task is done.
76 | DIY

This new bridge came with a tremolo spring claw to install. This fellow goes into Our six-screw vintage-style bridge absolutely needs the corresponding holes in
1 2
the back cavity and is held in with two screws. As these screws are quite girthy the guitar body to line up perfectly. We have a match here, but mismatches are
and are likely being screwed into hardwood, so let’s give them a fighting chance. common, and never good. If your bridge is mismatched or wonky then it needs taking
Rubbing the screw threads on wax really helps them in. We’ll need the claw later on. to a pro. Alternatively, you could buy another bridge with a matching hole spacing.

3 It worked well last time, so let’s wax the wood screw threads again. This is one of Pop all six screws in, but leave the middle four proud. Here’s the technical part:
the six screws that fasten the tremolo to the body; getting a good quality bridge
4 we’re going to first focus on the outside two screws. If these are tightened all
will also ensure that you get decent screws. We’ve seen some very sketchy, soft the way then the tremolo will dump forward and won’t sit flat. On the other hand, leave
screws in our time, which are bad because they can shear off inside the body. them too loose and the front can tip up – it’s a fine balance.

Here’s what it looks like when the screws are too loose. This allows the tremolo 6 Here the screws are too tight, which stops the trem resting down properly, even
5 when you pull the tremolo arm upward. If you force it you will bend parts of the
toe to be pulled upwards by the springs, causing bad tuning issues, excessive
crunching from the tremolo and irregular sustain as you move the tremolo. Think tremolo. It will sound terrible after this, and again it will be awful for tuning stability. At
about it – when you dip the tremolo arm the contact point on the body will shift. the extreme, the timber may be damaged and lose its flat surface. Very, very not good.

| www.guitarworld.com/australianguitar
 | 77

Balance is restored. This is what you want: a nice even contact at both the toe If only we had a little handle so we could easily check our settings… ah! The
7 8 tremolo arm. Screw it in all the way down so there’s no clunking between the
and the heel of the tremolo plate. Bear in mind that this also needs to be
identical on both sides of the tremolo, bass and treble. Can you see that we’ve only thread of the arm and the block, then test that the tremolo has free movement and is
been tinkering with the outermost two screws? not sticking (or rubbing on anything in the rear cavity!)

9 Top tip: without springs or strings in the way we can use the sound of the With your “thunk” achieved, you can now edge the middle screws down. Keep
tremolo hitting the paint to determine its settings. You should have a nice crisp
10
testing the sound and feel to make sure you don’t disturb it. Our method is to
“thunk” when the trem reaches the paint, indicating a solid contact. If the screws are bring the screw down to the point where it affects the sound and then slacken it off. If
too tight then it will soften that sound. Experiment and set the outside two screws. in doubt it’s better to unscrew a quarter of a turn. Keep testing until it’s bang on.

Pop those springs in, you’ll be thankful that you didn’t crank up the tremolo claw 12 Here’s the bridge after setup. The saddle’s radius, action and intonation have all
11 been set up and the tremolo, by the owners choice, has been set flush to the
loads in step one now. Choosing a tension setting for your tremolo is a whole
other article, but it runs in tandem with your string gauge and tuning choice. Setting paintwork. Now that the fastening screws are set you’re free to set the tremolo flat or
these three or so springs allows you to also tilt the tremolo – go nuts! floating as you like. This is set for life now – or until you change the bridge again.
78 | TECHNIQUE

WHAT YOU WILL LEARN

EFFECTIVE PICKING FOR YOUR SOLOS
IMPROVE YOUR TIMING
TWO HARD-ROCK LEAD LICKS

PICKING UP THE BASICS

MASTER THE BASICS OF PICKING AND IMPROVE YOUR SOLOING
TECHNIQUES WITH THIS IN-DEPTH LESSON BY CHRIS BIRD. PICKING TIPS…
“I already use a pick. What more do I alternate picking. The trick is to keep your
Alternate picking in three
really need to know?” down-up motion going even where there
different time signatures.
Good question! Picking is a surprisingly isn’t a note to play. Take a listen to the first First, note that and v are the symbols for
involved area of guitar playing. Though you verse in Cory Wong’s “The Optimist” to downstrokes and upstrokes respectively.
only have to choose between downstrokes hear how it’s done.
and upstrokes, how you employ that 1) PICK IN 4/4 TIME
triangular piece of plastic can have a major “Do lots of guitar players tend to use Count to four in time with the music. Pick
impact on technique, playing speed, and alternate picking?” down on the numbered beats and up in
even your tone. Every guitarist uses it to some extent. between.
Certain songs even feature long runs of 1 2 3 4
“Well, consider me surprised! What else pure alternate picking. For instance, v v v v
can you tell me?” Rammstein’s jaw-dropping shock-rock epic
When you pluck your guitar’s strings, you’ll “Deutschland” features Richard Kruspe’s 2) PICK IN 3/4 TIME
use either a downstroke or an upstroke. cool alternate picked line played in unison 3/4 time is like 4/4, but with three beats in
Simple, right? However, if you use a with the synth. Full-on alternate picking each bar. Again, use alternate down- and
technique known as ‘alternate picking’, you like this is really hard, though – for now, upstrokes.
can improve your timing and speed. You’ll you’re better off using it in small bursts, 1 2 3
probably do it naturally – it’s harder to where it’ll actually be easier than using v v v
explain than it is to get started, in fact. only downstrokes or some other rhythm.
Like we say: it’ll help you stay in time and 3) PICK IN 4/4 TIME AT DOUBLE
“You might as well try and explain gradually build speed. SPEED
it, though!” Here you’ll be playing four pick strokes for
Yes, well here goes! The idea is to sync “Got it. Shall we play some music?” every beat. It’s common in funk and in faster
your downstrokes and upstrokes in time Sure! Take a look at the first tab example soloing.
with the music you’re playing. You’ll below. It’s a fairly simple hard rock lead 1 2 3 4
probably feel emphasis in the music which guitar line. There are potentially several v v v v v v v v
will guide you. Take a look at the boxout different ways you could pick it, but be sure
where we explain more. to start with a down-up-down run to 4) PICK IN 6/8 TIME
manage that quick opening phrase. Our It’s actually easier to get the 6/8 feel by
“Down, up, down, up – I get it, but I’m second tab example follows essentially the counting ‘1 & a 2 & a’ here. Still, you’re just
struggling to apply it to my playing.” same rhythm, but with different notes. You swapping between down- and upstrokes.
Remember, most real music features space can use strict alternating or experiment 1 2 3 4 5 6
and rhythm – not just constant runs of with a more fluid approach. v v v

1 LICK #1 2 LICK #2
q = 95

œ # œ œ œ~~~~ . œ. ~~~~.
A5 G 5 A 5 N.C. A5 G5 A5 5
A5 G 5 A 5 N.C. A5 G5 A5
~~~~ G/B C 5
4 œ #œ œ œ œ
G/B C

& 44 .. œ œ œ œ œ Ó œ
œ œ œ œ ‰ œJ œ .. .
&4 . Ó œ œ .

~~~~ ~~~~ ~~~~

T . . T . 8 7 5 7 5 8 7 5 7 .
A . 7 5 7
5
7 7 5 7
5
7
4 5
. A
B
. 5 7 5
.
B
≥≤≥ ≥ ≥ ≥≤≥ ≥ ≥ ≥ ≥ ≥ ≤≥ ≥ ≥ ≥ ≤≥≥ ≥ ≥ ≥

Playing down-up-down on the first three notes is much easier than playing all Follow our picking directions to keep your alternate picking in sync with the music.
downstrokes, or any other combination of downs and ups. There are other options, but this is the best way to stay in time.

| www.guitarworld.com/australianguitar
 TECHNIQUE | 79

WHAT YOU WILL LEARN

HOW TO USE THE MINOR
PENTATONIC SCALE
TWO MINOR PENTATONIC
SCALE SHAPES
TWO HARD-ROCK RIFFS

MINOR PENTATONIC RIFFS SHAPE UP YOUR

PLAYING
USE THIS ESSENTIAL SCALE SHAPE TO GIVE YOUR RIFFS A WICKED
Two essential minor pentatonic
BOOST OF FLAVOUR. scale shapes
WORDS AND LESSON BY CHRIS BIRD. There are two shapes to learn here.
Spend most of your time on the first
one – it’s the easiest one to remember
“What’s the minor pentatonic scale?” Nation Army” by The White Stripes or “Blow” because it starts and ends on a root note.
This is a sequence of notes that guitarists use a by Ed Sheeran, Chris Stapleton and Bruno Mars. It’s also played in open position, which
lot. And we mean a lot! It appears extensively in They’re not all 100 percent strictly pentatonic, also makes it a bit easier. The second
blues, metal, jazz, and almost any pop- and but they’re solid examples of riffs. shape moves the scale up the fretboard,
rock-based styles for that matter. Greats like and includes three notes below its root
Angus Young and BB King – as well as more “I get it. Show me the scale!” note – but we can explain that!
contemporary rockers like Scott Holiday, Jake Sure! In the boxout labelled “Shape Up Your
Kiszka and Joel O’Keeffe – base loads of riffs Playing”, we’ve given you two shapes of the E 1) E MINOR PENTATONIC SCALE
and solos around it. minor pentatonic scale. IN OPEN POSITION
The dots tell you where to put your fingers
“Interesting. Tell me more.” “I’m not sure I understand the on the fretboard. You’ll be playing one
Well, the minor pentatonic scale gets its name second shape...” note at a time, so if you start on the lowest
from ‘penta-’ meaning ‘five’ and ‘-tonic’ It’s still the E minor pentatonic scale, but we’ve note and work your way up,
meaning ‘tones’, or more simply, ‘notes’. added some notes below the E. Try ignoring the you’ll have E, G, A, B, D, and E A D

Obviously, what we’re telling you is that it’s a low notes and just playing from E to E – you’ll another E note.
five-note scale. And just like a minor chord, start to get a feel for the low notes soon. B E

there’s a dark, moody vibe – that’s what minor 2) FARTHER UP THE G

FRETBOARD
means, if you remember. “How do I start playing my own riffs?”
This is the same scale, but
Try playing our first tab example below to get
here we’re starting on a E minor pentatonic scale
“It’s a moody five-note scale. I get it! How the idea. We took a handful of notes from the
higher E note. The dots might
can I use it in my playing?” first shape and… Well, played around!
be in a different part of the
The easiest way to use the scale is to play one Improvising like this is a great way to write riffs. B
fretboard, but these art still 4
note at a time – so that means you’ll be playing Just aim for something simple that sticks in A D G E
the same five notes (E, G, A, B
simple solos or riffs. We’ve looked at pentatonic your mind, rather than playing a solo.
and D). It doesn’t matter
solos before, so let’s look at riffs here. B E A D
where you play them – these
“The second example seems harder...”
five notes played together E minor pentatonic scale
“Okay – what exactly is a riff?” There’s a quick flurry of notes at the start,
will always form the E minor
It’s a fairly loose term, but generally, it refers to admittedly, but it’s all taken from the scale
pentatonic scale.
a short, repeating line of music. Think of tracks shapes we’ve looked at. Play through the scales
like “Layla” by Derek And The Dominos, “Seven again and it should start to feel familiar.

1 EASY OPEN-POSITION RIFF 2 SAME SCALE, DIFFERENT POSITION

q =120

#4 .E
5
#4 .E
5 1/4 1/4 Play 4 times
..
Play 4 times

& 4 . j .. & 4 . œ œ œ œ. j
œ œ œ. . œ œ œ œ œ œ
œ œ œ œ œ œ œ œ
T . . T . .
. . . .
1/4
A 2 0
1/4 A 7 5
B 0
2
3 [3] 0 3 3
0 B 0
7 7 5 [5]
7
5 5 7

Take a look at the first scale shape, then play this riff where we’ve used every note This one’s a bit harder. Just remember: it’s still the E minor pentatonic scale because
from the E minor pentatonic scale. Try reordering them to make up your own riff. the notes are the same (E G A B D).
80 | TECHNIQUE

WHAT YOU WILL LEARN

WHAT CHORD TONES ARE
SIMPLE WAYS TO USE THEM IN SOLOS
A LICK USING CHORD TONES

GETTING STARTED WITH…

CHORDS FOR SOLOS

DITCH SCALE SHAPES AND USE CHORD TONES FOR A CREATIVE
APPROACH TO YOUR FIRST GUITAR SOLOS. MORE CHORDS
Learn the chords, memorise the
WORDS AND LESSON BY CHRIS BIRD. notes, and play better solos!
These six chords are all from the same key
(G major, as it happens), but they’re not
“What on Earth is chord tone soloing?” you’ll have a tendency to move around the bog-standard open shapes. Plotted across
Solos are usually accompanied by a set of scale by playing the next highest or lowest the highest strings and ascending the
chords called a progression. Each chord note – this quickly gets old and leaves your fretboard, they’re perfectly suited to
contains notes – these are the chord tones. In solos sounding like streams of notes that are wailing leads – once you start playing
this situation, though, we’re going to play them the musical equivalent of repeatedly going up chord tones, anyway!
individually (known as an ‘arpeggio’) and use and down a ladder. Using chord tones
X X X X X X
them for soloing. automatically produces bigger jumps between 1 1 1 1 1 1 1 1
notes (aka ‘intervals’) and can be a platform 3 5 7
2
“Surely chords are chords? How do you for some really creative ideas.
use them in solos?”
Some guitarists like to map their lead lines – “That sounds interesting, where can I
either by writing solos in advance or by being hear it in action?” G Am Bm
skilled improvisers – to these chords to give You can hear jazz pioneer Charlie Christian
their playing a synergy with the rest of the deftly playing over fast chord changes in the X X X X X X X X X

1 1 1 1 1 1 1
music. The most effective way of doing this is jaw-dropping “Solo Flight”. It doesn’t always 8 10 12
2 2
to use the notes from the chords being played. have to be so technical, though. Slash’s main
theme in Guns N’ Roses’ “Estranged” shows
“Gotta be honest, I’m feeling a little how chord tones’ bigger intervals can be used
intimidated right now...” to create a catchy melody.
C D Em
Chord tone soloing can get really complex, but
don’t get bogged down in the theory at this “I’m sold! Where do I start?” STEP 1
stage; just aim to incorporate some notes from The first step is to get these new note Play each chord as a chord – just strum
chords in your playing. If you know the chords combinations under your fingers. They will feel like you would any other chord, taking
in the music, you’re equipped with loads of odd at first – especially when you have to move care to keep the idle strings quiet.
notes that’ll also work in a solo. across strings on adjacent notes. The first tab
exercise shows you the notes/tones from the STEP 2
“If I’m not getting deep into the theory, G, Am, Bm and C chords. Our second example Now think ‘lead guitar’ and play each note
what’s the point?” shows how you can add a smattering of this from each chord separately.
If you base your leads on scales exclusively, new approach to a lead guitar lick.

1 G, AM, BM AND C CHORD TONES 2 LEAD GUITAR LICK

œ œ œœœ œ œ œ Cœ œ œ
G C Am G
œ œ œ œœ
G Am Bm C
q =100
#4 œ œ œ œ œ œ œ œ œœ ˙ œœ œœ ˙
Œ Ó #4
& 4 & 4 Ó

12 14 12 15 12 15 12 15 14 12
T 12
12 15 12
14
13 13 12 15 15 13 T 15 12
12 12 14
13 15 12 13 12
A A
B B

Start very slowly and gradually build up speed. Make sure none of the notes bleed Play the scale a few times before attempting this melodic lick. This will help you get
into each other. used to how the scale sits under your fingers.

| www.guitarworld.com/australianguitar
 | 81

HARMONISING
MELODIES
FOLLOW OUR THEORY TIPS AND LEARN HOW TO ACCOMPANY
YOUR LEAD LICKS WITH SOME ESSENTIAL CHORDS.

WORDS AND LESSON BY CHRIS BIRD.

M
any guitarists spend a lot of time working out how to solo over
chords. Well, the opposite is also a common stumbling block. So,
instead of starting with a chord progression and figuring out what to
play over it, you’d be starting with a melodic lick that you want to put chords to.
Your first step is to work out what key you’re in. It’s usually easy to pin down
the root note by ear. Next, decide whether you need a major or minor sound. WHAT YOU WILL LEARN
Playing any notes three frets above the root? That’s a minor. Four frets, and ONE BALLAD-STYLE TABBED LICK
you’re in major territory. Read on and we’ll show you how to choose some chords. FIVE CHORD PROGRESSIONS

1 ROCK BALLAD LICK

q =75

œ œ œ œ~~~~~œ œ œ œ œ~~~~~œ ~~~~~ ~~~~~~

Am Em Am F Dm7 F G Am
œœœœ œ ~~~~~~~ ~~~~~ . œ . œ
œ. bœ œ œ œ œ œ œ j œ . œ
& 44 œ. œ œœœœ œ œ œ J J
3 3 3
~~~~~ ~~~~~ ~~~~~ 3 3
~~~~~~~ ~~~~~ ~~~~~~
BU BD
T 13 12 10 12 12 10 8 10 10 8
9
10
7 ( 8 )( 7 ) 5 7 5 5 9 7 [7 ] 10 14 [14 ]
A 7 7 [7] 7 10 10
B 7 8

This rock-ballad-style lick is in the key of A minor, which uses the notes A, B, C, D, E, F and G. The backing chords also use these notes. For example, Am uses A, C and E notes; Em uses
E, G and B; F is made up of F, A and C. Sharing notes is a guaranteed way to match up your licks and chords and keep them in the same key.

3 DEVELOP YOUR EAR 4 NOTES FROM OUTSIDE THE KEY

| Em7 / Dm7 / | Am / F / | Em7 / F / | Em7 / Dm7 / || | G / F / | Em7 / Dm7 / | Em7 / F / | G / Dm7 / ||

Now try playing the lick over these chords. It’ll sound different, of course, but all the The notes in the first chord (G) are almost the same the beginning of the previous
chords use notes from the key of A minor – so everything is still in key. progression (Em7): E, G, B and D for Em7, then G, B and D for a G chord.

3 DEVELOP YOUR EAR 4 NOTES FROM OUTSIDE THE KEY

| Cmaj7 / Bm7b5 / | Am / G / | F / Em7 / | Dm7 / F / || | A7 / D7 / | A7 / G / | F / Em7 / | Dm7 / A7 / ||

Once again, the chords are different but all the notes are from A minor. The idea is to You can try adding notes from outside the key too – just remember that it won’t
develop your ear for how these similar chords change the feel of the music. always work. Here we’re adding a C# note (in the A7 chord) and an F# (D7).
82 | TECHNIQUE

SUSS OUT THESE

SUS CHORDS
GO BEYOND BASIC MAJORS AND GET
SOME NEW SHAPES SUSSED WITH OUR
LOOK AT SUS CHORDS.

WORDS AND LESSON BY CHRIS BIRD.

T
heory helps explain the creative aspects of music. Ponder on know how they work – there are loads of easy shapes, after all.
that for a moment. Theory isn’t there to give you strict rules to So, how does knowing the theory help you? Well, once equipped
follow – it’s your music and your rules! No, theory should help with a little essential knowledge, you can start to plot new shapes
explain what’s going on. The structures and scales you learn are just around the fretboard. You’ll develop your ear, too, and start
commonly-used patterns. Get to grips with them and gradually you’ll improvising around these essential shapes. And if chords aren’t
understand how the guitarists you love write and play. immediately exciting to you, just remember that you can write
Which brings us on to this issue’s lesson on suspended (or ‘sus’) riffs, arpeggios and melodies around these ideas too. Before you
chords. Most guitarists start playing sus chords long before they know it, you’ll be incorporating these ideas into your playing.

1) NICE AN’ D’EASY! X X D/1 X X D/1 3) NOW TRY A

Let’s start with one of the Let’s try it with another
easiest chords of all: D. It’s easy open chord – this
a beginner chord and super time A. Again, aim to
easy to play. The notes are A/5 F#/ 3 A/5 identify the notes and their
D, F# and A, just spread out corresponding intervals. Get
in a different order to make D/1 D/1 G/4 your head around that, and
it easier to play. Let’s move you’ll be well on your way to
on to the theory, then... The sus chord mastery all across
D major scale has seven the fretboard. The notes in
notes: D E F# G A B C#. Try an A chord are A, C# and E –
to remember that D, F# and D (notes & intervals) Dsus4 (notes & intervals) the first, third and fifth notes
A are the first, third and fifth of the A major scale (A B C#
notes; we’ve marked them D E F# G#).
X A/1 E/5 X A/1 E/5
1, 3 and 5.

4) ASUS4
Look back at D and Dsus4.
2) GETTING IT SUSSED E / 5 A / 1 C#/ 3 E/5 A/1 Remember, we ditched the
Dsus4 is about as easy as third interval and replaced
guitar chords get. If you were D/4
it with a fourth. Well, the
using your first three fingers shape’s slightly different
to fret the D chord, just drop here, but the process is the
your fourth finger down to same. Play the third fret on
play the new note. Theory- the second string and your
wise, you’ll be ditching the third interval (C#) becomes
third (F#) and replacing it
A (notes & intervals) Asus4 (notes & intervals)
a fourth (D) to give you
with a fourth (G). The third Asus4. Whichever major
is said to be ‘suspended’ in chord you’re playing, you’ll
favour of the fourth, hence find the fourth one fret
the name D ‘sus’ 4. higher than the third.

| www.guitarworld.com/australianguitar
 Destination Tone

Available Now!

PACKED WITH FEATURES

• Best-in-class performance including amp, cab, and effects models drawn
from the award-winning HX family of processors

• Simple interface with colour display for fast and easy tone creation

• Portable and compact, lightweight design

• 11cm colour LCD makes it easy to see what you are doing

The POD Go guitar processor gets • Colour footswitch LEDs indicate which type of effect is active

you on the road to ultimate tone via • Load third-party cabinet impulse responses (IRs) for unlimited cabinet options

• Snapshots let you seamlessly switch between tones without audio dropouts
its ultra-portable and lightweight
• Free POD Go Edit app for easy preset editing and backup
design, simple plug-and-play
• Stereo effects loop and TRS expression pedal / dual footswitch input
interface, and best-in-class tones.
• Connect to a traditional amp via 4-cable method

• 4-in/4-out 24bit/96kHz audio interface for recording and re-amping

MORE INFO LIKE US ON FACEBOOK

line6.com Line 6 Australia line6.com/podgo
 $ 18.95 from
Newsagents, Woolworths,
4EVXMGMTEXMRK4SWX3ƾ
GIW

womenshealthdiary.com.au

BUY THE DIARY THAT SAVES LIVES

SUPPORT BREAST CANCER TRIALS RESEARCH
This diary does more than help organise our lives every Plus you’ll be helping identify new treatments
day, it’s packed with expert health advice important for Australia’s most commonly diagnosed cancer,
to every woman - like breast, heart, family and mental giving hope to the 54 women diagnosed with
health, along with diet, exercise and lots more. breast cancer every day.

Buy the diary for yourself, or as a gift for someone special,

and help to save lives today, tomorrow and forever.

breastcancertrials.org.au 1800 423 444

 CD REVIEWS | 85

TOP PICK BEN HARPER

Winter Is For Lovers
ANTI-
OBSCURA HAIL
Siren
DOT DASH
Ben Harper’s love for We kick things off
the humble lap-steel with a dry, crunchy
comes to a bold (and riff that sounds well
incalculably beautiful) suited to hardcore –
peak with this 15-track then immediately dive
instrumental trawl into a particoloured
down trails of smoky pop gem (“Doomer”)
soul, melancholic that balances its
Americana and slick, underlying grit with
summery folk. It’s glittering vocal
downright incredible how much artistic ground the melodies and a cruisy, cantering beat that gently hints

LAURA JANE GRACE

Californian bluesman is able to cover unaccompanied you should tap your toes along. The four cuts that
on Winter – the whole LP is just his prized Monteleone follow simmer with a similar balance of coarseness
Stay Alive lap-steel, inhumanly articulate fretting hands and and charm; they’re rough around the edges in a
unfettered love for music as a spoon with which to cute and kitschy way, like a DIY punk bar with plastic
POLYVINYL / COOKING VINYL stir emotion. Highlights are the whistling slinkiness of butterflies blu-tacked to the walls. “Penumbra” stands
his slidework on “Inland Empire”, the sinister grit of out the most, its summery haze and nostalgic joviality

A ccording to
a criminally
underrated offcut
his bends on “Joshua Tree” and his serpentine solo on
“Bizanet”, but there is simply so much on this record
doling it infinite replay value. The lo-fi edge that
underlines Siren would likely overstay its welcome
to be taken aback and blown away by. It’s a 30-minute on a full-length effort, but here it’s tasteful and gels
from 2010’s White record that feels like it’s over in five, but takes you on stunningly well with the buzzy, honeyed sprightliness
Crosses, Against Me! a journey that should realistically span hours. of Sean Conran and Tamara Issa’s see-sawing vocals.
frontwoman Laura
Jane Grace once BLAKE SCOTT PILLOW QUEENS
dreamed that Bob Niscitam In Waiting
Dylan was a friend WING SING AWAL
of hers (the track is The solo debut from With razor-sharp riffs,
titled, quite aptly, The Peep Tempel’s belting hooks and
“Bob Dylan Dream”). We’re not sure if that amity ever captain is expectedly vocal runs drenched
blossomed, but it’s clear that Grace still admires the confronting, gruff and in emotional fury,
Minnesotan folk god –her first proper solo album, Stay grimy lead guitar lines this unforgivingly
Alive, is delightfully Dylanesque: it’s bold and bright and clashing and clanging catchy and wickedly
beautifully bare-bones, packed with delicate acoustic with an equally idyllic poignant debut is
twangs and tongue-in-cheek lyrical whimsy; a far cry and unnerving crudity; sure to make Pillow
from the gritty, guttural punk rock that Grace (quite there’s the looming Queens an alt scene
literally) cut her teeth on. threat that at any staple. The Irish
Upon the LP’s surprise release on October 2nd, Grace second, the mix could erupt into hellish disarray – and quartet juggle atmospheric indie numbers and
was quick to note that “if at any point you refer to this yet it’s never jarring or distasteful. It’s a calculated, incandescent rock anthems with virtuosic aplomb,
album as an ‘acoustic album’, my six-string strumming cerebral discomfort that Scott embraces, his dark and dipping and diving around varying notches of intensity
ghost will haunt ten generations of your family, every sultry ruminations twisting and twining around riffs so that the bigger jams feel earned and exciting,
night of their lives with bedroom busking from 11pm to that outright command your attention. But there too but the slower cuts never even border on boring.
6am.” We duly heed the warning, but can’t ignore the are slivers of arcadian elegance to be unearthed on So too does this showcase the dizzying deftness of
album’s innate suitability for campfire singalongs – all Niscitam – a crisp and charismatic noodling on “Bullfloat string-splitter Cathy McGuinness – whether she’s
but four cuts on Stay Alive showcase solely Grace, her Zen” and simmering bassline on “Kalashnikov”, for ripping a thick, thunderous onslaught of volcanic
acoustic guitar and her warm, charismatic singing voice. example. In all, it’s a tense and timely masterpiece distortion or a tight, temperamental emo strum,
In a lot of ways, it feels like a natural progression from on which Scott falls into the role of Australiana rock her work with the fretboard is always effortlessly
her 2018 release with The Devouring Mothers [Bought dog with enthralling ease and infallible authenticity. enchanting. This is definitely one to crank up high.
To Rot], of which roughly half was centred around these
folky, bluesy stabs of introspection. But where that KURT VILE WAX CHATTELS
record had slivers of punk and pop and colourful rock Speed, Sound, Lonely KV Clot
‘n’ rock to fill in the gaps, Stay Alive is defiantly naked MATADOR / REMOTE CONTROL FLYING NUN
all the way through, monochrome and sans SFX. We’re Unsurprising for any Defying all possible
still tugging at the proverbial frills of Grace’s dress for fan of the laidback rules of logic, Wax
another album of battered yells and chugging guitars, Pennsylvanian indie- Chattels have brewed
but in the meantime, there’s plenty to sate fans’ hungers folker, Kurt Vile’s new up an album of rich
on this lowkey detour. The guitar lines are simple yet five-tracker is driven and riveting guitar
striking, each prickly noodle and dusty strum derobing by his typical twangy, riffs that doesn’t
another step forward in this flowery lucid-dream journey. from-the-hip noodling actually feature a
Grace’s knack for poetic, pseudo-fantastical storytelling is and soulful, pseudo- single guitar. Just shy
tighter and more enrapturing here than it’s ever been. Southern drawl. The of 40 minutes long,
Add in the luscious sense of roominess that Steve centrepiece is a duet the Kiwi trio proffer
Albini’s loose and laidback production gifts it, and with John Prine on the late country classic’s luminous Clot as rugged and raw as it comes: it’s a headfirst
the inescapable luminosity with which Grace spouts “How Lucky”, a bright and bewitching tribute framed dive into a callous chasm of grinding bass leads,
every punchy and polychromatic quip, and Stay Alive palpably around Vile’s deep adoration and respect wailing distortion and loose, thrashing drums, little
becomes much more than a compendium of short, for Prine. But it’s the EP’s two original cuts – the care favoured to structure or flow as they explore
scattered ideas that Grace had while pent up in dizzy, droning “Dandelions” and the cruisy, cantering jazzy bouts of improv and walloping drops of electronic
quarantine. It’s a snapshot of her signature spasmodic, “Pearls” – that leave the most of a lasting impact chaos. It’s ballsy and blistering dance-punk for the
spur-of-the-moment creative buoyancy – a love letter to once Vile’s last twirling pluck winds out; understated post-dystopian underground club scene the distant
spontaneity, old-school acoustic folk, and ice cream. and loveably lackadaisical, they’re so easy to get future awaits, fast-tracked to serve as the soundtrack
All in all, Stay Alive is a duly welcomed status update swept up in. Production is sparse and the mixes are for 2020’s last chunk of clusterf***ery. Here stands a
to Laura Jane Grace’s personal stream of songwriting raw, dry room reverb and the occasional pop of a record primed for late-night drives at deadly speeds,
social media, and in its own right a top-notch acoustic stool or click of a heel making this feel more like an cheap beer benders and those midweek morning
alb--SJ#S8!2A NO, GHOST LAURA, PUT DOWN THE KNIFE!!!! intimate live performance than a polished product. commutes where you just need to let out some angst.
. WORDS: MATT DORIA • PHOTO: ALEX VISCIUS
86 | REVIEWS

VOX SDC-1 MINI ELECTRIC + GIULIETTA 3PS + GIULIETTA 3D

LET’S LOOK OF TWO INNOVATIVE ARCHTOPS AND A PINT-SIZED PRACTISE BUDDY. REVIEW BY ALEX WILSON.

A RRP: $399.99 (SDC-1) • $1,399 (VGA-3PS) • $1,699 (VGA-3D)

fter a bit of time reviewing guitars, one
can’t help but notice the staying power of
classic designs. Here at AG, we have an
awful lot of guitars come across the desk that are known issue with archtops. Your mileage may vary, VGA-3D
basically tweaking at the edges of the iconic Gibson but the art-deco contours of the Giulietta line are The most interesting of the axes here is definitely
and Fender blueprints. Indeed, many fine companies likely to appeal to a guitarist wanting a look that feels the VGA-3D. It’s a sincere, yet user-friendly attempt
enjoy decades of lucrative business with said classic, but is actually a fresh body plan. to bridge the digital and analog divide we alluded
tweaking as the core business plan. Not content to just make their guitars look nice, to earlier. It’s a similar concept to Line 6’s Variax,
Obviously this indicates that post-war designers Vox have also included a detachable muting strip leveraging modern tech to provide a many-guitars-
got a hell of a lot right, what with our trusty Strats that sits between the bridge and the tailpiece. This in-one-kind of instrument. Whereas Variax has more
and LPs still holding high honour despite the ringing is an issue for archtop guitars and other customisation options and a separate app, Vox’s
transformative impact of digital technology in the axes with old-school bridge systems. Vox’s solution proprietary AREOS-D Digital Modelling System aims to
rest of guitar culture, the music industry and society here is elegant in all respects. While both guitars did be a bit more user-friendly and immediate.
at large. On the other hand, there’s definitely require a bit of TLC coming out of the box, it wasn’t It runs on four AA batteries for power and is simply
a conservatism to guitar design. Despite the anything too bad, and we can happily report that controlled from a small panel on the top of the
incredible creative possibilities afforded by digital the overall build quality is good. body. There is an LCD display, a tuner, and settings
sound (or even just a different body shape), the While the hardware and electronics are not are controlled with the normal volume/tone knobs,
world of luthiery has not always stuck the landing absolute top-of-the-line, they are quiet and buttons and knobs on the panel, and the three-way
when rolling out innovative products that capture eminently playable – more than appropriate for pickup selector. By consulting the manual, twisting
the heart of the customer. mid-priced instruments. knobs and flicking switches, the player can easily
Granted, Line 6 still has a diverse lineup of axes
sporting its Variax technology, and fanned frets seem
here to stay, but does anyone remember Gibson’s
MaGIC system and its digital guitars? If you do, you’d
know Gibson would probably like to forget that part of
its rocky road coming into the new millennium.
The three Vox guitars we have today all challenge
convention to a greater or lesser extent. Two of them
are innovations on the archtop guitar build – one of
the cooler-looking, but more temperamental ways
of making a guitar. The other is a pint-sized practise
buddy. We’ll have a look at the archtops first, both of
which fall under the Giulietta line.
Both the VGA-3D and the VGA-3PS are stylish
acoustic-electric guitars with a striking appearance.
Vox have innovated on the standard archtop design
by rendering the body a bit smaller – not only does
this make the guitar a bit more portable and a bit
less unwieldy, but it also helps minimise feedback: a

| www.guitarworld.com/australianguitar
 | 87

conjure up a wide variety of instrument emulations in getting heavy, this guitar should definitely be well, and it’s great to see rechargeable power tech
with a bit of common sense and experimentation. something you try out. being used in a guitar design.
While many of these sounds seem intended to Overall, this is another win for Vox, which
go direct to front-of-house, there are also solid VGA-3PS takes some of the best aspects of the VGA-3D and
dry pickup signals on board as well, for use with The other contender in the Giulietta line is more streamlines them for players with simple needs.
a conventional amp, pedal setup. We really liked straightforward than its digitally-equipped sibling.
the inclusion of a headphone input for silent and Sharing many of the same acoustic and hardware SDC-1
mobile practise. features, its signal flow is quite different. The 3PS Last cab off the rank is this tiny terror: a pint-sized
Vox haven’t provided much information on exactly boasts a Hybrid Bridge, a bridge with a piezo pickup Gibson SG. This is one of those moments as a reviewer
how the VOX AREOS-D system works beyond saying in it, and the controls attached to the base of the where we feel like it’s hard to add more than what
it interacts with their custom magnetic pickup and pickguard. More classic archtop designs would either the punter can tell by looking at the picture: the SDC-1
piezo system, but they do claim “the sophisticated forgo a pickup entirely or mount it the electronics tunes and plays and sounds like a normal guitar, yet
approach results in a highly accurate and articulate in the traditional fashion by cutting into the body. it is (obviously) very small. The neck is just under 48
representation of the modelled instrument.” This is a By interfering less with the guitar body, sustain and centimetres long, and the rest of the body is scaled
fair statement of the VGA-3D’s capabilities. As a rule, tone are meant to be improved. This is certainly true accordingly. The size brings with it all the expected
the sounds are both useful and enjoyable to play. You compared to the VGA-3D, which lacks a little body benefits and limitations that come with such a design.
have several different acoustic models, including a compared to its more acoustic companion. We see this as the most valuable option for kids
nylon string, 12-string acoustic and electric, resonator, The 3PS has a nice, rich low-end and good tails on or players with small hands who want to get started
banjo, sitar and old-school lead synth. We probably the notes, not coming off too badly at all compared to on the electric guitar early in life. It’s a quality
forgot something in there, but the truth is that all our much bigger Cole Clark steel-string. instrument for the price: there is good tension on the
these sounds are quite usable and pleasing. There’s also a Super Capacitor Preamp System – a neck, the pickup sounds fine, and despite the novelty
There’s a simple preset system included so that switchable active electronic design that gives a much factor, it is surprisingly playable. The SDC-1 provides
you have some options for switching between custom louder signal out of the guitar than the normal passive a faithful approximation of a larger guitar that will
configurations. Using just the pickup switch, you can operation. We found that it was clear, responsive and be musical, exciting and cool for little sprogs whose
access three per song. Each custom sound comes noiseless. Depending on how you are playing the hands are still growing.
with a configurable effect – either reverb or drive. guitar with it, the active output can be very bright. Vox also pitches this instrument as a portable
The reverb is a nice, lush chamber sound that is That’s no big deal though, as it could be useful in practise guitar. While it’s true that, combined with
well-considered for the emulations on hand; the drive some applications and is easily mitigated with the one of their mini jack amps, it makes for a truly tiny
honestly reminded us more of a classic rock fuzz than tone control if not. We also appreciated the low-end electric setup, we’re less convinced that many people
the archetypal pedal or amp sound, but this scribe control pot. While it does need to be tweaked with a will actually play this on public transport as the
is an unreconstructed riffboy – Vox didn’t design an screwdriver, we can see this being very welcome in presser suggests. For anything more than basic finger
elegant digital archtop for him to crank the gain and muddy live environments or recording applications. strength, picking and scale exercises, the neck is just
thrash “Battery” out on it. It’s easy to use the controls under the pickguard – a too different to the real thing. For example, chords
Which leads us to the next point: this is a well- logical placement that doesn’t take away any usability. that are a challenging stretch on a full neck, we can
made, good sounding instrument that integrates The active electronics are charged by a USB input do with ease on the SDC-1. This raises some questions
digital tech well. So who is it for? If you love your near the cable jack. This is the first USB-charging about whether techniques mastered on a mini-guitar
looping pedal and creating layered music with it, the guitar we’ve come across – it’s a cool idea and works will actually transfer over to a conventional neck.
VGA-3D will be a great ally in that endeavour. If you
have a live gig or a practise regimen that requires
an array of acoustic instruments, this is almost a
no-brainer. Being able to go from, say, a smooth
VERDICT PROS CONS DISTRIBUTOR
jazz clean tone, to a resonator or banjo sound, can Vox has made a name for themselves the The SDC-1 is a great The neck on the SDC-1 Yamaha Australia
potentially save many performers the hassle and past few years by innovating. They’ve kept practise guitar for kids. is oddly small. Ph: (03) 9693 5111
worry of carrying multiple instruments around. their classic tube amps in the lineup but have The Giulietta line perfectly Functionality is limited
Web: au.yamaha.com
As signalled by its aesthetic, the VGA-3D stylistically consistently pushed design boundaries with blends electric and for rock-centric players.
leans towards these kinds of genres. Players who products that generate fresh sounds and acoustic components.
focus on rock and riffs won’t find much that’s a stylish aesthetic. The three guitars here Both Giulietta guitars
compelling here, but then again, the instrument should be on the radar of curious players are very usable and
wasn’t designed for them. If you a genre-skipping, and are a testament to the adventurous enjoyable to play.
explorative player who is relatively uninterested philosophy of the company.
88 | REVIEWS

JVB TMT 500 3-IN-1 METRO TUNER + TMC 515

MINI CLIP-ON TUNER + TMC 511 CLIP-ON TUNER/
METRONOME + JCT 615 MULTI-FUNCTION CAPO
THE TUNER IS A CRUCIAL PIECE OF GEAR FOR ANY GUITARIST WORTH THEIR FRETS.
WHERE DOES JVB’S LINEUP STAND AMONGST ITS BEVY OF COMPETITORS?
REVIEW BY ALEX WILSON.

T
he tuner is one of those essential pieces of only a good choice for a jack-of-all-trades musician,
guitar kit that comes in many shapes and but also a beginner who doesn’t yet know what
sizes. Most ordinary players have some kind really interests them. Not only will the tuner help
of mixed interest between acoustic and electric them sound good and the metronome sharpen it’s all controlled by one button. In practice, this
guitars, so will need something more than just their chops, but the bevy of options in the TMT 500 means you choose an instrument setting, adjust
the trusty pedalboard tuner. This is where JVB will cover any instruments or gigs they might want the 360-degree swivel, tune, then play. In this
comes in – they sent us four of their no-stomp to try out. For these same reasons, the TMT 500 respect, the TMC 515 differs from the rest of the
tuners to test drive. would also be welcome in the desk drawers of a JVB family in that it basically does one thing and
Before jumping into specifics about each item, teacher or music production studio. The one useful does it well. If that’s all you want from your clip-
we can say that these are well-built accessories. addition we can think of would be some kind of on tuner, this is a fine choice.
While the low price points would indicate case or bag to help transport the tuner as well as But, for only a few bucks more, you can get
inexpensive manufacturing, they are nonetheless its earpiece and clip tuner. yourself the JVB TMC 511. Doing everything its
responsive, bright and accurate across the board. Next in line is the JCT Guitar Capo and Tuner. spartan sibling can, it also packs a better display
Things like battery compartments and buttons This is a great way to economise a singer/ and a straightforward metronome. For us, this is
feel solid enough, and the tuners feel up to years strummer setup. The tuner itself, attached via the MVP: the best in show and the model we’d pick
of work. The second thing that distinguishes this a small joint to the capo, is a lot more spartan if we were only able to grab one. While the TMT
JVB line in the crowded tuner market is their than the TMT 500 or the other clip-ons we’ll get 500 is great, we don’t miss the extra functionality
highly functional design. JVB are seemingly intent to. But it doesn’t need to do all the extra features it offers too much, and the compact form factor
on giving you a tuner that can multitask, and at a the TMT 500 does, considering it’s always going here and colour options are cool. Everyone needs a
low price. To cap off the good vibes, batteries are to be attached to a six-string guitar neck. It was good clip-on, and as an owner of similar items from
even included. certainly up to the task of keeping our guitars big-hitters like Korg and TC Electronic, we can say
The most extensive design is the TMT 500. in tune, regardless of where the capo was. We that this works just as well for a smaller price. The
In tuning terms, you get switchable inputs compared the JCT capo to a couple of others metronome makes it a no-brainer.
for guitar and bass to keep accuracy high. in our studio – not only does it feel sturdy and There’s something here for everyone if a new
Different instruments or tunings can be easily reliable, but it holds the strings stably. tuner is calling for you. At the end of the day, all of
accommodated by the chromatic mode, which is The JVB Digital Mini Clip Tuner – or TMC 515 these JVB pieces hold their own, performance-wise,
also very accurate – however there’s also a tone – takes a bit of the complexity of the TMT 500 while hurting the hip pocket a little less than the
generator onboard for folks that want to do it and splits the difference with the straightforward competition. Oh, and one final pro-tip: don’t rock a
by ear. The metronome is equally fully-featured; simplicity of the JCT. You get tuning settings for clip on tuner when you’re performing! As great as
manipulated by five buttons on the front, its loud, chromatic, guitar, bass, violin and ukulele, but they might be, you’ve still gotta look cool.
steady and very customisable. Not only do you get
a brilliant tempo control, but also swing and time VERDICT PROS CONS DISTRIBUTOR
signature controls. As well as the built-in mic, you
get an attachable clip-on pickup to emulate the The JVB tuner line offers a whole lot Exceptional value The clip-ons will look JVB Strings
tuners described later in the article. There’s even of bang for buck. The designs are Solid build quality super dorky if you rock Ph: (03) 9773 8583
well-considered, packing maximum Wide range of features them during a gig
an earpiece included, which would be great for Web: jvbstrings.com
warming up in loud environments (say, backstage). functionality into small spaces. Accurate as can be
While the TMT 500 is less streamlined than Plenty of options
other options, it covers all bases. This makes it not in the lineup

| www.guitarworld.com/australianguitar
 | 89

FENDER
REFLECTING POOL
DANELECTRO DANELECTRO DELAY/REVERB
BACK TALK 3699 FUZZ TREVOR CURWEN DIVES IN FOR

REVERSE DELAY THE VINTAGE-LOVING BRAND

A SONIC SOAKING WITH THIS
ONE-BOX AMBIENT SOLUTION.
DANELECTRO’S VINTAGE PEDAL RESURRECTS AN OCTAVE FUZZ
CLASSIC DESIGNED BY STEVE

I
REISSUES CONTINUE APACE WITH RIDINGER HIMSELF. REVIEW f you’re going to have
THIS CULT DELAY STOMPBOX. RRP: $599
BY TREVOR CURWEN. delay and reverb on
your pedalboard, both
REVIEW BY TREVOR CURWEN. effects in the same pedal can be a practical way to

T
he aim of Danelectro’s save space, power outlets and audio cabling, as well

D
anelectro’s vintage ‘vintage’ pedal range, RRP: $329 as likely looking neater. This good-looking stereo and
range sees the RRP: $329 complete with its mono pedal appears at first to be a combination of
retro-minded brand distressed housings, is to revive the sounds of certain Fender’s Mirror Image Delay and the Marine Layer
reissue a number of effects pedals that have went out ‘lost’ pedals. So far, with The Breakdown and The Reverb pedals, but it’s much more than just that.
of production over the years. Some, such as the 3699 Eisenhower Fuzz, the new additions haven’t named The delay side of the pedal is equipped with an
Fuzz, date all the way back to Danelectro owner Steve specific pedals, instead dropping broad hints as to easily operated tap tempo footswitch allied to seven
Ridinger’s ‘70s designs. Launched in the ‘90s, the which long-lost classics are being emulated – which selectable subdivisions. Standard Feedback and
Back Talk Reverse Delay pedal might be a little more leaves the sleuthing to us. That policy seems to have Level knobs respectively adjust the number of repeats
recent, but it has nonetheless fallen off the radar – changed with the latest in the series.  and their volume against the dry sound through to
and as with pedals that fall of the radar, the price for a Danelectro owner Steve Ridinger created the FOXX fully wet, while modulation can be added via Rate
secondhand unit is rising. pedal line in the ‘70s, and the first of these newbies and Depth knobs.
Used versions of the strangely owl-shaped Back resurrects what is that company’s best-known pedal: There’s also a Mix knob, which controls the feature
Talk from the early ‘00s can now sell for prices way the Tone Machine octave fuzz. It’s now named the that sets this particular delay apart from many others
in excess of $500. Ripe for reissue, then – although 3699 Fuzz, 3699 being the numbers that represent the on the market. As with the Mirror Image’s fixed-volume
this time it’s less aerodynamically shaped. Designed letters FOXX on a vintage telephone dial. extra dotted eighth note, you can add in a secondary
for 1960s tape reverse effects, it takes any note you We last looked at an official reissue of a FOXX Tone repeat related to the main repeat. Here, however, you
play and repeats a backwards version of it after a Machine in 2005, when the brand was revived in its get control over its volume, the relative levels of this
set delay time. original battery-only flock-covered form. This one, secondary tap and the main repeat being set via this
A Repeats knob governs the number of repeats though, puts practicality first in a pedalboard-friendly Mix knob, which has a 50:50 mix at its central position. 
from one to infinite, while the Speed knob sets the enclosure with crucial modern accoutrements and an The Analog and Tape delays both reflect the tonal
length of that delay, with results from otherworldly added footswitch for the octave effect. There’s also flavour of the originals very well, but the extra nuance of
reverb’d tremolo-type effects through to longer a toggle-switched mid-boost, so you can fill out the lower fidelity and altered EQ greatly increases flexibility.
backward echoes that can sound mesmerising, original’s more hollowed-out tone with punchy heft. There are three selectable reverb types – Hall, Room
especially when you can get your playing right in Gain-selected NOS transistors have apparently been and Special – each with three variations. The Hall and
sync with them. Key to the effect is the Mix knob, used to best reproduce the original’s robustly versatile Room variations are small, medium and large versions
which can go from dialling in just enough haunting fuzz sound, which can be finely focused here with a of the chosen space – but select the Special type and it
ambience to pique your audience’s interest, wide-ranging tone knob that moves clockwise from will offer a Shimmer reverb with high octaves, a Gated/
through to removing the dry sound completely for thick and sludgy, adding more top-end texture through Reverse reverb and a Modulated reverb.
a fully psychedelic experience. to an aggressive rasp fest that really cuts through. Besides knobs for reverb Level, Decay and Damp, an
Many multi-delay pedals will give you reverse delay, The octave here has been rejigged to be more Extra knob controls low-frequency roll-off for the Hall
but there’s something about this one’s chewy warm prominent than the original, which might not suit and Room reverbs but adjusts the Shimmer reverb’s
sound and smooth playability that sets it apart. purists seeking the ghostly presence of an upper octave level, sets the Gated/Reverse reverb’s tail shape
harmonic, but it does open up a whole extra practical to determine whether you hear reverse, gated or just a
range of tones. typical small space, and controls the mod depth of the
VERDICT DISTRIBUTOR modulated reverb.
Niche? Absolutely. But if you Australasian Music VERDICT DISTRIBUTOR
really like reverse delay, then Supplies VERDICT DISTRIBUTOR
having a dedicated pedal for it Ph: (03) 9549 1500 An updated revival of a classic Australasian Music
pedal, from the guy who Supplies A versatile offering with a wide Fender
makes perfect sense. This one is Web: austmusic.com.au
warm and musical. designed it in the first place, Ph: (03) 9549 1500 range of ambience and some Ph: (02) 8198 1300
the 3699 offers some hefty yet Web: austmusic.com.au great-sounding algorithms.
Web: fender.com
PROS CONS versatile fuzz tones.
PROS CONS
Mix knob is a powerful None, if you can spare the PROS CONS
ambience shaper. pedalboard space. Two effects in one pedal. We’d liked to
Warmer tone than many Very cool old-school fuzz tones. Newly voiced octave Flexible use of a secondary delay. have seen a
multi-delays. Footswitchable octave effect. effect isn’t as subtle as the Tap tempo with a range of subdivisions. specific spring
Fun, old-school setup and tones. Toggle-switched mids boost. original. Variable delay repeat quality. emulation.
90 | REVIEWS

FENDER TRAPPER
FENDER POUR DUAL FUZZ
FENDER OVER ENV FILTER FENDER BOLSTERS ITS PEDAL LINE-UP
WITH A MULTI-VOICED FUZZ THAT’S
COMPUGILIST THE BIG F ADDS AN ENVELOPE
FILTER TO ITS EVER-EXPANDING BLESSED WITH AN OCTAVE SWITCH
THIS DISTORTION AND LINEUP OF PEDALS. REVIEW BY FOR ADDED HI-JINKS. REVIEW BY
COMPRESSOR COMBO OFFERS TREVOR CURWEN. TREVOR CURWEN.
AN ARRAY OF PRACTICAL TONE-

E W
BOOSTING OPTIONS. REVIEW BY nvelope filters, eh? hat’s better
One could make the RRP: $299 than a fuzz RRP: $349
TREVOR CURWEN. case that Mike Beigel’s pedal? Answer:
Musitronics got it right with the Mu-Tron III in the ‘70s, two fuzz pedals. The Trapper isn’t exactly that, but it

F
ender has drawn on and that everyone since has been using that template does feature two different fuzz voices and lets you
its Bends compressor RRP: $299 and just adding their own bells and whistles. Fender’s footswitch between the two. Fuzz 1, which has Fuzz
and Pugilist distortion first foray into the genre has a similar set of controls and Level controls, is a smooth, everyday silicon fuzz
pedals to create the Compugilist, which puts to a Mu-Tron on the right with the familiar three-way which is also capable of octave fuzz via a toggle switch
separately switchable compressor and distortion filter choice (high-pass, low-pass and bandpass) that adds in the extra harmonic element. The second
functions in the one ultra-convenient pedal. While and an Up/Down switch. Here, however, there’s the fuzz is more full-on hooligan, and while it only has a
you don’t get the full feature set here, you do get addition of a distortion section on the left-hand side Level control, it also has an integrated noise gate – the
the essential controls for each.  via a toggle switch. idea being that you use your guitar volume and tone
The compressor side is in the classic Dyna Comp Without the distortion, there are variations of auto-wah, controls to bring out its variations; back off your guitar
mould, keeping your dynamics even, but capable of quacky shifted tonality and filter sweeps available with volume for sputter and glitch.  
getting squashier and adding some snap to the start careful juxtaposition of the controls – but bringing in the Both circuits feed an EQ array consisting of a Tone
of your note – the nature of which can be dialled distortion adds an instant edge and throatiness that can knob that rolls off treble and a Contour knob that has
in with the Recovery knob, usefully adjusting the make those filter sweeps more synth-like, and get you bass boost/treble cut at one extreme and the opposite
compression envelope. closer to some talkbox-like sounds.  at the other, with scooped mids at its centre. Between
Meanwhile, the volume knob is capable of You can also use the distortion on its own, the two knobs you can dial in loads of tonal variation,
building in a boost. The distortion has plenty of possibly adding some tonal shading rather than filter from thick and woolly to eardrum-shredding spikiness.
range, from edgy early break-up drive through movement. As with the other pedals in Fender’s lineup, There’s no surprise in the styling – it’s the same
to cranked amp, with a Tone knob to adjust the the knobs have LED lights that you can turn on and off anodised aluminium chassis with practical offset input
upper-mid presence and top-end, plus a switched via a switch on the side of the pedal. The Pour Over is and output jacks, a ‘jewel’ bypass LED, and the familiar
Bass Boost for fat low-end. housed in the now-familiar anodised aluminium Fender knobs with optional blue LED position markers. Power
This pedal offers plenty of practical options, such enclosure, and it really is a great design. It also features is by nine-volt adaptor or nine-volt battery, which has
as using the compressor as a boost for the drive or offset I/O jacks and a battery that is a cinch to change probably the easiest access of any pedal we’ve seen – the
using both sides to build your overall tone. via a pull-down flap. whole of the end of the pedal is a pull-down flap.

VERDICT DISTRIBUTOR VERDICT DISTRIBUTOR VERDICT DISTRIBUTOR

Compression and distortion Fender There’s plenty to explore here Fender The Trapper is a dynamic, Fender
in one box is a smart idea; Ph: (02) 8198 1300 if you’re up for taking your Ph: (02) 8198 1300 versatile fuzz, with two discrete Ph: (02) 8198 1300
and while you don’t get pedalboard in a more left-field core flavours – one a little
Web: fender.com Web: fender.com Web: fender.com
the full feature set of their direction, with onboard gain more feral than the other –
respective standalone pedals, adding grit and a synth-esque and an octave function that
the combination is well effect to the filter sweeps. opens up a world of quasi-synth
implemented here. overtones.

PROS CONS PROS CONS PROS CONS

Effects are separately switchable. You only get three Wide range of transformative filter tones. Envelope filter Three fuzz flavours in one box (if you Not much at this
Well-designed enclosure. controls on the Gain circuit can be used on its own. remains a niche count the octave fuzz). price.
Value for money. compressor. Another well-designed Fender pedal. effect. It’s a bargain.
Works as a boost.. Very attractive price. The Fender pedal-build template remains
convincing.

| www.guitarworld.com/australianguitar
 | 91

FENDER CD-60S ALL-MAHOGANY ACOUSTIC

HAS FENDER JUST RAISED THE BAR FOR THE ENTRY-LEVEL ACOUSTIC? REVIEW BY JONATHAN HORSLEY.

M
anufacturers such as
RRP: $399
Fender have changed
how we look at the beginner acoustic
guitar for good. Instruments such as this quite
superlative CD-60S All-Mahogany are recalibrating
our expectations, offering a playing experience that
can only inspire today’s beginners. This is a big deal.
There was once a time when even the very prospect
of the entry-level acoustic would send shivers down clarity to make the CD-60S All-Mahogany a good fit
the spine – and not tingles of pleasure. How much for fingerstyles, too. The bass notes bloom nicely, and
more fun would learning the guitar have been if the here we are getting the benefit from that resonant
CD-60S had been around… And the option of a solid solid top. Under the hood, Fender has opted for a
mahogany top on a 200-dollar guitar? That’s progress. tried-and-tested scalloped X-bracing pattern.
Part of Fender’s Classic Design series, the CD-60S You could alternatively spring for Fender’s spruce-
All-Mahogany switches up typical beginner’s fare with topped CD-60S. It has a little extra sparkle in the top
a dreadnought acoustic that pairs that very attractive smaller-bodied acoustics such as orchestra or parlor end. But there’s something very alluring about the All-
solid-mahogany top with laminated mahogany on the models, the dreadnought shape can feel cumbersome, Mahogany dread’. It has an old-school charm and a
back and sides. and that is something to bear in mind if you have a new-school feel, with a very respectable factory setup
An all-mahogany build? In the tonewood menu smaller frame, but you will be rewarded with a deeper that promises to repay your practicing efforts in tone.
that might read ‘warm’, ‘mellow’, ‘pronounced tone. Dreadnoughts are typically loud, and the CD-60S Crucially for a beginner’s acoustic, Fender gets the
midrange with caramel aftertaste’, but first we must doesn’t hold back. neck profile bang on. The CD-60S is a joy to play, and
draw your attention to the neck. It is what Fender If you’re using a pick, there’s a very musical balance backs this up with an impressive tone, making chords
describes as its ‘easy-to-play’ shape, and what we’d to its voice that skews towards the organic woodiness sound full and wide, yet with a detailed midrange and a
probably call a thin C shape. Potatoes, pot-ah-toes, of Delta blues, yet with an abundant presence and vibrant top-end that adds a little magic to the mix.
it is slim, easy fit, perfect for players with smaller
hands or those with a bit of growing to do. The walnut
fingerboard is a flattish 12-inch radius, with the VERDICT PROS CONS DISTRIBUTOR
edges rolled off for a smooth feel. It’s exceptionally The CD-60S is one very playable Neck profile is very approachable for Finish is a little untidy Fender
comfortable for the fretting hand. dreadnought with a wide, beginners and young players. under the hood. Ph: (02) 8198 1300
This, of course, is the name of the game. Your well-balanced tone that belies its Warm but balanced tones. Dreadnought shape
Web: fender.com
guitar shouldn’t offer too much fight – fretting your modest price. Ideal for beginners, Will suit flatpicking and fingerstyle alike. can be a bit boxy for
first barre chords is challenging enough. Compared to but fun for all. It looks great. children.

FENDER JIM ROOT JAZZMASTER V4

IT’S A JAZZMASTER, JIM, BUT ‘KNOT AS WE KNOW IT – IT’S THE LATEST MINIMALIST METAL MACHINE FOR JIM
ROOT AND IT’S FIERCE. REVIEW BY PAUL RIARIO.

T
here is no gray area when it RRP: $2,699
comes to Slipknot guitarist
Jim Root’s vision for his signature models from
Fender. It’s literally black and white. Finishes aside,
there’s equally no gray area in each instrument’s
concept. If anything, his signature instruments clearly
sport the bare minimum to get the job done, and The V4 is a well-balanced guitar with sleek belly and
Root undoubtedly loves using Fender’s iconic shapes forearm contours that accommodate a comfortable
without any of the bells and whistles associated with playing experience. There’s also nothing fiddly; the
their original formulas.  volume knob is right where you need it to be for
His latest signature model shows off a more elevated exacting output control, and you won’t knock into the
look with block inlays and open-coil pickups, but still selector switch if you thrash around. 
remains as stripped down as his other guitars and is Fender’s carved neck heel smoothly cups the palm
designed to deliver in-your-face tone with brute force. open-coil active humbucking pickups, single volume of your hand when you find yourself shredding past
With classic offset contours, a dense body shape and control knob and three-way pickup switch, hard-tail the 14th fret, and I’m amused by the large luminlay
a spartan control layout, the V4 seriously makes you string-through-body bridge, and Fender locking tuners.  fluorescent side dots that really emphasise where you
appreciate how capable this artist model is for metal.  The super-flat 12-inch radius removes any chance are on the neck if it ever seems unclear.
Uncomplicated and unpretentious, the guitar features of fretting out when bending sky-high notes. The There’s no mistaking the Jim Root Jazzmaster V4
a mahogany slab body, contoured neck heel, maple neck minimalist aesthetic continues through to the controls, as a guitar made to precisely execute drop tunings
with a slim C-shaped profile, a bound ebony fingerboard with just a single volume control and a three-way pickup and all forms of metal brutality. I had the guitar in
with a 12-inch radius, 22 jumbo frets and block selector switch – a far cry from your regular Jazzmaster. standard and Drop B tunings, and it’s abundantly
position inlays, EMG Jim Root Signature Daemonum A set of locking tuners helps keep everything stable. clear the active EMG Daemonum pickups complement
the guitar’s aggressive leanings with percussive clarity
VERDICT PROS CONS DISTRIBUTOR and raw power.
The bridge and neck pickups exhibit full-bodied
For all its starkness and simplicity, the Active EMGs are assertive with A little minimally Fender tone with a crisp and throaty midrange that excels
Fender Jim Root Jazzmaster V4 is Root’s clear note-to-note definition. appointed for some. Ph: (02) 8198 1300 with high-gain distortion and down-tunings with
most refined signature guitar yet – a Effortless playability. heavier string gauges. It’s an unbridled growl that
Web: fender.com
veritable metal machine with pulverising Perfect for metal and remains taut for muscular riffing, and that’s exactly
tone and fluent ergonomics. performs well in lower tunings. what I’d expect from this no-nonsense Jazzmaster.
92 | REVIEWS

FENDER ’64 CUSTOM PRINCETON REVERB AMP

THIS HAND-WIRED REISSUE OF THE WORLD’S MOST POPULAR SMALL AMP MIGHT JUST SPARE YOU THE
OVERHEATED VINTAGE MARKET. REVIEW BY CHRIS GILL.

P
artly thanks to session gorgeous, lush tube-driven reverb. Individual notes
players like Tommy Tedesco have ample body, and percussive snaps of the low E
and Steve Lukather, the Princeton is known as string deliver a tight, drum-like wallop.
the most recorded amp in the world. It’s also appeared The impressive clean headroom and overall
on stage and in the studio with rockers like Pete warmth and richness makes this amp an ideal base
Townshend, Mike Campbell and St. Vincent, country for a pedal-based rig for gigging or recording. The
pickers Clarence White, Marty Stuart and Kenny tremolo is also mightily impressive, with a rich,
Vaughan, and even jazz guitarists like Bill Frisell.Stars organic texture that smoothly emerges on the decay
like them may have made the Princeton an icon, but its of sustained notes and ducks out of the way when
success and longevity lie with the millions of unknown playing more aggressively.
players like you and I who have made it a reliable The Princeton Reverb’s tone transforms to overdrive
staple for practise, recording and club gigs. grit with the volume at 5 using a humbucker-equipped
With the Fender ’64 Custom Princeton Reverb, ES-335, or at 7 with a single-coil Strat. The overdrive
Fender has resurrected the most beloved model in becomes satisfyingly raunchy with the volume at 10,
all of its former glory. It’s designed for players with but the tone never becomes compressed or tubby and
a discriminating ear who desire classic Princeton for the included two-button reverb/tremolo on/off note definition and percussive attack remains brilliant.
Reverb tone and performance, but don’t want to footswitch on the rear panel. The tone cleans up beautifully by backing down the
spend $5,000 or more for an original vintage model While the hand-wired construction, period-correct guitar’s volume control, so I heartily recommend Jim
that’s more than likely missing original parts. cosmetics and high-quality components are all Campilongo’s tried-and-true approach of leaving the
True to the original, the ’64 Custom Princeton welcome details, what truly makes the ’64 Custom volume at 10 and using the guitar’s volume control as
Reverb is a single-channel, 12-watt all-tube amp with Princeton Reverb worth its price is its stellar tone. Like your “channel switcher.” The volume output is more
reverb and tremolo. The power amp is driven by a the original, the clean tones are among the absolute than ample for most gigs and absolutely perfect for
pair of 6V6 tubes, while the preamp is driven by one best available, especially when paired with its studio recording.
and a half 12AX7 tubes with the other half split to the
phase inverter. The third 12AX7 is split between reverb
recovery and tremolo, a 12AT7 drives the long-spring VERDICT PROS CONS DISTRIBUTOR
reverb tank and the rectifier is a 5AR4/GZ34 tube.  Fender’s ’64 Custom Princeton Reverb delivers Hand-wired, meticulous build. None. Fender
There’s also a pair of inputs (normal and -6dB), the timeless tone, features and performance Classic Princeton tone. Ph: (02) 8198 1300
volume, treble, bass, reverb, speed and intensity that made the blackface Princeton Reverb a Jensen Alnico P10R is a great pairing.
Web: fender.com
knobs on the front panel and a power switch, quarter- coveted classic, but at a much more reasonable Lives up to its reputation.
inch internal and external speaker jacks and jack price than a vintage model. Cheaper than vintage models.

ORANGE CRUSH ACOUSTIC

30 TWIN CHANNEL AMP
ORANGE PUTS A LITTLE COLOR IN ACOUSTIC PLAYERS’ CHEEKS
WITH A VERY SMART AMP YOU CAN TAKE ANYWHERE.
REVIEW BY ROB LAING.

W
hen you think of Orange scratcher to Orange newbies. The manual explains
Amplification, the word
RRP: $729 all and they’re part of Orange identity – you’ll soon
‘acoustic’ isn’t usually anywhere in  learn the Bass, Treble, Mid and Gain, etcetera.  
sight. But here we are in an unexpected chapter We’re fans of angled combos, and if anything
for the British icon; an Orange acoustic amp, and we think the wedge here could be steeper – but it’s
the latest addition to its hugely successful Crush combined with neat and portable dimensions, and
range of practice amps. We say practice, but this is the usual high standard of Orange build quality.   Crush Acoustic 30 to be
designed for performing outside of the home, too. Channel 1 is focussed on a wider range of guitar loud for such a compact combo. T
Literally outside; as well as mains power it can be EQ options while Channel 2 is for mics. A reverb esting with both a Danelectro with a Fishman
battery powered for five hours at 50% volume and and chorus control can also be applied to both piezo system and another with an active magnetic
eight hours at low volume.  channels or individually with the blend control. soundhole pickup, the EQ is highly responsive.
But this Orange needs a lot of juice for that: ten But you have to choose between the effects; you It’s worth spending extra time with it to dial in to
AA batteries. So obviously we’d recommend an can’t have both at the same time for your guitar suit your instrument and tastes, especially with the
investment in rechargeables or you’ll be busking for tone, which is a shame. Gain and Mid controls. We ended up dialling back
battery money. The power unit is also external here Reverb is the side most players will come back more with the magnetic pickup guitar to scoop the
rather than the much more universal ‘kettle lead’ to and the scope moves from plate to a lusher mids for a more organic sound, hardly surprising
IEC variety, so don’t lose it! The controls are marked hall-type, but there’s Leslie-esque fun to be found with the metallic character of a soundhole pickup.
by icons rather than words, and will be a head at the extremes of chorus, too. We found the The Crush 30 is in a tricky spot; the $729 price
point puts it up against strong 60-watt fare like the
VERDICT PROS CONS DISTRIBUTOR Fishman Loudbox Mini and Sonnet from Blackstar,
which both also have Bluetooth connectivity
For a small but perfectly formed acoustic Angled cabinet with good build. Wireless operation is Australis Music Group (this doesn’t) at levels you can play in a band
combo for solo performances, the Orange Good EQ hard on batteries. Ph: (02) 9698 4444 situation if needed. But if you’re specifically after
Crush Acoustic 30 offers a very respectable It’s as portable as it gets. Reverb and chorus battery-powered options that are compact and
Web: australismusic.com.au
performance. Effects loop plays nice with can’t be run offer mic input for solo performances, this is a
your pedalboard. simultaneously. good option.

| www.guitarworld.com/australianguitar
 | 93

EPIPHONE SG SPECIAL P-90

THIS SG ISN’T JUST INSPIRED BY GIBSON – IT COULD BE THE PERFECT
COMPROMISE ALTOGETHER. REVIEW BY ROB LAING.

I
s the P-90 the ‘best of both worlds’ pickup? There’s
definitely an argument for it being the tonal
RRP: $999
middle-ground between the traditional single-coil
and humbucker. With a single pole-piece, P-90s are
single-coil by anatomy and their shorter and wider
bobbin allows for greater low end girth and grit.
They’re also tied closely to the Gibson story – the
company’s solid body electric pickup of choice until
the advent of the humbucker in 1955. Telecaster. And they feel closer to the vintage-voiced
Which bring us to another best of both worlds humbucker side of the field in that respect, which
question – is Epiphone’s 2020 ‘Inspired By Gibson’ makes for a bridge pickup that’s satisfying for classic
range also the perfect blend of value and tone? rock and blues sustain with low-end presence, while
The Faded Pelham Blue here follows the 2019 home setup control. sounding organic and full for cleaner territory. The
Gibson model’s take on a classic, but it isn’t faded in We like low action but this is a little buzzy for us, neck is a little too murky though and may need a
the natural grain way of our early 2000s Gibson SG and a neck check reveals a small truss rod turn is hotter upgrade in time, or raising in the interim.
Special Faded (or the 2020 Epiphone SG Classic). It’s needed and an easy fix. The reassuring news is that The CTS pots make for a responsive way to clean up
a metallic gloss lacquer and it’s a very appealing take the fretwork is even and tidy here. The ‘60s slim taper your sound from the guitar with the volume control,
on a familiar colour. neck still feels meaty but less of a Marmite shape than taking advantage of the P-90s’ strummier, more open
The 2020 Inspired By Gibson range sees Epiphone our Gibson’s chunkier ‘50s shape – but we’re surprised strengths over some traditional humbuckers. All in,
using the ‘open book’ headstock design that is closer to find that unlike that guitar, this will dip on the strap this is a stunning-looking guitar for a crazy low price,
to Gibson models. A more minimal Special pickguard if you let go. Both weigh over ten kilos, too. which finds Epiphone offering a compelling option for
than the significantly larger ‘batwing’ style found The P-90 Pros here have a darker tonality players priced out by Gibson – one they can enjoy and
on SG Standards allows the finish to shine. And the than we’ve found on our own mahogany Thinline then invest in to upgrade.
P-90 Pro pickup is fully wax potted to help eliminate
unwanted feedback.
If you’re picky about setting your intonation, the VERDICT PROS CONS DISTRIBUTOR
‘60s-style lightning wraparound bridge could prove With beautifully belting tones well-suited Fully wax-potted P-90 Pro pickup. The ‘60s-style lightning Australis Music Group
a sticking point here. Like the Epiphone Les Paul for everything from blues and folk to Very satisfying for classic rock wraparound bridge Ph: (02) 9698 4444
Special, there’s no Tune-o-matic here. Of course, you hardcore punk, Epiphone’s P-90-fitted and blues. could be annoying.
Web: australismusic.com.au
could upgrade to an intonatable version in the future powerhouse is an easy win for shredders As close to a Gibson as you can No Tune-o-matic
but we’d prefer it as a stock feature to offer more priced out by Gibson’s more upscale offerings. get from an Epiphone. bridge.

IBANEZ PREMIUM SR2405W BASS

A SENSIBLY PRICED FIVE-STRING THAT DELIVERS A SERIOUS PUNCH. REVIEW BY MIKE BROOKS.

allow three-way adjustments to be made. The control

RRP: $3,299 set looks a little fussy, but it isn’t in practise. Volume
and pickup pan controls are backed up by a three-band
EQ, a three-band mid-frequency selector switch and
an active/passive switch. The treble control acts as a
passive tone control in passive mode.
Up top you’ve got a set of gold Gotoh tuners
that helps keep tuning solid. The active Aguilar
feels rigid, while the neck pocket looks very solid and Super Double single-coils offer a wide range of
tightly attached. The neck does feel heavy, and there is tones, and the fit and finish is all quality. There are
some noticeable headstock bias on and off the strap, hand-crimped frets and abalone inlays on this panga

W
e’ve been suitably impressed by but it isn’t uncomfortable to play.  panga fretboard – it looks and feels great. Ibanez
various basses from the Ibanez camp Neck rigidity is further enhanced by titanium basses are well known for having a fair degree of
over the years – and the sumptuous rods, which should keep the timbers in order, even snap to their tone, and this has that as well as a
finishes keep on coming. This SR five-stringer exhibits burdened with the extra mass required of a five-string standout low-mid bias which offers a woody rasp.
a rather fetching low-gloss topcoat, somewhere neck. The neck profile is slinky with a nut width of Hooked up to an Aguilar Tone Hammer, it has a nice
between a high-gloss finish and the smoothness of a 45 millimetres, but the neck depth is slim enough to organic tone, but the Ibanez EQ has equal amounts of
satin surface. The hardware looks top-notch, and the offset the broadness of the fingerboard. Hardware and power and finesse across all the frequencies. 
electronics package should in theory give the player finishing are of a high level throughout.  The passive performance is also impressive, and
all the tonal options they could need. But does this SR The abalone oval front-facing position markers are although it doesn’t quite have the sonic punch that
model cover familiar ground? an example of this, with white dots sitting along the the active EQ offers, the natural response works in
The neck length feels longer than it is, although we side edge, as is the recessed jack socket along the lower its favour. The woody bark courtesy of the timbers,
can assure you that it’s certainly a 34-inch scale. The body edge. The gold Ibanez monorail bridge units and alongside the Aguilar Super Double pickups and
panga panga and purpleheart five-piece laminate neck Gotoh machine heads work well and the bridge units passive tone control, provide some rich passive tones. 
The 18-millimetre string spacing can be adjusted at
VERDICT PROS CONS DISTRIBUTOR the bridge should you choose to change it, but overall
this is a bass which was designed with playability in
A great looking, great playing bass with Punchy tones. Might be a bit blingy Australis Music Group mind: this latest iteration of the SR design ticks all of
plenty of tonal options – and it won’t cost A very playable five-string. for some players. Ph: (02) 9698 4444 the boxes in that respect. Comfort comes courtesy of
the earth. Top value. the sleekly-designed neck, and as five-string basses
Web: australismusic.com.au
Excellent build and finish. go, this is a mighty fine example.
94 | REVIEWS

AGUILAR DB925 BASS PREAMP

A NEW TONE-SHAPING PEDAL FROM AGUILAR IN A SMALL, BUT PERFECTLY
FORMED, PACKAGE. REVIEW BY STUART CLAYTON.

T
he recent range of Silver Anniversary pedals, there as they already have an active EQ on board. The
celebrating Aguilar’s 25th anniversary, includes pedal is still usable in the latter case, as it gives the player
the DB925, an all-FET broadband preamp pedal the opportunity to create a different tone which can be
allowing tonal sculpting of your bass tone. Housed in switched in or out as and when required.
a micro pedal format, the limited footprint on your Thankfully, all of the tonal possibilities are musical, and
pedalboard is a positive aspect while the potential neither control sounds harsh, extreme or unusable when
improvement to your regular bass tone is significant.  pushed to its respective limits. As a result, we can see
At first glance, the casing and sturdy build quality many players gravitating towards this pedal for the tonal
are what we’ve come to expect from Aguilar – and possibilities it has to offer.
although the two controls are small and vertical, the This pedal performs a particular function, of course. If
potential for damage is limited. Offering 18 decibels you prefer to control your mid-frequencies with a separate
of broadband boost from the bass (40Hz) and treble control, consider Aguilar’s ever-popular Tone Hammer
(4kHz) controls, the frequencies around these two DI pedal. The asking price is not insignificant, and some
points are also boosted, which sweetens the overall players may question this unit’s flexibility compared to
tonal response. This means that increasing or other preamp pedals on the market. Still, as with all the
decreasing the bass control will also affect the low best preamps, when we turned the DB925 off and returned
mids, while operating the treble control will affect the to our non-effected tone, we found ourselves wondering
upper-mid frequencies. why we’d put up with our bass sounding like that for so
In operation, the unit’s sonic performance is long – and that counts for a lot. CHECK LOCAL RETAILER FOR PRICING
impressive, adding more presence and power to the
bottom end, tightening up the mids with detail and
definition and – when pushed – offering a glassy,
VERDICT PROS CONS DISTRIBUTOR
sparkly top end even when using strings that have An impressive new release from Excellent tone-shaping. Pricey compared to CMI Music & Audio
long since been played in. The improved tonal depth Aguilar, the DB925 can transform Particularly effective with passive basses. similar pedals. Ph: (03) 9315 2244
propels passive instrument performance, while active your passive bass performance, or Small footprint.
Web: cmi.com.au
instruments may only need a slight tweak here and act as an always-on tone sweetener.

ZOOM B3N MULTI-EFFECTS

PROCESSOR
AN AFFORDABLE BASS MULTI-EFFECTS THAT CAN HANDLE JUST
ABOUT ANYTHING YOU THROW AT IT.
REVIEW BY E.E. BRADMAN AND BOBBY VEGA.

Z
oom’s B3n – the successor RRP: $449 most from the B3n.
to the company’s popular B3 Since he began playing back in the early ’70s,
pedal – has 67 tweakable effects, includes Bobby Vega has collected a couple rooms full of
amp models paying homage to Ampeg, Aguilar, prime bass gear, including many of the inspirations
Fender, SWR, and Trace Elliot, and allows for 150 for the B3n’s sounds. I knew it would be fun to run
custom patches that combine up to seven effects, through the pedal with him. Powering up the B3n,
amps, and cabs. we were automatically in “memory mode,” and we staples that worked right out of the box. 
An aux in jack, headphone jack, and handful of began making our way through the B3n’s 75 patches The unit’s 15 overdrives and distortions offer plenty
rhythms make it a cool practise tool, while a USB input (each patch combines several effects). of variety; Bobby particularly liked the “ODB-Overdrive”
makes it easy to update firmware, download new We hit our first snag when we realised that in for Jack Casady-like saturation, the Jeff Ament-ish
patches, and tweak your creations. The B3n manages to memory mode, it was impossible to modify effects or distortion of “SA-Drive”, and the whistles and whines
accomplish all this while being seven inches deep, nine bypass them completely – for that, we’d have to be of “Rock Drive.” Many of the patches, especially the
inches wide, and weighing just under three pounds. in “stomp mode,” which was more flexible but not as grittier ones, made him wish he could send a clean
The B3, released in 2012, has seven more amp immediately satisfying. If you’ve read any of Bobby’s signal out of one side of the stereo output and a dirty
models and 44 more effects. But with the B3n, it’s columns in Guitar World, you probably know he’s a signal from the other.
easy to download more amp models and effects with funny man with strong opinions. The compressed The B3n also offers 17 modulation effects, as well
the free Guitar Lab software. The B3n also forgoes its tone of most of the B3n’s presets clashed with his as 19 dynamics and filter choices, and although Bobby
predecessor’s active/passive input pad, as well as its penchant for extreme dynamics, and it would have wasn’t impressed by the note blossom on “Defret” or
XLR out with pre/post and ground lift; Zoom says that been nice to have an input-level control for some of the lows on “+LoOctave”, he had a great time slapping
not having an XLR on the B3n keeps costs and size his hotter basses. with “MX Clean.” We were surprised that a Dunlop
down while creating fewer parts that could fail. Fortunately, there was plenty to like: The pedal’s Volume (X) expression pedal didn’t work with the B3n;
The flipside of cramming so much functionality into offerings run the gamut from standard to silly, the Zoom recommends its own FP02M model.
a small box is that it can take a minute to understand noise floor is nice and low, and once we got the hang We spent quality time with the B3n’s 11 delays and
the B3n’s menus. Although the navigation is an of it, the B3n gave up the goods. For every “Gremlins” reverbs, its easy-to-use looper, as well as its 68 drum
improvement over the B3’s, some may blanche at the (“this patch sounds like gremlins walking in your patterns, which Bobby deemed useful for practise and
tap-dancing and manoeuvring necessary to get the bass,” says the manual), there are several usable recording demos. Like every amp/cab simulation, the
models on the B3n struck us mostly as good starting
VERDICT PROS CONS DISTRIBUTOR points for custom EQ/compression packages.
The B3n has plenty of tools and toys for students,
A small multi-effects box with lots to The holy trinity of a No XLR jack. Dynamic Music solo adventurers, and gig masters. Although it offers
offer, and a price that’s just right. multi-effects unit: variety, Not compatible with all Ph: (02) 9939 1299 easy access to its gifts, the B3n richly rewards those
flexibility and affordability. expression pedals.
Web: dynamicmusic.com.au who spend time dialling in the details.

| www.guitarworld.com/australianguitar
 | 95

CORT GOLD-OC6 ACOUSTIC

AN ALL-SOLID OM ACOUSTIC THAT’S FISHMAN-POWERED AND FEATURE-PACKED,
WITH A PRICE THAT WON’T BREAK YOUR HEART. REVIEW BY DAVID MEAD. RRP: $1,599

O
nce upon a time, an acoustic maker who wood that is turning up more and more often these Acoustic traditionalists who enjoy a little more
spec’d out its instruments with the ‘all-solid days. In fact, it features on the Eastman SB55/v space for their digits at this point might be a
woods’ merit badge to the forefront could reviewed later on in this issue. Okoume is light in little disappointed as the Cort’s spec here is a few
be king or queen of the heap. But times have changed weight (something we noticed immediately on picking millimetres short of Martin’s current OM spec, for
and conservation now rules the roost, meaning that up the OC6), hails from the Gabon region of Central instance. Those of us with a somewhat ‘Desperate
now some of the six-string formulae of yore are Africa, and looks a lot like mahogany from a cosmetic Dan’ glove size might suffer a few collisions in this
considered to be all but invalid. We speak to luthiers point of view. region, too. Those few extra millimetres down there
all the time, and many are saying that sometimes The Cort’s neck is another mahogany substitute can make all the difference.
laminated sides are actually a very sensible idea, called palaquium, a wood that is widely available in As far as sounds go, a few casual chordal strums
especially when you look at things from the point of the southern hemisphere, particularly in India and reveal a broad and breathy sound typical of this body
view of structural integrity. southeast Asia, and once again could easily pass size with a good amount of volume and excellent
“Think of the body of an acoustic guitar to be a for mahogany with even a relatively well-trained sustain. If we were adopting the OC6, we’d put a
little like a drum,” one luthier told us. “You need a eye. While we’re here, it’s notable that whereas the slightly heavier gauge of string on it in order to pull
rigid frame with a resonant, flexible top to make two principal methods for neck joints on acoustic out the lower mids and bass a little more, but a lot of
it work.” Okay, we can see that’s a plan. The big guitars are either bolt-on or the more traditional that is down to personal preference as there’s plenty of
manufacturers have been at it for a while, too. Taylor dovetail joint, Cort has chosen to use a hybrid of both.  both to work with here. As far as the trebles go, there’s
offers ‘layered’ backs and sides, Martin uses ‘fine The OC6’s neck fits into the body via a dovetail joint a good proportion of sweetness and presence without
veneer’ and has taken the even more extreme route and is secured using a bolt; the best of both worlds, any problems in terms of projection. This thing is loud.
of using high-pressure laminate backs and sides on then. The neck has also been strengthened with two The OC6 comes equipped with a Fishman Flex Blend
some of its lower-priced models.  strips of walnut that sit either side of the truss rod. system that combines an under-saddle piezo with a
So, where does that leave us in the ‘all-solid woods’ Both features have an air of sophistication to them mic that is located under the bridge side of the guitar’s
debate now that we’re all being encouraged to be and we’ve not seen too many acoustics pass our soundhole. The three controls comprise volume, blend
more ecologically aware? Well, there is another way. way with this kind of thing going on under the hood, and tone, the latter of which has been calibrated to
Traditionalists can still have all-solid woods if that’s especially at this price. offer the player everything from a totally flat EQ to the
what floats their boat. You can pay top dollar for the Returning to the guitar’s construction, we find scooped mids you find on many a fingerstylist’s tonal
remaining supplies of the rare stuff, or you can choose a Macassar ebony fretboard with mother-of-pearl setup. There’s even a tuner that automatically mutes
your woods with one eye on the planet’s dwindling inlays in all the familiar places. The bridge is Macassar the guitar’s output for discreet tweaks or alternative
resources (and your own pocket) and act accordingly – ebony, too, and the mother-of-pearl inlay styling is tuning mischief when playing live.
which is what Cort is doing here. reflected in two small flourishes either side of the There’s an awful lot here to play with – plenty
The Gold-OC6 wears its ‘all-solid woods’ spec bone saddle. Cort has gone to great lengths to give of bang for one’s buck, you might say. Ecologically
with pride, and nobody’s planet is going to end up this guitar a good level of kerb appeal to go along with speaking, your mind is at rest with this instrument
devastated in the process. Sounds good on paper, its impressive selection of alternative body woods.  on your lap and construction features such as the
but what’s it like in practice? Well, Cort’s Gold-OC6 As we’ve mentioned, the first thing you notice when reinforced neck, torrefied top, double-lock neck joint
is an OM cutaway acoustic, the company telling us you pick up the OC6 is its weight. It’s a lot lighter than and the flexible Fishman pickup system represent
that “this body style, initially developed in the 1920s, you think, especially if you’re familiar with OM-style some detailed thinking on Cort’s behalf. 
captures the pre-war era tone that is often sought acoustics in general. The next thing is the width of It’s true that the relatively narrow nut width will put
after. Sonically, it delivers a sound that is larger than the nut. At 43 millimetres, the nut width is similar in off some players, but, thinking positively, players who
its compact size would hint at and with a level of terms of feel to that of a Fender American Pro Strat, are used to electric guitars might feel more at home
dynamic responsiveness that is a joy to play.” and Cort tells us that this is something players with during the occasional acoustic number in their band’s
In order to achieve this the company has employed smaller hands will find more comfortable. set with this model.
a Sitka spruce top that’s been treated with Cort’s own
variation on the torrefaction process – Cort calls it ATV,
which stands for ‘Aged To Vintage’ – where the wood is
VERDICT PROS CONS DISTRIBUTOR
baked to remove excess moisture and render it more An incredibly well-appointed Well-thought-out construction. That narrow Dynamic Music
resonant at the same time. Everything looks in order acoustic for the price. Good sounds with great onstage potential. nut might be an Ph: (02) 9939 1299
here with a fine-looking piece of timber and an old- The narrow nut won’t be All-solid woods? Impressive spec annoyance to some
timey amber glow that ticks the aesthetics box nicely. to everyone’s tastes, but for the money. fingerstylists.
Web: dynamicmusic.com.au
The back and sides are okoume, a mahogany-esque there’s a lot to like here. Gigbag included.
96 | REVIEWS

GRETSCH G5410T ELECTROMATIC “RAT ROD”

COMBINING OLD-SCHOOL CURB APPEAL WITH MODERN PERFORMANCE, THIS IS A SILVER DREAM MACHINE
FROM THE KINGS OF ROCKABILLY. REVIEW BY ED MITCHELL.

I
f you spend enough time glued to the Now, the pickups might be called Black Tops but they said, tuning stability is impressive.
gogglebox, you’ll find you can’t move for actually have red inserts. Nowhere in the Gretsch Acoustically, this guitar is loud. Despite the
American car restoration shows. The plots are sales literature for this guitar does it explain why Gretsch promo material claiming this guitar’s body
always a bit on the thin side. And there’s usually these inserts are so cool. They make the Black is 57 millimetres (2.25 inches) deep, it’s actually the
a stupid deadline… a deadline that can’t possibly Tops look like hot-rod tail lights. It must have been same 63.5-millimetre (2.5-inch) depth as a Brian
be met. Yet something that looks as though it was deliberate. Someone needs to take a bow. Setzer Hot Rod. That full-bodied delivery feeds
pulled from the trash compactor on the Death Star Befitting the whole Rat Rod thing, our G5410T is right into the pickups. 
is transformed into a sleek new conveyance with coated in Matte Vintage White paint. There are two The bridge pickup chimes as expected when
minutes to spare. Every. Single. Episode. other finishes available: you can have Matte Black clean but snarls when you start feeding it some
Quite often these shows will produce something with a red ‘Plexi’ scratchplate, or Matte Phantom gain. Introducing both Filter’Trons to each other
described as a “Rat Rod”. Beloved by rockabilly Metallic – a cool silver grey – with the same black adds some warmth to the clarity of the bridge unit
cats and kittens, these things are the antithesis of ’guard as our review model. The Matte Vintage for a classic rockabilly voice. This is even more
megabucks hot-rods with their expensive paint and White paint is also applied to the back of our guitar’s evident when fingerpicking. Switching to the neck
polished chrome. Rat Rods generally boast visible 625-millimetre (24.6-inch) scale set maple neck and pickup solo works great for jazz comping but also
wear and tear and flat, primer-style paint. Luckily, its headstock face.  reveals a punchy blues tone when overdrive is
the new Gretsch G5410T Electromatic “Rat Rod” that Now, considering this is a sub-$2,000 Gretsch kicked in. The clarity of the bridge pickup is echoed
just rolled onto our forecourt has plenty of the latter guitar, you might expect to find the fingerboard is by the note separation of the neck unit, which can
and none of the former. cut from one of those rosewood substitutes: pau become satisfyingly unpredictable when you work
Built in Korea, this hollow-bodied behemoth is ferro or Indian laurel. You’d be wrong. The G5410T in an old-school fuzz box. 
basically a modified take on the iconic G6120, which has a rosewood ’board just like the Professional Some Gretsch Electromatics flaunt the modern
is the guitar the doomed rocker Eddie Cochran, Series stuff, with aged white binding and late tones of the Broad’Tron humbuckers. The G5420T’s
Nashville boss Chet Atkins and Stray Cat Brian Setzer ‘50s-style pearloid ‘Neo-Classic Thumbnail’ inlays. Filter’Trons will be more familiar to vintage geeks.
all bestowed iconic status upon.  The smaller late-50s-style headstock plays host This is what a Gretsch should sound like, whether
At the heart of the beast you’ll find the top, back to a set of beautiful open-back tuners and a your interpretation of that runs to AC/DC, ‘60s mod
and sides pressed from sheets of laminate maple and 42.9-millimetre-width Graph Tech NuBone top nut. or ‘50s rock ’n’ roll.
bound in aged white plastic and black purfling. That’s The G5410T’s neck profile is slim. It’s described So what’s the verdict? Pah! All Gretsch has
your cake. The icing is the ‘50s-style bound oversized as a ‘U’ profile, which for many of you will likely done is take one of its most iconic designs,
f-holes, classic chrome ‘G-Arrow’ control knobs, not to suggest the identically named fat-as-hell necks on customised it to look even cooler, and made it
mention the obligatory old-school wiggle stick, in this early ‘50s Broadcasters, Nocasters and Teles. Nope. more affordable. The fiends. 
case a stiff-feeling but workable licensed Bigsby B60 This is really slim. Figure in the 22 medium jumbo Seriously, though, this thing streets at less
True Vibrato. The latter is partnered with a six-saddle frets and a reasonably flattish 305mm (12-inch) than $2,000 Australian dollars. So if you’ve been
Adjusto-Matic bridge with an anchored wooden base. fingerboard radius and you’ll realise our ‘Built For smudging up the music-shop windows dreaming of
In terms of the electrical appointments, the Speed’ description isn’t just a Stray Cats reference. If the day you can have it away on your toes with a
G5410T comes loaded with a pair of the house Black you like ’em thin, you’ll be equally content with the Setzer Hot Rod or Nashville, then the G5410T could
Top Filter’Tron humbuckers. These are fed into a faultless playability. This thing almost plays itself.  put you out of your misery.
master volume with treble bleed circuit, a dedicated If there are any footprints in the ointment, they This guitar couldn’t look any cuter, either. But
volume control for each pickup, a master tone and a come courtesy of the Bigsby: it’s just not as loose it’s about more than just the looks. The pickups
three-way selector.  and smooth feeling as the US-made versions. That actually have enough vintage-style tone to keep
the greasers happy, and the kind of grunt that
VERDICT PROS CONS DISTRIBUTOR punk cats like Tim Armstrong of Rancid can’t
get enough of. If you fancy this thing, our advice
Gretsch takes one of its most iconic designs It looks amazing. A bit more girth Gretsch Australia is don’t hang about. Gretsch has a habit of
and gives it a street-ready makeover and Exceptional tones. in the neck profile Web: gretsch.com.au introducing new finishes a bit further down the
offers it up for less than two grand. It’s More versatile than you would make it road and then dropping existing colour codes. So if
insanely good value for one of the coolest might think. perfect. you like the look you should probably put your foot
guitars on the market. Very playable. down. There’s always a deadline, man...

| www.guitarworld.com/australianguitar
 | 97

STRYMON COMPADRE DUAL VOICE

COMPRESSOR AND BOOST PEDAL
COULD THIS BE YOUR AMP’S NEW FRONT-END? REVIEW BY TREVOR CURWEN.

A
rguably, there are two keep sound consistent and add smoothly decaying it to Dirt and
RRP: $715
pedals that you can sustain without being too obvious, especially if you the boost
put before your amp to give you a range mix in some dry sound to retain the natural feel of becomes
of practical tonal options without getting too far your note attack. It’s classy tone strengthening and more like an
removed from its core sound: compression and conditioning that doesn’t jump out at you but that overdrive,
boost. Strymon’s new Compadre offers just this you’d miss it if it was bypassed. conspicuously
combination with digitally controlled, fully analogue By contrast, the Squeeze mode, while still capable Tube Screamer-like in the Mid setting.
audio signal processing, which delivers separately of subtlety in evening out the sound and increasing It’s dead easy to use in a WYSIWYG way, tweaking
footswitchable boost and compression sections that sustain, can go further into compression as an effect, knobs as necessary, but it does have presets if
you can choose to use individually or together. with an obvious clamping down on note transients you’re happy to connect up some external gear to
The Boost section has options for targeting its that works brilliantly for a country player doing some access them. You can save the settings of all the
frequency range, while the VCA-based compression chicken pickin’ and pedal-steel-style bends. pedal’s knobs and toggle switches, including the
section provides two different compressors – one The Boost offers up to 14 decibels in its Flat EQ rear Boost Type switch, plus the bypass state of
offering the type of compression you’d expect from setting, delivering straight volume boosts and plenty both Boost and Compressor.
vintage studio rack compressors, and the other for the of full-range amp-driving capability, but the two extra Like the Strymon pedals that sport a Favourite
harder squeeze associated with classic stompboxes. EQ options greatly increase the flexibility. The Treble footswitch, you can store a Favourite setting
The compressor comes first in the signal chain, setting is a classic treble booster, pushing upper mid here that can be accessed by connecting a
and there’s nothing complicated about it. You simply and high frequenciesand tightening up the bottom Strymon MiniSwitch or another external latching
choose Studio or Squeeze mode and use the large end, while the Mid setting brings forward midrange footswitch. Alternatively, Strymon’s MultiSwitch Plus
knob to turn up the compression, which it does by frequencies that will fatten up any tone. three-button footswitch will give you access to three
lowering the threshold above which compression If you yearn for something a little grittier than presets. Much more is available via MIDI where you
occurs. The Level knob adjusts the pedal’s output a straight clean boost, a rear-panel switch selects can not only access a full 300 presets but remotely
when the compressor is engaged, cutting or boosting between that and a soft clipping boost circuit. Switch control patch parameters, too.
the level by up to six decibels. A Dry knob is becoming
a must-have feature on compression pedals, and here VERDICT PROS CONS DISTRIBUTOR
it mixes your dry signal in with the compressed.
The transparent subtlety of the Studio mode A unique design that shows real grown-up Two compression types and three boost types. None. Noise Toys Imports
should be your choice if you’re not looking to use thinking, the Compadre’s practicality could Dry blend control. Ph: (07) 3367 3558
make it the essential link between your Practical size for a twin-footswitch pedal.
compression as a blatant effect. Here, you can
guitar and your amp. Expression pedal volume control.
Web: noisetoysimports.com.au

BOSS WAZA-AIR OVER-EAR AMP-PHONES

BOSS MAY HAVE JUST DESIGNED THE BEST PRACTISE AMP(S) EVER. REVIEW BY PAUL RIARIO.

T
hey say that practise makes perfect, but for function to conserve battery life. And it’s a long
guitarists, a practise routine can be a dull battery life, too – the headphones last for about RRP: $699
affair when you’re stuck in a room with just five hours of play time, while the transmitter hangs
headphones and an amp. Wouldn’t it be far more around for roughly 12 hours. 
exciting if you had something that allows you to take The headphones feature custom-designed
your practise and playing anywhere? 50-millimetre drivers for studio-quality sound, soft
Well, following on the success of the Katana-Air, a conforming earpads and a wide headband for a secure
pioneering product that Boss touted as “the world’s and comfortable fit, plus power and Bluetooth-enable
first totally wireless guitar amplifier”, the company switches, a chrome-knurled guitar volume wheel and
have pushed the envelope even further by introducing two plastic buttons that access the six onboard preset
the forward-thinking Boss Waza-Air, a personal memories and tuner, and which also can control
wireless guitar headphone system that integrates playback when streaming from your mobile device.
spatial technology and a gyro sensor to deliver a Waza-Air’s visceral engine is its advanced 3D
virtual and 3D-like “amp-in-room” experience.  algorithms, which provide three separate and transmitter into
Add to that the premium Katana amp and effect spatially realistic environments (Surround, Static and the Waza-Air’s quarter-inch
tones, Bluetooth audio streaming and sound editing Stage). Surround captures the immersive atmosphere headphone jack instantly pairs both units for total
via your smartphone (from the free Boss Tone Studio of playing in a virtual recording studio, while Static wireless play. With no cables to get tangled up in, you
app), and the Boss Waza-Air may be the ultimate activates the gyro sensor and places the amp and have freedom to move about as you play while hearing
all-in-one practise-and-play-anywhere solution. ambient room sound in front of you and pans it in your guitar in three novel environment settings.
There are no cables to be found because Waza-Air relation to your head movements. Stage places the Surround mode is virtual-reality candy for your ears,
pairs its headphones with a low-latency WL-T wireless amp sound behind you, creating a virtual “live setting” but what’s wild is the panoramic effect triggered by
transmitter. Both units have built-in rechargeable that delivers lifelike sound and feel.  your head turning in Static and Stage modes. 
lithium-ion batteries with an auto standby/wake Once they’re fully charged, simply inserting the WL-T The aural sensation is surreal. And with the free
Tone Studio app, you have 360-degree rotation control
VERDICT PROS CONS DISTRIBUTOR on where to place your guitar and audio positions. The
Katana-Air voicings are intrinsically Boss-sounding,
Here stands a game-changing personal 3D sound from comfortable headphones. The price Roland Australia meaning they have a digital sheen combined with
wireless headphone system with 3D sound, A silent practise tool you can of entry. Ph: (02) 9982-8266 desirable analog overtones that sound completely
built-in amps and effects, Bluetooth audio take anywhere. organic. It’s the most pleasing high-gain and clean
Web: roland.com/au
streaming, and the ability to play and More than 50 effects from Boss’ tones, with each sounding incredibly dimensional
practise anywhere, cable-free. Katana series. through these high-fidelity headphones.
98 | FINAL NOTE

HOW TO CRANK UP
YOUR CATALOGUE
AS GUITARISTS, WE’RE EXCELLENT AT WRITING RIFFS. BUT FINISHING
ENTIRE SONGS? THAT’S ANOTHER STORY…
WORDS BY JUDI GLASER.

Y
ou’ve come up with a cool guitar lick Self-criticism. Perhaps you think that your our unique times, don’t forget to interact with
and… That’s about it. It’s just sitting there, music isn’t good enough, and it’s not worth those around you and elsewhere, and let people
waiting for you to turn it into a song or a investing your time in. Or you may wonder, “Why you trust listen to your tracks to get fresh points
composition. Does this sound familiar? bother? There are so many great guitarists out of view – particularly if they’re not musicians
We’re great at beginnings, less so with there already.” themselves, as they can offer feedback that is
endings – that’s what I’ve realised from my own Personally, I’ve experienced all of the above on free of the critique that naturally comes with
experience. My voice memo library is full of some level. So here are some possible solutions a professional ear. Yet, while taking comments
under-one-minute ideas which, if I don’t take that I’ve found helpful: onboard, always trust your own instincts.
action, will most likely remain in that format.
Similarly, my guitar students frequently create 1. REMIND YOURSELF THAT 4. WRITE NEW MATERIAL
great starting points, but usually struggle to YOU’RE ONLY HUMAN If you have more music in the pipeline, this
finalise their tracks.  Yes, you can always improve your writing will hopefully create a positive pressure and
It may seem like a chore getting to that finish and recordings, but you may get stuck in push you to work on finalising and releasing your
line and releasing what we’ve written into the a never-ending cycle that will affect your unfinished tracks.
world. It often feels like a weight we bear on our productivity – thus, the vast amount of work
shoulders that we need to lift, so that we can you put in can result in just a few releases. 5. GET PROFESSIONAL HELP
then move on to the next project. But why does Also, no one’s perfect, and all the greatest I don’t mean therapy (although that may be
this happen? I can think of a few reasons: have some cool little imperfections. Take, for necessary in some cases), but rather finding a
Perfectionism. There is always something example, the tiny mistake in Eddie Van Halen’s producer, manager or even guitar teacher to
to improve or correct. If you consider yourself a “Eruption” (at the 1:06 mark). guide you. Over time, I’ve accepted that my
perfectionist, I guess you are rarely satisfied with role as a guitar tutor is to serve as a mentor or
the current state of your track. 2. SET A DEADLINE coach, as well as just teaching.
Procrastination. If you’re a procrastinator It could be anything from a special occasion, I hope this helps! My passion is to create
(and who isn’t?), you think that a better variation like a birthday, or a random date that looks nice original music and to help others do so as
is right around the corner, and when it arrives, (11/11/2020 maybe). Even if you won’t meet the well. I released an album very recently, facing
you realise there’s another one coming – and deadline, your progress will bring you much all of the aforementioned issues, and the
another, and so on. closer to completion by that date. Also, we all satisfaction it gave me has fueled my
Time constraints. Yes, life is super busy. know how hard we work, including all-nighters, motivation to carry on releasing my and my
Work, family, studies… Who has time to release a to complete a task with a hard deadline. students’ music more frequently.
single, let alone a whole album?
Lack of support. Maybe you have writer’s 3. GET PERSPECTIVE
block, or you just don’t know what to do next, Sometimes we’re so engaged in what we’re Judi Glaser is a guitarist, composer and guitar teacher
and you could probably use some professional or trying to accomplish that we forget why we who specialises in creativity. His new album, Love Blue
musical advice.  started doing it in the first place. Especially in Electric, is out now.

| www.guitarworld.com/australianguitar
 INDUSTRY-STA NDARD
ALL-TUBE BASS AMP
9001

ampeg.com

Yamaha Music Australia proudly distributes Ampeg. ampeg

9000