Features http://www.guitarworld.com/taxonomy/term/5/all en Guitarist Steve Brown Talks New Trixter Album – ‘Human Era’ http://www.guitarworld.com/guitarist-steve-brown-talks-new-trixter-album-human-era/25121 <!--paging_filter--><p>Hard rock band Trixter’s mantra has always been being the best band they can be. It’s a formula for success that’s reaped rewards for the New Jersey-based band for more than thirty years.</p> <p>Trixter’s new album, <em>Human Era</em> continues that trend with another infectious blend of rock and riff. Whether it’s the inspired performing on the opening track, “Rockin’ to the Edge of the Night” – a song which actually started out as a leftover from the very first Trixter album, the shuffle feel of “Midnight in Your Eyes” or the album’s title track which discusses the band’s history, <em>Human Era</em> is an inspired collection of songs from one of the genre’s finest.</p> <p>Guitarist Steve Brown has been with Trixter right from the beginning. In addition to being a principal songwriter and producer for the band – which also consists of Pete Loran (vocals), P.J. Farley (bass) and Mark “Gus” Scott (drums), Brown has also used his guitar and vocal prowess to fill in for Def Leppard’s Vivian Campbell during his recent treatments.</p> <p><em>Guitar World</em> recently spoke with Brown about the new Trixter album, his time performing with Def Leppard, gear and more! </p> <p><strong>How would you describe <em>Human Era</em> if you had to put it into words?</strong></p> <p>I think it’s Trixter at its best. The most important thing for us is that we’re doing the best music of our career. We take a lot of pride in that and as musicians, each of us is at our best. Plus we have Pete Loran, who has one of the best rock voices out there. Collectively, the band is better than ever. </p> <p><strong>What’s the songwriting process like for Trixter?</strong></p> <p>There are a lot of different avenues. “Rockin’ to the Edge of the Night” is a great story because that song was actually an old one that we reworked. It was originally one of the leftovers from our very first album that for some reason never made it. That was a song that was a gem with the right parts but just needed to be reworked.</p> <p><strong>How about the track, “Midnight in Your Eyes”?</strong></p> <p>I love the heavy, shuffle groove of that track. We’ve always had that side to us. It definitely has that “Def Leppard / Mutt Lange” inspired feel to it.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/xpN4RP3JZlk" frameborder="0" allowfullscreen></iframe></p> <p><strong>What can you tell me about the title track, “Human Era”?</strong></p> <p>That was the last song we wrote for the record. What’s cool is that where “Edge of the Night” is our oldest song, the album ends with our newest one - the title track. P.J. brought the concept in. Lyrically, it talks about our history. We’ve been through a lot together as a band for more than thirty years but we’re still brothers. The whole record has a lot of positive, human-based messages and about how every second counts. </p> <hr /> <strong>It’s now been 25 years since the band’s first album. A time when music was just getting its first taste of grunge. What thoughts come to mind when you think back to those days?</strong> <p>All I can say is, “Wow!” We always hear stories about how great it would have been if we had come out a few years earlier and how we might have been as big as some of the other bands of our genre. But we were just so grateful to be a part of it and get on the wave. Sure, it would have been nice if we came out earlier but we enjoyed every minute of it to the fullest. </p> <p>We were out on some amazing tours. At the time, you don’t really know what’s happening but now more than ever we appreciate every moment. We were just doing what we did as kids and every year it just kept building. The fact that people still come out to see us today because of what we built back then really means something. </p> <p><strong>Speaking of Def Leppard, you’ve recently filled in for Vivian Campbell for a few dates. What was that experience like?</strong></p> <p>It was an absolute honor. Those guys have been friends of mine for 27 years. Vivian is a good friend who has always been a hero of mine. Every time I'm with him he always tells me some really cool Dio stories. During my stint with them I learned so much about how they make records and do live vocals. It was amazing.</p> <p><strong>Did you always know that you wanted a career in music?</strong></p> <p>I was born into an athletic family and played sports growing up. I started playing guitar when I was eight and as time went on, I started becoming more and more obsessed. I remember seeing the original KISS line-up in 1979 at Madison Square Garden on The Dynasty tour and then saw the original Van Halen there too. After those shows, I knew exactly what I wanted to do!</p> <p><strong>What’s your live setup like these days?</strong></p> <p>Right now I’m using EVH 5150 half stacks with Digitech and Rocktron effects along with AKG wirelesses. For guitars, I’m using EVH Wolfgangs and a D'Anngelico EX-SD. I also have a DBZ Korina Flying V that I used on the Leppard Tour. </p> <p><strong>Of all the highlights of your career are there any that stand out to you as most memorable?</strong></p> <p>The obvious one is the first time we played our hometown arena – The Meadowlands. We played there on the Scorpions tour and got our gold records that night. To have our family and friends be there when we were presented with our records was unbelievable. </p> <p>But I’m the luckiest guy in the world. I’ve been able to do things that most people just dream of and am still doing it. </p> <p><strong>What excites you the most about <em>Human Era</em>?</strong></p> <p>What always excites me is when the record is done. You always go through all of these emotions whenever you make a record but the best part is when the record is finally complete. That’s when you put it in you car, listen to it and go “Man, this is really fucking good!” Doing our best work so many years into it…that’s what I’m most proud of.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/nZHEjqMtV_0" frameborder="0" allowfullscreen></iframe></p> <p><em>James Wood is a writer, musician and self-proclaimed metalhead who maintains his own website, <a href="http://gojimmygo.net/">GoJimmyGo.net</a>. His articles and interviews are written on a variety of topics with passion and humor. You can follow him on <a href="https://twitter.com/JimEWood">Twitter @JimEWood.</a></em></p> http://www.guitarworld.com/guitarist-steve-brown-talks-new-trixter-album-human-era/25121#comments James Wood Steve Brown Trixter Interviews News Features Wed, 29 Jul 2015 16:38:25 +0000 James Wood 25121 at http://www.guitarworld.com Guitarist Chris Feener Shreds His Way Through Darius Rucker's "Wagon Wheel" — Video http://www.guitarworld.com/chris-feener-shreds-his-way-through-darius-ruckers-wagon-wheel-video/25119 <!--paging_filter--><p><a href="http://www.cbc.ca/news/canada/newfoundland-labrador/my-guitar-chris-feener-stays-committed-to-his-guitars-1.2741892">Guitarist Chris Feener</a> posted this video earlier this month with the caption, "I finally learned how to play 'Wagon Wheel'."</p> <p>Check out this one-minute-plus clip that finds Feener shredding his way through a tune made popular by Darius Rucker in 2013 (although it's been around for many years and is credited to Bob Dylan and Ketch Secor of Old Crow Medicine Show).</p> <p>Don't take it too seriously; it's meant to be funny. Enjoy!</p> <div id="fb-root"></div> <script>(function(d, s, id) { var js, fjs = d.getElementsByTagName(s)[0]; if (d.getElementById(id)) return; js = d.createElement(s); js.id = id; js.src = "//connect.facebook.net/en_US/sdk.js#xfbml=1&version=v2.3"; fjs.parentNode.insertBefore(js, fjs);}(document, 'script', 'facebook-jssdk'));</script><div class="fb-video" data-allowfullscreen="1" data-href="/ChrisFeener/videos/vb.734060367/10155760021590368/?type=1"> <div class="fb-xfbml-parse-ignore"> <blockquote cite="https://www.facebook.com/ChrisFeener/videos/10155760021590368/"><a href="https://www.facebook.com/ChrisFeener/videos/10155760021590368/"></a> <p>I finally learned how to play Wagon Wheel. &lt;3</p> <p>Posted by <a href="https://www.facebook.com/ChrisFeener">Chris Feener</a> on Tuesday, July 7, 2015</p></blockquote> </div> </div> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/hvKyBcCDOB4" frameborder="0" allowfullscreen></iframe></p> http://www.guitarworld.com/chris-feener-shreds-his-way-through-darius-ruckers-wagon-wheel-video/25119#comments Chris Feener Darius Rucker Videos News Features Wed, 29 Jul 2015 15:53:12 +0000 Guitar World Staff 25119 at http://www.guitarworld.com George Harrison, Eric Clapton and Ringo Starr Reunite to Play The Beatles' "While My Guitar Gently Weeps" in 1987 — Video http://www.guitarworld.com/george-harrison-and-eric-clapton-play-while-my-guitar-gently-weeps-1987-video/25111 <!--paging_filter--><p>As any rock fan knows, the Beatles never got back together.</p> <p>What you might not know is that even partial Beatles reunions and "near misses" were frustratingly rare back when such things mattered (prior to George Harrison's death in 2001).</p> <p>Which is why the video below is so enjoyable.</p> <p>On June 5, 1987, three of the five original musicians who appeared on the classic Beatles White Album track "While My Guitar Gently Weeps" reunited to perform the song live at the Prince's Trust Rock Gala at London's Wembley Arena.</p> <p>George Harrison, Ringo Starr and Eric Clapton were joined by an all-star U.K. band, including Elton John, Phil Collins, Jeff Lynne, Ray Cooper and ... well, if you're wondering who that understandably happy bassist is, it's Mark King from Level 42. Harrison, Starr and Clapton last performed the song live 16 years earlier at the Concert for Bangladesh in New York City.</p> <p>What's most interesting about this performance is the fact that <strong>A.,</strong> the normally Strat-happy Clapton is playing a beautiful Gibson Les Paul, just as he did on the original 1968 recording, and <strong>B.,</strong> the also-Strat-happy Harrison joins Clapton in the extended guitar solo at the end of the song. The two guitarists trade solos and feed off each other's energy, and their intertwining lines are often pretty damn cool.</p> <p>Paul McCartney, another one of the five original musicians who appeared on the original Beatles recording, would later perform the song <a href="https://www.youtube.com/watch?v=rj4J6i_vw0w">with Clapton and Starr in November 2002 at the Concert for George. </a></p> <p>Of course, for the closest thing to a full-on Beatles reunion, there's nothing quite like the mid-Nineties footage of McCartney, Harrison and Starr hanging out together during the making of <em>Anthology</em> (bottom video). </p> <p>For studio recordings that come close to full reunions, check out Starr's "I'm the Greatest" from 1973 (written by Lennon and featuring Lennon, Starr, Harrison and <em>Let It Be/Abbey Road</em> keyboardist Billy Preston) and Harrison's "All Those Years Ago" from 1981 (featuring Harrison, McCartney and Starr).</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/oDs2Bkq6UU4" frameborder="0" allowfullscreen></iframe></p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/ESv8e3Anjg8" frameborder="0" allowfullscreen></iframe></p> <p><em><a href="https://soundcloud.com/damian-fanelli/mister-neutron-comanchero-1">Damian Fanelli</a> is the online managing editor at </em>Guitar World<em> and </em><a href="http://www.guitaraficionado.com/">Guitar Aficionado</a><em>. His New York-based band, <a href="https://www.facebook.com/pages/The-Blue-Meanies/226938220688464?fref=ts">the Blue Meanies,</a> has toured the world and elsewhere. Fanelli, a former member of Brooklyn jump-blues/swing/rockabilly band <a href="http://www.thegashousegorillas.com/">the Gas House Gorillas</a> and New York City instrumental surf-rock band <a href="http://www.cdbaby.com/Artist/MisterNeutron">Mister Neutron,</a> also <a href="https://www.youtube.com/watch?v=NsQ9pIkLXiA">composes</a> and <a href="https://www.youtube.com/watch?v=w7ICimc774Y">records film soundtracks.</a> He writes GuitarWorld.com's <a href="http://www.guitarworld.com/next-bend-clarence-white-inspired-country-b-bender-lick-video">The Next Bend</a> column, which is dedicated to <a href="http://www.guitarworld.com/next-bend-10-essential-b-bender-guitar-songs-damian-fanelli">B-bender guitars and guitarists.</a> His latest liner notes can be found in Sony/Legacy's </em><a href="http://www.amazon.com/The-Complete-Epic-Recordings-Collection/dp/B00MJFQ24W">Stevie Ray Vaughan: The Complete Epic Recordings Collection.</a><em> Follow him on <a href="https://www.facebook.com/damianfanelliguitar">Facebook,</a> <a href="https://twitter.com/damianfanelli">Twitter</a> and/or <a href="https://instagram.com/damianfanelligw/">Instagram.</a></em></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/beatles">The Beatles</a> </div> <div class="field-item even"> <a href="/eric-clapton">Eric Clapton</a> </div> <div class="field-item odd"> <a href="/george-harrison">George Harrison</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/george-harrison-and-eric-clapton-play-while-my-guitar-gently-weeps-1987-video/25111#comments Damian Fanelli Eric Clapton George Harrison Ringo Starr The Beatles Videos Blogs News Features Wed, 29 Jul 2015 13:44:44 +0000 Damian Fanelli 25111 at http://www.guitarworld.com Learn 16 Cheap Trick Classics, Note for Note http://www.guitarworld.com/new-book-learn-16-cheap-trick-classics-note-note <!--paging_filter--><p>Learn 16 classics by Cheap Trick, courtesy of the new 96-page tab book, <em>Best of Cheap Trick</em>.</p> <p>The book will teach you all of Rick Nielsen's guitar parts, note for note.</p> <p>Songs include "Ain't That a Shame," "Day Tripper," "Dream Police," "The Flame," "Gonna Raise Hell," "I Want You to Want Me," "She's Tight," "Surrender," "Voices," "Woke Up With a Monster" and more.</p> <p><strong><a href="http://store.guitarworld.com/collections/mix-books/products/best-of-cheap-trick/?&amp;utm_source=gw_homepage&amp;utm_medium=daily_scroller&amp;utm_campaign=BestCheapTrick">This book is available now for $19.95 at the Guitar World Online Store.</a></strong></p> <p><iframe width="620" height="365" src="http://www.youtube.com/embed/th370QmFtk8" frameborder="0" allowfullscreen></iframe></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/rick-nielsen">Rick Nielsen</a> </div> <div class="field-item even"> <a href="/cheap-trick">Cheap Trick</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/new-book-learn-16-cheap-trick-classics-note-note#comments Cheap Trick Rick Nielsen News Features Wed, 29 Jul 2015 12:46:55 +0000 Guitar World Staff 16941 at http://www.guitarworld.com Guitar World Recommends: MXR Buffer Boost — Video http://www.guitarworld.com/guitar-world-recommends-mxr-buffer-boost-video/25108 <!--paging_filter--><p><em>Guitar World Recommends</em> shines the spotlight on new and noteworthy gear for guitarists. This week, <em>Guitar World</em> recommends the new Buffer Boost from Jim Dunlop and MXR. </p> <p>This tiny little gadget makes up for signal loss that can occur when combining effects; it fine-tunes signal recovery with Hi &amp; Lo cut switches and features extra output for optional separate unbuffered signal chain. </p> <p>For more about this handy piece of gear (and so much more), visit <a href="http://www.jimdunlop.com/">jimdunlop.com.</a></p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/pKsr3YnZ00g" frameborder="0" allowfullscreen></iframe></p> http://www.guitarworld.com/guitar-world-recommends-mxr-buffer-boost-video/25108#comments Guitar World Recommends Jim Dunlop MXR Videos Effects Features Gear Tue, 28 Jul 2015 21:19:40 +0000 Guitar World Staff 25108 at http://www.guitarworld.com 'SNL' Guitarist Jared Scharff Adds "Unnecessary Shredding" to "Blank Space" by Taylor Swift — Video http://www.guitarworld.com/snl-guitarist-jared-scharff-adds-unnecessary-shredding-blank-space-taylor-swift-video/25110 <!--paging_filter--><p><em><a href="http://www.nbc.com/saturday-night-live">Saturday Night Live</a></em> guitarist <a href="https://www.youtube.com/channel/UCeP2X5pVHCRpYARTTg7jzrg">Jared Scharff</a> has a new web series called <em>Unnecessary Shredding.</em></p> <p>In it, Scharff adds lots and lots of tasteful shredding to songs that are devoid of shredding—if not devoid of guitars, period.</p> <p>In his latest video, posted to the interwebs July 28, Scharff adds some unnecessary shredding to "Blank Space" by Taylor Swift.</p> <p>"I'm playing my custom Fano Pelham Blue burst JM6, which was made by Dennis Fano himself," Scharff says. "I was either using a Sixties Vox AC-30 or a Divide by 13 through an Analog Man Peppermint Fuzz."</p> <p>Thoughts?</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/zKjVkLfmJ14" frameborder="0" allowfullscreen></iframe></p> http://www.guitarworld.com/snl-guitarist-jared-scharff-adds-unnecessary-shredding-blank-space-taylor-swift-video/25110#comments Jared Scharff Taylor Swift Unnecessary Shredding Videos Blogs Features Tue, 28 Jul 2015 20:58:51 +0000 Damian Fanelli 25110 at http://www.guitarworld.com Eddie Van Halen Makes Elephant and Horse Sounds with His Guitar — Video http://www.guitarworld.com/eddie-van-halen-makes-elephant-and-horse-sounds-his-guitar-video/25109 <!--paging_filter--><p>Below, check out a clip that's being billed as "rare footage" of Eddie Van Halen making elephant and horse sounds with his guitar backstage at a venue, pre-concert.</p> <p>I mean, how "rare" can it be if you're watching it right now?</p> <p>Anyway, it was probably filmed by MTV around 1986 during Van Halen's <em>5150</em> tour.</p> <p>Enjoy!</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/ZymMfp43aoM" frameborder="0" allowfullscreen></iframe></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/eddie-van-halen">Eddie Van Halen</a> </div> <div class="field-item even"> <a href="/van-halen">Van Halen</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/eddie-van-halen-makes-elephant-and-horse-sounds-his-guitar-video/25109#comments Eddie Van Halen Van Halen WTF Videos Blogs Features Tue, 28 Jul 2015 18:12:06 +0000 Damian Fanelli 25109 at http://www.guitarworld.com Quick Lick: Metallica — "Ride the Lightning" http://www.guitarworld.com/quick-lick-metallica-ride-lightning <!--paging_filter--><p><em>Quick Licks brings you short, bite-sized video lessons that show you how to play classic riffs from your favorite songs.</em></p> <p>In the following video, <em>Guitar World</em>'s Matt Scharfglass shows you how to play the post-chorus riff to the title track off Metallica's sophomore album, <em>Ride the Lightning</em>.</p> <p>Check it out below!</p> <p>And while you're at it, you might enjoy <a href="http://www.guitarworld.com/metallicas-kirk-hammett-talks-ride-lightning-cliff-burton-and-benefits-taking-guitar-lessons-joe-satriani">Metallica's Kirk Hammett Talks 'Ride the Lightning,' Cliff Burton and Benefits of Taking Guitar Lessons from Joe Satriani.</a></p> <!-- Start of Brightcove Player --><!-- Start of Brightcove Player --><div style="display:none"> </div> <!-- By use of this code snippet, I agree to the Brightcove Publisher T and C found at https://accounts.brightcove.com/en/terms-and-conditions/. --><!-- By use of this code snippet, I agree to the Brightcove Publisher T and C found at https://accounts.brightcove.com/en/terms-and-conditions/. --><script language="JavaScript" type="text/javascript" src="http://admin.brightcove.com/js/BrightcoveExperiences.js"></script><object id="myExperience1107825890001" class="BrightcoveExperience"> <param name="bgcolor" value="#FFFFFF" /> <param name="width" value="620" /> <param name="height" value="348" /> <param name="playerID" value="798983031001" /> <param name="playerKey" value="AQ~~,AAAAj36EdAk~,0qwz1H1Ey92wZ6vLZcchClKTXdFbuP3P" /> <param name="isVid" value="true" /> <param name="isUI" value="true" /> <param name="dynamicStreaming" value="true" /> <param name="@videoPlayer" value="1107825890001" /> </object><!-- This script tag will cause the Brightcove Players defined above it to be created as soon as the line is read by the browser. If you wish to have the player instantiated only after the rest of the HTML is processed and the page load is complete, remove the line. --><!-- This script tag will cause the Brightcove Players defined above it to be created as soon as the line is read by the browser. If you wish to have the player instantiated only after the rest of the HTML is processed and the page load is complete, remove the line. --><script type="text/javascript">brightcove.createExperiences();</script><!-- End of Brightcove Player --><!-- End of Brightcove Player --><fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/metallica">Metallica</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/quick-lick-metallica-ride-lightning#comments Big Four Metallica Ride the Lightning Videos Features Lessons Tue, 28 Jul 2015 17:38:43 +0000 Matt Scharfglass 12600 at http://www.guitarworld.com How to Make Great "Guitar Faces" — Video http://www.guitarworld.com/how-make-great-guitar-faces-video <!--paging_filter--><p>No, this May 2012 video is not new.</p> <p>But, as is often the case, it happens to be new to me; I found it in my inbox over the weekend—and I didn't mind it.</p> <p>It's basically an enjoyable lesson on "guitar faces," courtesy of a guitarist named Jesse Phillips. Note that this is "part 2;" you'll also find parts 1 and 3 on YouTube (neither of which has as many views as part 2).</p> <p>We appreciate the section on "smelling the skunk."</p> <p>"You have to pretend that the notes you're playing have physical odor," Phillips says. Well put!</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/Bp7evCQWBgU" frameborder="0" allowfullscreen></iframe></p> http://www.guitarworld.com/how-make-great-guitar-faces-video#comments Jesse Phillips WTF Videos Blogs News Features Tue, 28 Jul 2015 17:14:16 +0000 Damian Fanelli 23574 at http://www.guitarworld.com Future of Guitar? Teenage Guitarist Ray Goren Blows Minds with Cover of Jimi Hendrix's "Machine Gun" — Video http://www.guitarworld.com/future-rock-teenage-guitarist-ray-goren-blows-minds-cover-jimi-hendrixs-machine-gun-video/25100 <!--paging_filter--><p>We love this live cover of Jimi Hendrix's "Machine Gun," and we think you might get a kick out of it too.</p> <p>It's by teenage guitarist Ray Goren, who has been featured on GuitarWorld.com several times since 2014 (Check out the stories under RELATED CONTENT, just below his photo). </p> <p>Most recently, we premiered his new song, "Song for Me," <a href="http://www.guitarworld.com/ray-goren-premieres-new-track-song-me/25036">which you can check out right here.</a></p> <p>Goren has played with everyone from Buddy Guy to Bonnie Raitt, Robbie Krieger, Leon Russell, Deacon Jones, the late B.B. King and beyond. Goren, who was initially self-taught and grew up listening to jazz and blues, started playing piano at age 3. A few years later, he started playing guitar and writing his own music. </p> <p>He's 15 now, and this clip—which was shot in Los Angeles—was posted in August 2014.</p> <p><strong>For more about Goren, visit <a href="http://sneakattackmedia.com/client/ray-goren">sneakattackmedia.com</a> and follow him on <a href="https://www.facebook.com/RayGorenOfficial">Facebook.</a></strong></p> <p><strong>RAY GOREN ON TOUR:</strong></p> <p>8/28: Arcadia, CA – Arcadia Blues Club<br /> 10/3: Arcadia, CA - Arcadia Blues Club</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/mamkdUbZYN4" frameborder="0" allowfullscreen></iframe></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/jimi-hendrix">Jimi Hendrix</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/future-rock-teenage-guitarist-ray-goren-blows-minds-cover-jimi-hendrixs-machine-gun-video/25100#comments Jimi Hendrix machine gun Ray Goren Videos Blogs Features Tue, 28 Jul 2015 15:49:56 +0000 Damian Fanelli 25100 at http://www.guitarworld.com Guitarist Rob Scallon Plays 31 Songs in One Minute, from Hendrix to Metallica — Video http://www.guitarworld.com/guitarist-rob-scallon-plays-31-songs-one-minute-hendrix-metallica-video/25098 <!--paging_filter--><p>Get your timers out and watch as YouTube multi-instrumentalist Rob Scallon plays 31 guitar-centric songs in one minute on his Chapman ML-1 Hot Rod.</p> <p>These include:</p> <p>1. Iron Man - Black Sabbath<br /> 2. My Name is Mud - Primus<br /> 3. Foxy Lady - Jimi Hendrix<br /> 4. Beat It - Michael Jackson<br /> 5. Stabwound - Necrophagist<br /> 6. Enter Sandman - Metallica<br /> 7. The Frayed Ends of Sanity - Metallica<br /> 8. The Beautiful People - Marilyn Manson<br /> 9. Back in Black - AC/DC<br /> 10. Smoke on the Water - Deep Purple<br /> 11. Sugar - System Of A Down<br /> 12. Crazy Train - Ozzy Osbourne<br /> 13. Welcome to Bucketheadland - Buckethead<br /> 14. Dueling Banjos<br /> 15. Johnny Be Goode - Chuck Berry<br /> 16. Raining Blood - Slayer<br /> 17. Precipitation - Les Claypool and the Holy Mackeral<br /> 18. Ars Moriendi - Mr. Bungle<br /> 19. Seinfeld Theme<br /> 20. Never Meant - American Football<br /> 21. The Spirit of Radio - Rush<br /> 22. Every Pantera song<br /> 23. Every Oceano song<br /> 24. Every Emmure song<br /> 25. Every Glass Cloud song<br /> 26. Every Psyopus song<br /> 27. Every Rob Scallon song<br /> 28. Undone (The Sweater Song) - Weezer<br /> 29. Time of Your Life - Green Day<br /> 30. Blitzkrieg Bop - The Ramones<br /> 31. Wheezy Waiter Outro Theme</p> <p>Keep up with Scallon on <a href="https://www.youtube.com/channel/UCyDZai57BfE_N0SaBkKQyXg">YouTube.</a></p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/F1xw0IaBpOU" frameborder="0" allowfullscreen></iframe></p> http://www.guitarworld.com/guitarist-rob-scallon-plays-31-songs-one-minute-hendrix-metallica-video/25098#comments Rob Scallon Videos Blogs Features Tue, 28 Jul 2015 15:35:26 +0000 Guitar World Staff 25098 at http://www.guitarworld.com 12-Year-Old Guitarist Shreds Stevie Ray Vaughan's "Texas Flood" — Video http://www.guitarworld.com/12-year-old-guitarist-shreds-stevie-ray-vaughans-texas-flood-video/25096 <!--paging_filter--><p>Below, watch 12-year-old Norwegian singer-guitarist Fredrik Halland play a mighty impressive rendition of "Texas Flood," a song made famous by the late Stevie Ray Vaughan in 1983.</p> <p>Right off the bat, let us mention that this clip is from 2006 and is only now coming to our attention. But it is certainly worth checking out.</p> <p>While we don't know a lot about the video (no extra information is included), we know it was shot as part of a Norwegian talent show. Regardless, one thing is certain: This kid shreds.</p> <p>Vaughan covered "Texas Flood," which was written by Larry Davis and Joseph Scott, on his debut 1983 album, <em>Texas Flood.</em> The version Fredrik is playing is inspired by SRV's live performances of the song. </p> <p>Happily, Fredrik Halland is still playing today, and you can catch up with him and his music over at <a href="http://www.officialfredrikhalland.com/">officialfredrikhalland.com.</a></p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/xoyqmTHiMNM" frameborder="0" allowfullscreen></iframe></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/stevie-ray-vaughan">Stevie Ray Vaughan</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/12-year-old-guitarist-shreds-stevie-ray-vaughans-texas-flood-video/25096#comments Fredrik Halland Stevie Ray Vaughan Texas Flood Videos Blogs Features Tue, 28 Jul 2015 15:22:11 +0000 Damian Fanelli 25096 at http://www.guitarworld.com How Joe Satriani Found Inspiration from His Fictional Alter-Ego on New Album, 'Shockwave Supernova' http://www.guitarworld.com/joe-satriani-finds-inspiration-fictional-alter-ego-new-album-shockwave-supernova/25011 <!--paging_filter--><p>For many artists who reach the "double digit albums" stage of their career, inspiration often can be hard to come by. </p> <p>However, for Joe Satriani—who released his 15th studio album, <em>Shockwave Supernova</em>, July 24—each album is seen as a chance to reinvent himself and test the limits of his guitar playing. The results don't lie; he's one of the most successful and innovative solo and instrumental guitarists playing today.</p> <p>"I just approach each record like it's a new thing and throw myself into it with total dedication," he says during our phone interview from the G4 Experience in Cambria, California.</p> <p>As a result of playing guitar with his teeth and a daydream, Satriani crafted up an alter-ego called Shockwave Supernova. The alter-ego, he says, is "a rock and roll animal" that tries to "draw attention to himself." Throughout the album the alter-ego battles with his real self. </p> <p>We talked with Satriani about how he still manages to keep things interesting. You can check out our interview below.</p> <p><strong>GUITAR WORLD: How's the G4 Experience going?</strong></p> <p>I'm having such a great time in Cambria. It's so hard to explain the people. It sounds funny when I say it out loud, but the sense of community here with all the guitar players is invigorating; it's exciting, it's funny but it's chill at the same time. Everybody's in a great space. The vibe is good and everyone's chilled but the guitar playing going on is extraordinary. It's been a really great G4 Experience, no doubt.</p> <p><strong>It must help keep things exciting and interesting for you.</strong></p> <p>Absolutely. Mike Keneally, Tosin Abasi and Guthrie Govan and I have been doing clinics with Marco Minnemann and Matt Garstka and, of course, Bryan Beller. There's a concert at the end. It's funny as the guys from the Aristocrats played last night and, of course, they look over to the side and a few feet from Guthrie all of the guitar players are sitting there staring at him. It's a very interesting environment where everyone is being incredibly supportive but at the same time we're all fascinated by how everyone plays because everyone plays in such a different way and everyone does stuff the others can't do. We're just so excited to see it just a few feet away from us.</p> <p>It's a very intimate thing where you get 200 guitar players together and put them in a beautiful setting in a place. And there's so much sharing going on with musical information. People are walking around the grounds with their guitars on. It's a lot of fun. I find it extremely exciting. I come away thinking there's so much more stuff I want to work on. </p> <p>As a matter of fact, Javier Reyes from Animals as Leaders was saying last night after the Aristocrats show and after everyone's show, "Wow, there's so much stuff I don't do that I could be working on. I have to figure out when I'm going to have time to work on it." Everyone ended up being invigorated and inspired by everyone else's performances. </p> <p><strong><em>Shockwave Supernova</em> is your 15th studio album. What do you feel about reaching that milestone in your career?</strong></p> <p>Well, the number doesn't mean anything. I never think about it like I'm trying to reach a particular benchmark in quantity. I don't think it really matters really. The Grateful Dead and Frank Zappa had so many records out that it's hard to count. Jimi Hendrix only had a handful. But each of them had such a huge impact on the world of music. So I don't really think about the number. I just approach each record like it's a new thing and I throw myself into it with total dedication. And then when it's finished I hand it over to the fans and then move on. I don't cling to that number 15. Although it just makes my head spin thinking about that I've been allowed to make so many records. I'm very grateful about that. </p> <p>How do you get yourself in the creative mindset these days? Are there any habits or activities that help?</p> <p>I think every day I'm pretty much overwhelmed with what is happening around me in the world. The world keeps coming at all of us. It never stops. It's an unbelievable tidal wave of stuff that comes at all of us in our lives. It's normal but sometimes you have to deal with it in real time and at the same time you're still trying to sort through all the things that have happened to you in the past. You have those moments of reflection. I never seem to run out of inspiration. It's really quite the opposite. There never seems to be enough time to musically interpret all the stuff that is inspiring me. </p> <p><Strong>With it being instrumental music, does it get tricky sometimes with avoiding replicating yourself?</strong></p> <p>I don't know. All songwriters face the same problem. You've got to write a good song. It has to spark the imagination of people in the present. That's who you write for. But at the same time we are creatures that need reassurance. So we dig back into our areas of comfort, our comfort areas of music. Very often I think if you were in a country band or you're in a blues band or you were in a thrash metal band, you'd be able to recognize that most of your songs have these similar structure and parts. </p> <p>And you need those parts, number 1, to properly fix the style of recording or style of songwriting. It's one of those things where if suddenly on a country record you had a song that was outfitted with guitars and rhythmic patterns it would be kind of a wrong move. So when you're trying to do a [instrumental] album like that you try to stretch the boundaries with your new ideas but you also present it in a way that it makes sense to you as a musician and to all the music you've ever created. </p> <p>In a way, I think a pop artist has a little bit of an advantage because they're almost expected to make 180-degree changes now and then, where Lady Gaga can go from disco to playing with Tony Bennett. It's seen as a career enhancer. It's a little harder if you're known as a fusion guitarist and suddenly you put out a punk record. I think that would be a harder sell. I think mainly it's because there's so much information in the human voice that when someone begins to sing you hear their personality first and then you start to listen to their message or their new style. A instrumentalist or even a guitarist, it's a harder thing to do. </p> <p>But it's a challenge that I think faced all the classical composers and a lot of the jazz composers. They primarily worked in a instrumental form. So it's not like it's new, that no one's ever done it before. You can learn a lot from 400 years of classical music and you can see how those composers shifted the form of their compositions but kept their unique composing personality in tact so you always knew when you heard Mozart that "Oh, Mozart only does that." That's unmistakably his touch even though he's moving forward and pushing the boundaries of musical form for his era. I think of it in the same way. I want my guitar to sing. I want it to be very expressive. If I need to play a million notes, I'll do it. If I need to play just three I'll do it. I never argue with where the art wants to take me. </p> <p><strong>You got the idea for this album originally by playing the guitar with your teeth. Why do you think that help get the creative juices flowing?</strong></p> <p>It's a funny thing, when you go out on tour and you grow into the gig. You sort of become a rock and roll animal. It's different from hanging out at home and working in a studio and having a normal life. All you do out there is all about performing. And things happen to you. I did notice after awhile that something I used to do once a week for a goof, which is play the guitar with my teeth, I was maybe doing three, four, five, six times a night, and it was starting to feel really natural. So I was thinking like, "Well that's really strange, who's making me do that? Is it some alter ego inside of me?" That takes over when I hit the stage and is not embarrassed to be dropping to his knees and playing with his teeth. It makes for a fun night for the audience. </p> <p>I guess out of that was a daydream that there would be a struggle at some point between the real Joe and the alter-ego that called itself Shockwave Supernova. Which is a ridiculous name, but somebody who was an outgoing, extravert performer, of course would pick a name like that to draw attention to himself. I sort of amplified the day dream where I felt if it were a movie it would be pretty funny to see this internal struggle between being the real person and their alter-ego. But eventually the real Joe convinces the alter-ego that in fact has to evolve into something better. You have to evolve into a better musician and a better player. </p> <p>And the songs on the album, the 15 songs, are really the reflections of the alter-ego as he goes through all the things that he feels he accomplished and all the trials and tribulation he went through that was really his real life. He gets to the last song, "Goodbye Supernova," and that's where he protests once more time in those minor key verses but then eventually during the breakdown he succumbs to re-birth and he rides off into the sunset knowing that it was a good idea to evolve into something better. </p> <p>I felt the story, although it's a crazy and lofty story, the analogy is that we all go through that. We all do on a daily basis. You get home after a crazy day and you go, "Wow, I'm going to have to be a better person to get through more days like this." You go through the whole day in your head and finally before you go to sleep you're like, "OK, I've got to sort it all out, I know what I'm going to do tomorrow and I'm going to be able to deal with it better." Or I'll have better ideas or be a better person. I was fascinated by that whole daydream and how it inspired me to write new material and to look over the material I already had and rewrite and re-record and re-arrange so that it would help bring this narrative to the fans. </p> <p>At the same time I was sensitive in that any of the songs could be taken out of context and they would be really enjoyable, where the audience didn't need to know about the concept. I feel the concept was just for me and maybe the other guys in the band if I felt it was important to certain songs where I was asking them to play it a certain way. It's a long explanation to your question but it's one of those questions that takes a lot of explaining. </p> <p><Strong>What was the hardest song to write?</strong></p> <p>I think the hardest song for me to write and perform is maybe "Stars Race Across the Sky." From a guitar player's point of view, it utilizes an unusual tuning on the acoustic guitar. The acoustic guitar pretty refused to behave as intended when doing this particular fingering, just because of the nature of guitars. And the constant finger-picking is very challenging. I wound up having Mike Keneally double my part on the piano because I felt I need something that was smoother and more stream of consciousness. Then this Latin swing of the melody...it took about three weeks of me playing and singing. That's what I did. </p> <p>I would work on that acoustic guitar part and would sing the melody until I thought it was completely singable. And then I went to play and I was like "wow." When you're a guitar player you don't want to play that way so I had to instruct my playing to be more vocal like. But I didn't want it to be like I was imitating a singer. I still made it very guitar like. I find it hard to explain to people, but when you come up with a new melody that you know demands a very special set of playing parameters it really does take a long time to get rid of all the other things. So that particular performance of the melody does not sound like any other song that you've done. </p> <p>And the reason why I think about it this way is that I always think a singer writes a song and their lyrics and that song, they'd never sing the same song two or three times on an album. They have a song about a sunny day and have a song about driving in the car, song about I met a new girl, a song where I had a cigarette looking out into space. </p> <p>Unless you're in a blues band where it's OK to write the same song a couple times, those lyricists are always looking to be as original as possible with their song. They have to come up with a unique chorus and the lyric approach is poured over as the most important thing. And for I look it the way I display the melody on the guitar. It's almost like I have to find a unique set of words and the allegory or connection or similarity between vocabulary is what I'm really focusing on. So a lyricist has to have a great command of the language and I think somebody that's going to play melodies on the guitar has to have a great command of their language. The musical language and how you pick it when you slide, what kind of vibrato when you do vibrato, what pickup do you use, all that kind of stuff that you may think is more general. For me it's ultra-specific song after song after song. </p> <p><strong>As you've written more music has songwriting come quicker or is it on a song by song basis on quickness?</strong></p> <p>I'm always surprised by how songs you think are going to be easy wind up being tricky. The ones you think conceptually when you start that are going to be hard they seem to fall into place really easy. Starting out I wouldn't ever try to guess and change my method of writing based on expectation of success. I would go into it blindly like whatever I'm writing was the best thing ever. And why wouldn't it turn out glorious? I was approaching it with the most positive attitude so that I feel that I can bring all my experience to there on the process. But you never know. Sometimes it's very subtle. </p> <p>For this record, I did have five tracks that were almost completed by the last record's band with Vinnie Colaiuta and Chris Chaney and Mike Keneally. We had 16 tracks completed for the album but I really felt that those five were not really ready yet. So I pulled them from that record and asked John Cuniberti to remix them for so I could get a different perspective on maybe what I had left out. And sure enough, that's what it took. When I heard John's different approach from the one I had taken with Mike Fraser, I realized "Oh that part has to go" or "I need an extra melody here" or "I need a solo here and take that that solo." We started to edit it like you were still in the writing process but that took two years, really, of thinking and reimagining the story that I was trying to tell. But back when I started doing those songs I just thought they were going to fall into place, easy as pie. But I was surprised, a good surprise in the end I suppose. </p> <p><strong>Can you talk a little bit about the guitars you used on the album?</strong></p> <p>Although we bring a ridiculous amount of guitars to the sessions, I think I only used a handful. I used primarily my 2410 and 2450 [Ibanez JS Series guitars] so that would be the orange and purple. Older bodies and some of them had sustainers in the neck pickups. I've been favoring these guitars the past few years. I like the older wood and how the JS body sounds. We had some unusual guitars that would show up. Like for the title track, along with those guitars, that also features an Epiphone Les Paul 12-string and an old Fender electric 12-string that were all part of the ensemble. </p> <p>I also used once again a prototype that Iabanez and I have been working on which is basically a JS guitar that looks like it has three separate coils. It's actually 3 Satch Tracks that Steve Blucher at DiMarzio made for me. We're almost at the finishing stage of those guitar design. So I'm hoping maybe within a year we get to release that. It's like a Strat with something extra. We've brought some more slap and power and I took a wider palate of 3 thing pickup design. And my acoustics are on there. I'm sure there's one track of my teley and strat, maybe a Les Paul here and there. </p> <p>At the beginning and end of the song "If There Is No Heaven" I borrowed a friend's 59 Gretsch Chet Atkins guitar but you can barely tell because it's backwards. It sounds like it's from outer space. It's funny - you use instruments because of their straight-up sound and other times you use them only because they're inspiring you to do something different and you're not really recording them in a way that shows their unique personality. You're actually using it as a device to physically and emotionally get you to play something different. So I think that's the best explanation of why the unusual guitar shows up. The Epiphone 12-string makes no sense but I got to the studio that day John said "you should really listen to your demo and play slide on electric 12-string." And I was totally unprepared for it. But the two electric 12-strings I had in the studio were my old Fender and a 1998 Epiphone 12-string. So we were like "Let's try it." We were able to circumvent the problems the two guitars brought and came up with a composite recording that features not only those two guitars but also my JS 2410. So now when I listen I can hardly tell the difference except for the solo which is pretty obvious. </p> <p><strong>One of the things I like about the album is that it's so sonically diverse track to track. It's kind of a bit of everything.</strong></p> <p>Yeah. When you want to tell a story like this you have to have a lot of variety. So you're going to go from "Crazy Joey" to "Butterfly and Zebra." It's just a lot of music thrown at you to try to tell the story of this emotional turmoil of this alter-ego. Like I said it's a crazy concept and the audience doesn't need to know about it one of the things we did to unify it was the recording style was very dynamic and high-fi all the way through the mastering. So we didn't want to present a heavily limited or compressed sounding record. We actually thought, "Let's go the other way and give the audience a treat so they hear the way it sounds to us when we're in the studio. Very dynamic, lot's of volume changes. </p> <p>I think that's what makes great records last a long time because they hold up to repeat listens at all volumes, especially if you listen to it loud. It always sounds better if it's a dynamically recorded record. So that was part our MO for doing this record was it's going to be long and since we're going to be telling this complex story we've better make this the most wonderful thing to listen to. That can be challenging when it's distorted guitar you're dealing with. So it was a labor of love and task we were really excited to take on. </p> <p><strong>Can you talk about your backing band a little bit?</strong></p> <p>The album contains two or three bands. There's four or five songs that feature Chris Chaney, Vinnie Colaiuta on drums, and the majority of the material has Marco Minnemann on drums and the song "All My Life" has Bobby Vega on bass and Tony Menjivar on percussion. Mike Keneally and I are on everything. I think John is on there with tambourine and percussion. They lend their talents to the songs to make them work.</p> <p><strong>Are there any qualities you look for in backing musicians?</strong></p> <p>You want them to be good. You want them to come in with the attitude that they're coming into to create some magic somehow. You want them to be musicians with big ears and a lot of experience. And the most important thing is to elicit unique performances from people. So they having to be very giving, very daring, have to be honest and I think a good nature goes a long ways when you're in the studio and live.</p> <p>You've worked a lot with John as a producer over the years. Why do you think you two work so well together? Why did you think he could help you pull off your vision for this album?</p> <p>John has great engineering chops and amazing ears, which sets me free to be the artist, composer and performer when in the studio. When we work together he always provides me with the right blend of encouragement, prodding and even a good argument now and then. Collaborating with him helped make the concept of “Shockwave Supernova” a reality. </p> <p><strong>You have a sci-fi animation series in the works. What's it been like working on that? How is music involved?</strong></p> <p>Writer and animator Ned Evett and I have jumped into this animated series "Crystal Planet” like two kids with their first rock band! We bring different talents to the project as we try to tell the story of our hero Satchel Walker. Writing and recording the music for the show has been liberating. Whether it’s a bank of short, 10 second sci-fi-guitar noises or song length tracks with free-from solo improvs, the whole process is new enough to inspire me to play and produce in new ways. The series is music driven as much as it is an epic tale of good versus evil.</p> <p><strong>How do you think you've been able to keep shred guitar alive during eras like the '90s when it wasn't as popular? How does it feel to have players bringing shred guitar mainstream again?</strong></p> <p>It’s always been about the song. Write the best songs you can with strong melodies, inspiring grooves and unique harmonies. The right technique will follow. I’ve never been interested in technique for techniques sake.</p> <p><strong>You did a tribute to B.B. King with Steve Vai and a few other players recently. Could you talk about that and the importance of paying tribute to fellow guitarists?</strong></p> <p>Paying tribute to B.B. King with Mike Keneally, Tosin Abasi, Steve Vai and Brendon Small was important to me. To be with my friends on stage, all great musicians in their own right, with their own unique styles, paying respect to one of our heroes made the night special. B.B. King should be saluted, remembered and honored.</p> <p><strong>You're planning on touring the U.S. next year. Could you tell me a little bit about those plans? Any plans for Chickenfoot? </strong></p> <p>The Shockwave Tour will start in Europe this September, then continue in the U.S. starting late February. The band will feature Bryan Beller on bass, Marco Minnemann on drums and Mike Keneally on guitar and keyboards. I love playing with this band! They are awesome players and always hit the stage with a good vibe ready to try something new and bring the audience to their feet. Chickenfoot? Not likely.</p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/joe-satriani">Joe Satriani</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/joe-satriani-finds-inspiration-fictional-alter-ego-new-album-shockwave-supernova/25011#comments Joe Satriani Shockwave Supernova Interviews News Features Tue, 28 Jul 2015 14:29:22 +0000 Joshua Miller 25011 at http://www.guitarworld.com Chris Broderick Discusses His Years with Megadeth, Act of Defiance's Debut Album http://www.guitarworld.com/life-after-deth-chris-broderick-discusses-his-years-megadeth-act-defiances-debut-album/25086 <!--paging_filter--><p>Being a hired gun has its advantages for a guitarist that just wants to play and doesn’t need the responsibility of writing songs, choosing what gets recorded and dealing with record label bean counters. </p> <p>But for ex-Megadeth guitarist Chris Broderick, rocking out to someone else’s tunes night after night wasn’t enough. So on November 25, six hours after drummer Shawn Drover left the band, Broderick told Dave Mustaine he, too, was quitting.</p> <p>“The decision was a long time in the making,” Broderick says, sitting poolside at his Los Angeles home. “Being in Megadeth was great for my career, but I wanted to have some creative freedom and some freedom in how I presented myself.”</p> <p>Broderick replaced Megadeth’s guitarist Glen Drover in 2008 and played on three of the band’s studio albums, three live releases and never missed a tour. For almost six years he dedicated most of his time to Megadeth and had no fallback plans. </p> <p>Then, during a conversation with Drover, the two decided to use a batch of material they had written for Megadeth as the launching point for a new band, Act of Defiance. The two quickly wrote 10 songs that were considerably heavier and more musically intricate than anything they had played for years.</p> <p>To complete the lineup, they hired Scar the Martyr vocalist Henry Derek Bonner and ex–Shadows Fall guitarist Matt Bachand on bass. Then with the help of Chris “Zeuss” Harris, Act of Defiance assembled <em>Birth and the Burial</em>, a crushing technical metal album that offers more musical diversity than Broderick revealed in Megadeth. </p> <p>“Thy Lord Belial” is fast and unrelenting, pausing only for a call-and-response chorus, “Refrain and Refracture” starts with an acoustic arpeggio over a neo-classical lead and features a melodic rhythm redolent of Killswitch Engage and “Poison Dream" builds from classical piano and strings into an epic multi-faceted thrasher.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/uPOzOA3Paxo" frameborder="0" allowfullscreen></iframe></p> <p>“The sound of <em>Act of Defiance</em> is kind of like if you invited every genre of metal together to go to a concert and mosh in a pit, whether it’s old-school thrash to death metal to Scandinavian black metal and everything in between. There are elements of all those types of metal. And I love that about it.”</p> <p>In a candid, articulate interview, Broderick talks about his years with Megadeth, the rules of being in that band, how he and Drover assembled Act of Defiance, why he hired a guitarist to play bass and the unconventional recording process for <em>Birth and the Burial</em>.</p> <p><strong>Shawn Drover recommended you to Dave Mustaine in 2008 after his brother Glen left the band and Glen, who left Megadeth on good terms, endorsed you. How did you know the Drovers and did either of them call you to let you know you were being considered?</strong> </p> <p>They knew me from Nevermore, but I didn’t hear anything from them until I was in the band. Management called totally out of the blue. I didn’t know what to make of it. I almost thought it was a prank at first. They wanted me to meet with Dave first and then audition.</p> <p><strong>Had you been a Megadeth fan?</strong></p> <p>I had no idea where they were at their career at that point, so I had no expectations. I just thought it was a great opportunity so I jumped at it.</p> <p><strong>Did you think you’d be able to provide creative input into the band?</strong></p> <p>I knew I wouldn’t be able to demand anything. I saw it as a great job and I allowed my employer to dictate the terms. It’s not like when you’re a teenager and you get together with your friends and you’re like, “Ahhh, partners for life!” I wish it was like that, but it definitely wasn’t. There is a hierarchy after a band is established and has a legacy.</p> <p><strong>Were you comfortable in that role?</strong></p> <p>I loved playing for the crowd. When you walk onstage and the crowd is having a good time, it’s great. </p> <p><strong>Did Mustaine tell you what to play and how to play it?</strong></p> <p>When we did songs from the back catalog I was playing another guitarist’s parts, whether it was Chris Poland, Marty Friedman or Jeff Young. So I played like they did and Dave did his part. That always worked out really well. As far as the albums I played on, Dave designated the solo spots and he had some input in what I could or could not do. </p> <hr /> <strong>Was there a dress code in Megadeth?</strong> <p>There definitely was a dress code that he wanted to maintain for a Megadeth look. For me, with everything in this camp, I saw very early on that Dave is the owner of the company and he is the one that has the right to say how the company is presented and how it should look. The only time we had any issues was when I didn’t know a specific thing about how he wanted my appearance to be, and then I would find out as we went along. I saw it very early on as a job requirement and I felt that if the job is worth it to me then I would make those changes.</p> <p><strong>On the first tour you did with Megadeth you played a seven-string guitar, which is what you play now. But for the rest of your tenure with the band you played a six-string. Did that work better for the music you were playing?</strong></p> <p>Dave felt a seven-string guitar wasn’t an original thrash metal instrument. Therefore he felt it would be better if I used six strings.</p> <p><strong>Had you considered leaving the band in the past?</strong></p> <p>I was constantly weighing the positives against the negatives. I likened it to a lawyer that’s working for a firm and finally wants to break out and start his own firm or a chef that wants to open up his own restaurant. You have to deal with the corporate mannerisms from the company you’re working for. And once it gets to a point where you feel like you would be happier on your own, that’s when you finally to cut the cord. I had been thinking about what to do for a long time, but up until I decided to leave, I always felt the positives outweighed the negatives.</p> <p><strong>When did that balance tip?</strong></p> <p>Not until the last quarter of 2014. I was dwelling on my lack of musical creativity in the band. Dave was getting ready to go in and do another CD and my heart just wasn’t in it because I knew I wasn’t going to have any artistic say in the definition of the album and the music. He was calling saying, “Hey, I want to get you guys down there.” The last thing I wanted to do was go down there and work on a partial CD and then say, “Hey, this isn’t for me.” It was just the right time to leave.</p> <p><strong>Had you and Shawn talked about leaving Megadeth and forming a new band?</strong></p> <p>It’s funny. Shawn and I felt exactly the same way, but we didn’t think about putting together a band together until after we had both left. When Shawn told me he was going to quit I was a bit shocked and surprised. [Bassist] Dave Ellefson called me right away and went, “Dude, Shawn just quit!" I talked to him for a while, and then I thought about my own situation. I bounced it off my friends and family and decided it was the right thing for me to do as well. </p> <p><strong>Did Dave try to convince you to stay?</strong></p> <p>No, no. Once a decision like that is made, it’s best just to move on.</p> <p><strong>When did you and Shawn decide to start working on Act of Defiance?</strong></p> <p>Obviously, Shawn and I stayed in contact, and not long after we both left we realized there was all this great music we’d written for Megadeth that didn’t get used. So we thought, Why don’t we put something together and get it out there?</p> <p><strong>Are any of these songs about experiences you had In Megadeth or ways you felt about leaving the band?</strong> </p> <p>Just like with anybody, they draw on all of our experiences. They’re about my experiences in life, in Megadeth, in my guitar playing. Everything I do reflects in my lyrics.</p> <p><strong>Did you want to write songs that didn’t sound anything like Megadeth?</strong></p> <p>No, we just wanted the writing to be natural. I like to write complex parts and keep them in that heavy, thrashy realm, but I also really like extreme Scandinavian black metal. And Shawn listens to Cannibal Corpse all day long, so we wanted to get some of that in there, too.</p> <p><strong>Did the music come easily?</strong></p> <p>Some songs came together quicker than others. There were nights where I was spending much more time in my studio than anywhere else. But it was really satisfying to work with material that I had created. When I worked on Shawn’s songs we used mostly his riffs, which was fine. It was a real collaboration, which was exciting. And for the album we ended up using five of his songs and five of mine.</p> <p><strong>Did you work with Shawn’s drum parts?</strong></p> <p>Not for my songs. I used Toontrack Superior Drummer. It makes demoing extremely easy and gave Shawn a clear idea of what I was thinking. But there were a lot of times he would say, “Hey, I was thinking this other kind of beat would work better,” and most of the time a drummer’s going to have a better idea of what the drums should do than a guitarist. His songs had guitar parts, too, because he can hold his own as a guitarist, and he got his brother Glen to help out with some of the guitar tones at first, and definitely with the production.</p> <p><strong>The album is cohesive, which is impressive considering you incorporated so many styles of metal in there and wrote and recorded the songs hundreds of miles apart from one another.</strong></p> <p>It’s amazing what you can do these days by trading files digitally. Shawn and I have a really good working chemistry from years of playing together. We each wrote five songs on our own, then we bounced them off each other. Sometimes we made minimal changes, like switching a chord or two to make it sound a little bit darker, but that’s about it. </p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/SIDbvTpPGdc" frameborder="0" allowfullscreen></iframe></p> <hr /> <strong>You wrote and recorded on a seven-string?</strong> <p>I have my signature series Jackson Soloist that I used along with a couple of prototypes that I had Jackson build for me. They were all seven-strings. I’ve always been a traditional seven-string guitarist so it was great to be able to get back to that and get the sounds I love.</p> <p><strong>Did you want a different guitar tone than what you had in Megadeth?</strong></p> <p>Just like every other musician, I am very opinionated about what I think is the perfect sound. So it was awesome to have the freedom to use the tones that I really love. I have a number of amps that I use, whether it’s Engl or the Fender 5150 III, but in the end I wound up recording this entire album with my Fractal Audio Axe-Fx II. </p> <p><strong>Why did you decide to use an amp simulator when you have the equipment to record with mikes and amps?</strong></p> <p>The Fractal sounds amazing to me. That technology has come such a long way and the ability that it has to give you such a clean and clear recording, and the convenience just made it a hands-down win. I liken it to photography. Do you see anyone shooting film these days? </p> <p><strong>Did you pre-write your leads?</strong></p> <p>Well, I actually start with the rhythm. I like rhythms that support leads really well. If you’re going to have a solo, you might as well not be soloing over some random rhythm. So I constructed rhythms in a way that supported either a melodic or harmonic depth. Then I would listen to it and imagine what I wanted to hear. That’s when it would start to come to life for me. </p> <p><strong>Once you have an idea in mind do your solos tend to come quickly and spontaneously?</strong></p> <p>No, I spend a lot of time on my leads, but there are times when I spend a lot of time on a lead because I want it to sound spontaneous and off the cuff. If you want it to sound more anxious you rush ahead of the beat a little bit. And if you want it to sound more lackadaisical and you want it to seem like you were just thinking about getting to that note and you barely got to it in time, you play a little bit behind the beat. So for me it’s a very musical process because it starts with what I imagine, but then when it comes time to execute, it becomes a very thoughtful process.</p> <p><strong><em>Birth and the Burial</em> features guitar harmonies and there’s always a rhythm guitar playing along with the solos. Did you consider working with a second guitarist?</strong></p> <p>I really enjoy working with another guitar player, but this band came together so quickly and was so much about writing the music and then getting a vocalist and bassist that we never considered hiring a second guitarist. Depending on how touring goes, I’m thinking of bringing a second guitarist out with us, but we’ll see. </p> <p><strong>Did you know Scar the Martyr vocalist Henry Derek before you hired him to sing?</strong></p> <p>We didn’t. We put together a list of 30 singers we thought might work for us and then narrowed them down to five. We contacted everyone to see if they were interested and then sent them a demo and had them add vocals. Henry was hands-down the one whose vocals suited the music the best. He’s very talented at screaming and singing. So he came to my studio and we tracked all the vocals there, along with all the guitars, cello and piano. </p> <p><strong>It’s odd that you hired Shadows Fall guitarist Matt Bachand to play bass.</strong></p> <p>Shawn reached out to Matt when we got to the point where we were thinking about having a permanent member onstage. Matt’s a great vocalist, a great guitarist and he showed us that he can lay down great bass lines as well. He did a lot of songwriting on all of those Shadows Fall records and in reality, Matt’s probably got as much or more touring experience than any of us. </p> <p><strong>Did Matt play on <em>Birth and Burial?</em></strong></p> <p>He recorded bass lines for all 10 tracks at his place. I laid down some of the initial bass tracks on the demo versions and sent them to him and he substituted them with these great parts that sound like real bass lines. They’re not just doubling the guitar line. </p> <p><strong>What was the greatest obstacle you’ve faced with Act of Defiance?</strong> </p> <p>Time. We all thought we’d have all the time we needed. We even thought we were ahead of the game because we started with the stuff we didn’t use in Megadeth. But once you bring a record label into the picture then you have to commit to a release date that’s not too late in the year and all of a sudden your back is against the wall. </p> <p>We started working on the songs at the beginning of December. I demoed vocals with Henry in January and by February Shawn was tracking his drums. That left March and April to record all the guitars, vocals and bass. We had the album finished at the end of April, ready to be mastered. So we did the whole thing in about five months. </p> <p><strong>You recorded tracks in three different studios, then handed all the songs to Zeuss to mix and master. Did he change the sound of the songs?</strong></p> <p>At first, Shawn and I were both concerned that the songs might not sound so cohesive. When Zeuss recorded Shawn’s drums, he provided input to make the parts even better. And then he took all the rest of the tracks we did and mixed them so well that it sounds like we all wrote and recorded everything in the same room.</p> <p><strong>Is it scary going from an established band to being back in a position where you have to prove yourself?</strong></p> <p>It might make me a little anxious if I knew I had any control over it. But I don’t, so it’s not worth wasting my time thinking about it. The only thing I can do is promote the band and do the best I can performing these songs. Anything else is wasted energy. </p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/chris-broderick">Chris Broderick</a> </div> <div class="field-item even"> <a href="/megadeth">Megadeth</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/life-after-deth-chris-broderick-discusses-his-years-megadeth-act-defiances-debut-album/25086#comments Act of Defiance Chris Broderick Megadeth September 2015 Interviews News Features Magazine Tue, 28 Jul 2015 12:30:02 +0000 Jon Wiederhorn 25086 at http://www.guitarworld.com Nameless Ghoul Talks Ghost's New Album, 'Meliora,' and Staying Anonymous http://www.guitarworld.com/famous-monsters-nameless-ghoul-talks-ghosts-new-album-meliora-and-staying-anonymous/25087 <!--paging_filter--><p>When <em>Guitar World</em> catches up with Nameless Ghoul, one of five similarly monikered members of Ghost, he's relaxing at his home in Linkoping, Sweden, in anticipation of a round of live gigs with his band. Apparently, even ghouls need rest sometimes.</p> <p>But the fact is that the guitarist and his fellow ghouls have been quite busy as of late, as Ghost recently completed work on their third full-length album, <em>Meliora</em> (there’s also the issue of the band announcing yet another new singer, Papa Emeritus III, who, as coincidence would have it, looks and sounds exactly like his forerunners, Papa Emeritus and Papa Emeritus II—read into that what you will). </p> <p>The new album follows two well-received full-lengths, 2010’s <em>Opus Eponymous</em> and 2013’s <em>Infestissumam</em>, as well as the Dave Grohl–produced, ABBA cover-featuring 2013 EP <em>If You Have Ghost</em>.</p> <p>Much like its predecessors, <em>Meliora</em> is a fuzzy, doomy, Satan-y slab of prehistoric-sounding metal that also reverberates with pop hooks, churchy organs, gothic choirs and the almost unnervingly smooth vocals of Papa III. The result is a wild, theatrical and blasphemous ride. </p> <p>Opening track “Spirit” pulses with impending dread, while “From the Pinnacle to the Pit” rides a bloated, distorto-bass line all the way to hell. On the other hand, “Spoksonat” is a gently picked, classical-tinged instrumental piece, and “He Is” is a pastoral-sounding paean to “the beast with many names” that explodes into a soaring, Technicolor chorus. </p> <p>Then there's “Absolution,” which rumbles forward on a Metallica-esque verse guitar riff (if Metallica had formed in 1973 rather than 1981, that is) but at some point veers off into a middle section that resembles something like Journey, as interpreted by Styx.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/_Tdlg2JXuaQ" frameborder="0" allowfullscreen></iframe></p> <p>The whole thing is ominous and odd, but also strangely enveloping—even while Papa III is crooning lines like “The world is on fire and you are here to stay and burn with me.” Or, as Nameless Ghoul puts it, “We’ve always wanted to create something different. I’m not saying it’s better or worse, it’s just our own mindset.” </p> <p>In the following interview, the guitarist discusses the making of <em>Meliora</em> and the themes explored within its songs. He also sheds light on Ghost’s ambitions, how it feels to be a Nameless Ghoul, and just how he and his equally nameless co-guitarist achieve the incredibly warm, vintage tones that are a defining aspect of the band’s sound. Hint: It has something to do with two ghouls, four guitars and a dozen different amplifiers.</p> <p><strong>Was there a particular direction you were looking to go in on <em>Meliora</em>?</strong></p> <p>Yes. There were a few guidelines we were working off of. The main one was that we felt on <em>Infestissumam</em> there was definitely a shortage of…I don’t know what the word is…let’s say riffage. Whereas that was not the case on the first one [<em>Opus Eponymous</em>]. So we wanted to make a record that had more riffs on it, because the guitar took a bit of a backseat on <em>Infestissumam</em>.</p> <p>And the main reason for that was the production. The guitars were just put in the back. If we were to take all the tapes from that album and go into a different studio and remix the whole thing I’m sure it would sound very different. So this time we wanted to focus on the guitar aspect from the start. </p> <p>Secondly, from a thematic standpoint we wanted the whole record to have something of a futuristic feel. So there are organs and things like that, but there are also other things that we excluded, because this is not, you know, our medieval record. This is our futuristic, urban-dystopia-metropolis record. So we knew it had to possess a certain sort of flair. </p> <p>Because if you want to make a futuristic record that is sort of Eighties-sounding, you would do that by using a lot of chorus everywhere. But that’s not what we were trying to do. Or you could make a Judas Priest or Iron Maiden–style record that sounds very futuristic. But that’s not what we were trying to do either. Sometimes you have to know what to leave out. </p> <hr /> <strong>It’s interesting that you were going for something futuristic with <em>Meliora</em>, considering that there’s always been such a strong vintage feel to everything Ghost does.</strong> <p>Well, of course we are retrospectively devouring our record collection to a point where there are a lot of things being filtered through our music that can be regarded as retro. But I think that unlike 95 percent of bands that are deliberately trying to be retro, we do not have one style or one band or one scene that we take from, and where we say, “Oh, we desperately want to sound like those guys.” Unfortunately, that’s not the case with most bands. </p> <p>With so many others, it’s like, they’re a stoner rock band so they automatically need to sound like Black Sabbath. But still, they’re only taking one ingredient out of Black Sabbath, and that’s the groovy, sort of heavy guitar parts. They completely forget about the Mellotron. They completely forget about all the symphonic stuff. They completely forget about the 12-bar blues songs. They only cherry-pick the one thing and then they overemphasize that and do it for 12 songs, album after album after album. And that just has a feeling of regurgitation. </p> <p><strong><em>Meliora</em> was produced by Klas Åhlund, who is a member of the Swedish band Teddybears, and is also well known for working with pop starlets like Robyn, Britney Spears and Katy Perry. Which seems like a bit of an odd pairing.</strong></p> <p>I think that the idea comes off as more weird in theory than it was in practice. Klas is slightly more of a household name here in Sweden, and, yes, he’s an eclectic producer that a lot of pop princesses want to write with. But Teddybears started out as a grindcore band. I saw them here in ’94, I think, at a local club, and they were a hardcore band at that point. </p> <p>So we’ve been following Klas all these years, and we were quite sure that there was more to it than what he does professionally now—that somewhere inside of him was that metal guy. And when we contacted him, it became very clear. He was like, “I’ve always wanted to do a record with a heavy metal band, but I’ve never found a heavy metal band to work with.” So we said, “Okay, do you want to work with us?” He said, “Yes, I do.” And lo and behold, it turned out he was a humungous fan of stuff like old Scorpions and Uli Jon Roth, and we have a lot of things in common when it comes to Genesis and Rainbow and Yes, things like that. </p> <p>And he’s a fucking shredder. So, pedigree aside, it wasn’t that weird at all. It’s just that he’s synonymous with being the pop guy. But with us he was definitely the rock guy.<br /> That said, it’s not like we had anything against working with a famous rock producer. It’s just that sometimes it doesn’t matter what else that producer has done. </p> <p>If you call up Mutt Lange and say, “Yeah, we want to work with you because we want to make the next <em>Back in Black</em>,” you won’t achieve that. If you call up Bob Rock and say, “We want to make the Black Album,” it’s not going to happen. You have your own career and you’re making your own records. And you have to find your own way to do that. </p> <p><strong>When it comes to the production on <em>Meliora</em>, you managed to get some great vintage guitar tones—thick and warm, and not overly distorted. Can you discuss how you approached the guitars?</strong></p> <p>Sure. Apart from the first album, which was so sparse—basically just a Gibson SG through an Orange head—we’ve always gone for a very meaty, very rich guitar sound. This time around, the wall of guitars that you hear is actually the result of four different guitars, each played through three different amps. So you have four performances going through a total of 12 amplifiers. Which is obviously a little bit of overkill. [laughs] </p> <p>But we were fortunate that we had a producer and an engineer who were willing to let us spend three days just A/B-ing sounds. So we took our time finding really good heads, really good combos and really good cabinets that sounded very well together. It wasn’t just, “Give me the biggest, fattest wall of sound and jack it up to 11.” It was literally us going, “What’s missing here?” Then it was, “Well, there’s no midrange.” “Okay, what would produce a good midrange between a Marshall JCM800 and a Plexi?” Just asking each other thing like that. A bunch of grown men sitting around thinking, you know?</p> <p><strong>What are the four guitars you used?</strong></p> <p>We are a Gibson band but I’m actually going to blaspheme and say we used a Fender too, just to get that sort of twang in there that you can’t really get with a Gibson. But there are four guitars—two on the left and two on the right. </p> <p>Each side has an SG—one was a red model from the early Eighties, and the other was an older Sixties one. Then we had a Les Paul Gold Top, which sounded great, and which I think was probably the most expensive thing, other than the Neve desk, on the entire recording. It was a ’62, and it was really like a museum piece. We rented it from a guy in Stockholm. And then the last guitar was a Fender Tele.</p> <p><strong>How about amps?</strong></p> <p>All four guitars went through at least one Marshall—I think there were two Plexis and at least one JCM800. There’s also at least one Orange in there. And then we used a few different Fender heads, just because they produce this sort of fucked-up punk sound that is hard to get anywhere else. It’s not a sound that is necessarily good on its own for metal, but it definitely adds a rattle when you mix it in. Whatever you can get out of a Marshall, if you put a Fender on top of it, like an old Twin or something, it makes it sound very…motor-esque. And then we had a few other oddballs. </p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/-0Ao4t_fe0I" frameborder="0" allowfullscreen></iframe></p> <hr /> <strong>What is the main thing you look for in a good guitar tone?</strong> <p>I guess it’s the warmth. And trying not to sound to like a complete retro-philiac, but I don’t think there are a whole lot of records today that possess that. The greatest sounding record that I can come up with off the top of my head in the last couple years is the Daft Punk record, <em>Random Access Memories</em>. That is a brilliant-sounding record. But it’s not a rock record.</p> <p>But it’s not only a good guitar sound I’m looking for. I like how guitars sound along with a great bass sound and a great drum sound. And I think that is the hardest part, getting everything to work together. I also think that is where most, or many—probably most [laughs]—records suffer. </p> <p>Especially nowadays, where everybody is so specialized in their thing, and you can almost hear from the sound of a recording whether the engineer is a drummer or a bass player or a guitarist, just by how each instrument is handled. Also, I hate to say this in a guitar magazine, but most rock bands focus too much on the guitars, actually. I think what really makes the guitars sound good is how they marry to the bass and drums. And if you can get an organ in there as well? Fantastic. </p> <p><strong>Moving over to the thematic side of things, you’ve talked about how <em>Opus Eponymous</em> was about the coming of the Antichrist, and <em>Infestissumam</em> was about the presence of the Antichrist. How about <em>Meliora</em>?</strong></p> <p>It’s about the absence of god. In many ways, it looks at how people are very detached from the idea of a higher being. Overall, there is this sort of atheistic way of life today, at least from a biblical point of view. But from a theological point of view, we have a situation where, you know, when the cat is out of the house the mice dance on the table. </p> <p>And that is pretty much the backdrop for this album. The lyrics deal with the void that happens when there is no god, when there is no one there to help you. But even then, there will always be some fucker there to give you guidance. And the band is basically portrayed as the religious party that comes in there with a guiding hand. We offer the one place in the world that is spiritual.</p> <p><strong>Lyrically, the album almost plays like a film of sorts.</strong> </p> <p>Yes. We have a very cinematic way of thinking. When it comes to writing and recording and putting together our albums, I’ll always make the analogy of comparing the songs to scenes in a film: This is the last scene; this is the scene where this happens; this is the love scene; this is the opening scene. So, yes, we’re all very keen movie buffs. And a lot of our pop-culture fascination comes from the cinematic world, too. As does the music—a lot of the music that inspires us is from movie scores, or comes from songs that we’ve heard in films.</p> <p><strong>Despite the niche factor of what you do—there’s only so mainstream a band dressed like you guys and singing about the Antichrist can get—you’ve made it clear that you want to be a big band.</strong></p> <p>We’ve never made a secret of our intention to try to take this as far as we possibly can. I think that any band that claims otherwise is just unable to do it. Most musicians want to become as successful as they possibly can. But I think sometimes people confuse the idea. They say, “Oh, you just want to make a lot of money.” Well, yeah. Of course. Who the fuck doesn’t want to be financially independent? But that is not to say that I think making money solves all problems. </p> <p>Or people say, “You just want to be famous.” But I think that the more well known this band becomes, the less of a craving I have to become famous myself. Because to the point where we get to be famous sometimes, I don’t envy other bands that are super-famous all the time. Because that changes everything around you. It changes the people around you. Whereas now we can just step out of it. I love that part of it. </p> <p><strong>You’ve certainly done an impressive job of maintaining your anonymity. At the same time, musicians tend to want recognition for the things they create. Do you ever find it difficult to just be a “nameless ghoul”?</strong></p> <p>I wouldn’t say yes. I would say…meh. There are definitely moments in everyday life where you wish it would have been different. From an image point of view, of course I wish sometimes that I was in a normal band where I could just sit and talk with someone and then go up onstage and be myself and play. But that is not to say that I do what I do because I want to be recognized. It’s just that sometimes it’s demanding to have to step into a role, let alone deal with all the practicalities that go along with that role. </p> <p>On the other hand, I think that we actually do get enough recognition, to the point where we feel we have everything we could ask for. Like, okay, we’re in a successful band. We live off of our music. We get to play in front of a lot of people. That’s pretty good. And when we are onstage we definitely feel that people give us recognition. </p> <p>So from that exhibitionist point of view, where I want to be recognized so I don’t have to stand in line at a restaurant, it’s not that important. But from a practical point of view you can sometimes envy all the other bands that get to just be themselves, because that seems very, very, very simple. Whereas we have to come up with a story every time. We have to make shit up, just because we can’t tell everybody the real story. But, at the end of the day, telling that real story will be a lot more fun—I promise you.</p> http://www.guitarworld.com/famous-monsters-nameless-ghoul-talks-ghosts-new-album-meliora-and-staying-anonymous/25087#comments Ghost Ghost B.C. September 2015 Interviews News Features Magazine Tue, 28 Jul 2015 12:27:45 +0000 Richard Bienstock 25087 at http://www.guitarworld.com