Scribd Logo
Upload

Welcome to Scribd!

  • TotalGuitar MarchIssue381

    Uploaded by

    DizetSma
    88 views100 pages

    Original Title

    TotalGuitar-MarchIssue381-

    Copyright

    © © All Rights Reserved

    Available Formats

    PDF or read online from Scribd

    Did you find this document useful?

    Is this content inappropriate?

    Report this Document

    Copyright:

    © All Rights Reserved
    Download as PDF or read online from Scribd
    Flag for inappropriate content
    88 views100 pages

    TotalGuitar MarchIssue381

    Uploaded by

    DizetSma

    Copyright:

    © All Rights Reserved
    Download as PDF or read online from Scribd
    Flag for inappropriate content
    of 100
    & ST | BRING ME THE HORIZON PLAY BETTER NOW! ONE Evan STU CRU R ose SONGS TRACK BY BB Ve EXCLUSIVE INTERVIEW “[ still find Bohemian Rhapsody hard to play!” MEN Gee] ita a Blackstar’ oie "AMPLIFICATION, Guitar Popeater ‘earth ae (yeas Ox Ua Welcome... It's been my utter pleasure in recent years to have interviewed the legendary Queen guitarist Brian ‘May, the man you see on this very cover, on several occasions. Previously, Brian has topped Guitar polls such as guitarist and the greatest solo. ‘There's no public accolade this month, but Brian and I did get together to chew the fat and discuss 13 of Team TG's favourite Queen songs. As ever, Brian's insight is fascinating - and we've printed almost every word of the interview, occupying a huge 20 pag If there's one thing I think every guitarist can take away from this feature, it's that Brian, arguably the most famous guitarist alive today, and a man who has been rocking some of the Queen repertoire for over 50 years, still finds one or two of those classic anthems a challenge. So what? Well, for one, it tells us that regular practi vital, whatever level you're at. Second, I get the impre that these days Brian plays, and, in fact, runs the whole Queen + Adam Lambert machine, for pleasure. A worthy reminder to us all, Ifeel, that the pure enjoyment of playing is why we first picked up the instrument and that we should continue to seek that buzz, Hopefully after this long read you'll be feeling inspired to play ~and we've accompanied our feature with bespoke technique lessons on those 1: plus you'll find in-depth video lessons on how to play three classic Queen riffs, And, with all the usual lessons, songs, features and reviews, there's plenty to get your teeth into. Enjoy the issue, and ll see younext month! o 7S Chris ir Fator MONITOR ISIE 0 Inthe Picture SENTRA 32 ect HOWTO... Riffof the Month Bring Me The Horizon- Kool Alo The FXFactor Overdrive FEATURES Thsahn Mark bot SleaterKinney YardAct COVER FEATURE Queen's Greatest Anthems LEARN TO PLAY Classic Track Queen-A Kind Of Magic 6 Open-Mic Songbook 2-One Pickup Music ‘Scooby Blues Tab Guide THE GAS STATION Contents /Start MeUp! Gibson Les Paul ModemLite Fender Hichway Series Dreadnought Shergold Provocateur StandardSP12 Sterling by Music Man St Vincent Goldie MXRM309 Joshua Ambient Echo SUBSCRIPTIONS Subscribe toTS! SPOTLIGHT Kid Kapichi ‘years age this month, Van Halen had ther first and ‘only USnumber one single with Jump. Oddly, for band built around the freatestrock guitarist of his ‘generation, itwas.a song powered bya synthesizer rif. Equally notable was the fact the bane? album 1984 would also Ihave madeit tothe top were it nat for Michael Jackson's Tiller on which Edie Van Halen had played the stinging solo for Beat It But elsewhere on 19% there was plenty of Edie's customary guitar pyrotechnics in songs such as Panama, Hot For Teacher, Drop Dead Legs, Girl Gone Bad and House Of Pain ~the latter otiginally written and recorded in demo form before the release of the band’s explosive, game-changingdebut album in 1978, i's 1984 tone was distinct from his early sound, bute used largely the same gear. The original Frankenstrat was mostly retired for this album in favour ofthe banana-headstocked ‘kramer 5150, but the magic Marshall Plexi was siillhisonly amp. Ediedid use hisEventide Iharmoniser on every song, butitwasnot as ‘prominent ast would become on later albums “Lusedit mosdly to split my guitarsignal soit ‘came out of both sides,” he commented, ‘The guitars were single-tracked with few ‘overdubs, making italmost unique amongrock albums ofthe time. And there was another ‘unusual aspect to 1984, as explained ina recent TG interview by oe Satriani, whois naw set to Play some ofthe landmark tracks from the album when he tours this year with former Van Halen members Sammy Hagar and Michael ‘Anthony, pus druramer Jason Bonkam “What makes this album so interesting i the fact that thereare guitars that are not totally in tune,” Joe said. “But,” he added with laugh, “good luck trying to get.as good a take as that!” va MONITOR SR Ta Ue TE a PCH OT) EWU) MUTI SSMU LICR EMMI LUNs UR Vespa Sos ‘sounded more poetic than Peer tay Corer eens Peet ‘wife's name. He's blurring the lines between progressive rock, bes and Ped eens ee er ete aes ee ery See ee ee od never fet this content in creativity and tone... ‘Your instrumental musichas always had Se eee oes Coen ee ee ea eae] yee ene een pe eae es seeped hearing. And, on topof that, ’m just going eee een eeeareny Peres ea etched especially when playing over strange chord Senne Laer TR Rey Sree ec couple of songs ike Memento Vivere, Pee a eee et eet nce ‘Some of those chorti changes you speak Ce eras cent nmernne trent Tey See! ee ee ee ee DO ee oa ea cetera Trey ns De ee Co een as eee ae ee na ays, 1don’t really want towriteit.I’'sa‘you Peter oe aera ee ee nd Pett ecr end Se ee ‘ofharmony when you pul the shapes away. See hee ee a) Cee eae with for nearly 10 years. Which exact one ed eee eee pool nee et od Seen tests ‘ast, but, honestly, nothing compares to how Ce een ay ‘And for some reason this Custom Shop red ‘model wins the battle everytime, You've been posting lotof footage with Ree ea tad omens fester tater er eres ‘aMarshal Pex, a Mesa anda Friedman. eee ent etsy re ee ey eee a erent Ie’sareall layered sound with alotof overtones Sete an ere ete et See Reseed ch eee sees Pee eee eae ne sme eee ead CHARVEL PRO-MOD RELIC SAN DIMAS STYLE1 e'llletyoe in ona litle open secret, Charvelis part ofthe Fender family, Assuc, e's fair to imagine that few family secrets get passed doven, too. So, feast your eyes on this, the all-new CCharvel Pro Mod San Dimas Style. Yes, it'sadoublecut, but there isn'ta single-col or Sunburst finish in sight. Instead, CCharvelis showing uswhat an'Sos hhot-rodder looks like once the make-up's runningand the Lycrais frayed, Itcomesin three distressed finishes: Black, White and Orange, with shred= friendly features including Sey Duncan 39/18 humbuckers, Floyd Rose 1000 series trem and a25-inch-scale, 12-16” compound radu pau ferro fingerboard, I'l set you back 51,259, & analder body with abolt-on neck, and, yes, aa mg ea ne Ls Ce ee Seer ees Cy Secu eet Pay Se eed Pum eed compatibleamp p lume, and Kemper Peete Nonny eres ce Re ret se eae cece ont ee eas ee ey ett) et coe a eee ett and these canbe selected in four | eyes peeled fora review soon! TTA SSE TS OL ae ee NEW CLASSICS. NO COMPROMISES. Seem uae COC eu Ua Pee ee ee MONITOR [gs el Sean Porch Thegutarsaretunod downto tron whchist8, F8,6,60) bp 5 geyeumayneedto uso heavier FOOTE SP) | smgesschsesforneter ‘uningstaity Leas bean ting alackeanKingVfortve Jit urea {veursa liars 800 boosteditha Tube Soren ‘ypnoversivapinfontot SSS SSP] | tieamererthesingenote ‘soctonat bonimingot then ‘heraleonoctavaptetrshitor $$ > 46 >)]) antaptasertypeettoct bute ~ werchordpartsareatloyed ‘tho gag pry bot af a hnelatestsinglefromBMTH’s | the andand sth frets, played with first and | can make the strings sound sharp. To lean the forthcoming album PestHuman: fourth fingers, st's best to stayin this riffaccuratelybe sure to watch our vdeo demo NexGen features heavy, drop position where possibleand only move outof which splayed athalf speed for you, B-tuned rifffrom guitarist Lee position toplay the variations the 8th and ist Malia. The intro kicks offs fiels.Togiveeach chord aconsistent one and CHEATSHEET. aheavilyeffectedsingle-noteline playedon attack, use downstrokes throughout while 0200-0338 the open sith stringand at the 2nd, 3tdandsth_etingyour hand move from the wristand 5obpm frets.On thesecond time through you'llbe forearm na relaxed motion. Strike the strings CLoctian switching to powerchords, cach played on the | with enough force to give each chord bright Powerchords, lowest three strings. heriffstaysmainlyon | attack, but becarefulnot tot toohardas this downstrokes, palm-muting Bs Tholonestthreestingsarctunodtosnopen®,Sponerchor,so | sounding Locranmedelnotos.CD, E, FS, A, Bint thachordsereeesytoplay~jstuseonengorbaredacrossthe 1,234, 5,8 7butthores alo 385 powerchordat ttroostings Most of iehotosandchordsbelongtothedark | fretwhehlsoutsieoftheLoeran mods The star*everyone’s talking about. “The HT STAGE 100 MK III can cover anything from buttery cleans to the ballsiest sound you've ever heard!” Doug Aldrich - The Dead Daisies SCAN HERE: Fd your nearest daar at Blackstar’ / RSE ss, g ws aOnSt i the sound in your head a | EFFECTS GUIDE | i — i > ams im S oy - oa Get your guitar talking with this mainstay of classic rock pedalboards the world over eee eT lth al cM t= 10) =} YOU CAN TRACE MOST OP-AMP OVERDRIVES BACK TO THE LEAN, GREEN OVERDRIVE MACHINE THAT IS IBANEZ’S TUBE SCREAMER JHS BONSAI £199 Unewre ether youre ster aTSO08,TS8ar TSOP Howabovtonecrthemanyaftarmarkatmods? ‘ThaBonsalsenifis lth AsmenyFthepart ference orerelatvay min. Bonsaatsrine ‘tere Tube Screamer velngs ito asindepedal a Acommon use for the TSisasaboost with the MAXON OD808 £109 MaxonwerstheD2M (rigalEqulprant Manufacture that producodte Tube Screamer for Ibanez Ibanezroportdi ended thopartershiln| ‘heealy2000sa5Mocrspotentsoxped Tashas ‘esuted nMaxenmaretingTubeScreamarsundor TONE ‘TheTS can deliver thicktones ideal for chords, MOOER GREEN MILE £52 yovretiphtonpodalboardresestatethenthe Mooor Greendale worthalook Thehotivarmanitehtakes ‘theteneprofietet ween TSdandTSB08 Aaa eslt Yyovregeturgtwororanainthedminutveendooue However tiswerthnoting that Iane7s eryeutaTS RIVE TONE: ‘TheTSiscommonly tacked with other gain ‘edals When stacking, you want run each Pedal thechainata ight lower gainlevel than you would otherwise In thecase ofthis stack the TSisused o compressa Big Muff infront oft, and bring the mids forward for flatter £0 profile. Tur the fuzgainallthe Way up, then nteasethe Tube Screamer ain, sainall the way down, Intoalow-wattage amp thiscan deliverakick fr dy blues licks, Likewise, many tech-metal players useoneas boost, co. Into the gain chaninelofahigh- sainhead, a’Screamerwillcompress the input signal, bring forward the midsand push the ampint greater saturation. ‘Thetone setting willdependon youramp setup, ‘bat starthere,and then rllbackethe tone ‘contol to taste, Controlling the treble willallow ‘youtoincrease the gain more than you would ‘otherwise, foramore saturated distortion sound, With the levelup, ths should gel nicely ‘with power tube saturation from your amp. aaa MUSIC LENDS eA A Aa EXPERIMENTAL PU a ay Inan extraordinary double album, former Emperor guitarist Ihsahn delivers new materialin two contrasting versions: metal and orchestral, “It was aperfect match,” he says, “because my guitar had the same tuning as the cellos!” acs De ee ea CoE nee Pete Pern nee Coen ala eet MN nd eee ee eC eas Les eee en etnies ee Tes Cee ae ene ems ear ieee ta eee cea ey thrive nthe progressive leftfield, pairing extended range PS ner eee ss Cane cen tt he's revisiting some ofthe musical concepts that kickstarted ‘anew wave of cinematic exreme metal, once again finding eee at ae ees eee cen ets Sle Ly Coe eee ere eee 7} q Sea ee 1 a pues ee ea Pte \ Se eu . Se eared \ Doe ee eared ert td ene ner ced oat ae) eer need eee Cts eee ee ee Fresnel ig eens eer rat ret eaee! eee ed ea) Pare eee een Se ante aca nag Pea eereenir ene it'salsoelevated proportionally omy experiences in adle life this new album eer arene) andbasiccore elements. fyoubolit eee et ecu Pee eet ae) FEATURE Ss corer piste) er ‘Much of your discography proves that ee eee Ce ee as Sead minor scale. Cee ay te eats een ie ery Pees htt corey pera trl een teeter tt Cee race Peete ty rte ce ee ecto eed pee meer pee rere! recente ets eet eee ett Se aur eee eee See eee eat St Fe reee nicl Cees Thad some dogmas and rules going nto this, ke writing che whole album SD een een) Pee ete eee Pee neeme ene eta scales and Messiaen modes. They sound Pest ree eta Roe eee eran etree ed rere reser ee er cd eee ete eee Ce eer een eterna tas Cee teed being technically demanding, You recently shared aplay-through of new track Pilgrimage Te Obivion Sd See ee Se ad Peretti enoy eee tas Pern eaten cet) etre as rae ee Re eee ee areinsane. They make no sense from peter tees etd Pee et ete aos Ce aes reer el De eee Pe ‘What helped was playing that way. Prete tecng races ere tes eS eee eee oa eee es eed eee n eee eu cae) ee een nesses Peete No ee aed Sete ee or Pee reece eed eens nee ine ete’ Cees erence eet ean Sree ea Preeeuet easy Se ee pronounced because need todampen een ‘YouVvebeen using Aristides guitars peer eete ae ‘company best-known for using their Sen eeec ees Eeuumlen tesa) Ce ee percep nett SORE O a coe eee ais Se ete er ees Cee een Pen ee) pee eee cena ee ee Sree tty eae ei temperature or humidity. ean fly parton een ered See ea ees peer erent gi Se ees Sn ete ee ee ees eee er ees eee) Panes Shenae ny ee ees ee ett! Set tetca penned err eteetc ne nd recorded with my headless six-sting.It has deerantiersasinlays around the eee ere eee meer eee este been borrowing colours from that show end ere ects ete nee nents Peeentecen eer ee od eee een me eee een Peon arenes Serene set ree eae! Bare Knuckle, but those nev headless ene eenes tee perenne eee ee eae ee eee eRe Sey Pee atte ed Rue eees Peete eet a Perce tn pres nea Ce edad Cece You've used Blackstar ampsalotover ee about plug-ins made by Neural DSP Die eno eer eer) Cre Soy Pema anand Peer een egy Remotes ie Se Rene eet aac Se ees ee eer kad thingthat was new forthis album was eet ante ERS eee pet Poca ete cease eee ory Pe enn ORCS Un Soma aes Se ee cd Cee vebeen fortunatein havingso many ee aad earn eeeea ty See eee ee tos Pras o eon say en amps. Then I'd use the Nolly GGD rea Sen nee eRe) Pe ote feee nye hs eet a Sead Dene eg Le een eee ermine sn eee tans eet eee eos See ee LeeLee eee ey Pree rerrarer rh er ees enone ey Peer et ee eee) Ce a ea | AAA onthe urecr te Ne Amu aD AA ene Perce aero pases poeta Pee aia Nats | a 6 oo aN 71 7 As one of the best session players in the business, Iiarc Ribot has recorded with Tom Waits, Robert Plant & Alison Krauss and many more. And when he’s creating his own music, anything goes... arc Ribot, though he doesn’t Peete eset eT errr ety ees nid Coens) See any eer ett ee ce to OG ee oem ioee! Release (2008), just to name afew among the hundreds. ‘Most recently, Marc has injected his angular riffage and Fee Pee a eee ey hhe's been recording since 2008’s Party Intellectuals. As for tallenew music, working with Tom Waits, andthe unique gear and approach that inspired ill... Seed ed {picked up my guitar, just ike yesterday! Buton this record Se he ec eee ue te erat tt One Can acest uray Poceanen Peta eenee ee en ce a) aa ta ‘we fel ike it sounded lke a rock album, So, 1 wanted access to more metal and rock sounds. I'snot traditional to some, butit'sour version Tellus about the ttle track, Connection Aside fram the $6, what wentintoit? That's alot toaskofmy poormemory! But Tusuallyusean (Analog Man} King ‘of Tone for some extra distortion ran that tune through that, and now that Ithinkofit, Connection was recorded ‘with my (Fender) jaguar. Dic any other pedals play a significant role in your signal chair? [also hada newer [EHX] Memory Man {Analog Delay], which I'mabig fan of Hike itasa preamp, even ifthe eco isn'ta very quickslapback. Pd advise people to gowith the vintage ones. But they always break duting pigs, so pedals ‘anbean expensive habit. The new ones havea titanium crystal, and are more roadworthy, but the sound ofthe ‘original isunmatched Solder In The Army OfLovehas some pretty district flourishes. How cid you ‘come up with that? ‘Truthfully, Idon’thavea process. sit around, and it usualy takes me days to ‘come up with anything. 'm lazy! el takeme 10 hours odo one hour's worth ‘of practising! But dowind up siting ‘with my guitar, play sh*t, and next thing you know we've gota bit record! ‘As faras tone goes on, what gear ‘choices impacted things? [e's more about playing really loud, and think] tuned down oD. 1tend wo use heavy strings lke 0.01. But sometimes, and this was the casein this instance, Igo with ight tops and heavier ‘bottoms, and pair it with thac King of ‘Tone pedal. nd then Iran through a [Fender] Deluxe Reverb and cranked the f¥ckoutofit! ‘Andhow about your elongated solo ‘on Order Of Protection whichis ‘stunning? Onder OfProtection originally had lyrics, Dbutwe decided tha twas in the best incerestof society to leave the lyrics ut. Peopledon't get the concept of tuneliable narrators these days, so if yousay horrible disgusting stuff, that automatically means you're horrible and disgusting, rather than uying draw an accurate picture of ahorrible and disgusting person. Anyway’ it round uupasan instrumental, which made the word better place! approached it froma rock, blues, and jazz perspective, which lguevs makes sense. With the solo, Iwas uying wo convey the same ‘message thatthe lyrics would have, Pmnot sureit worked, but thar was theidea oft, anyway. How would you measure what youre ‘doingnow compared torecording Rain Dogs with TomWeits? Nothing's changed. [stil go into the studio, listen tothe song, catch the vibe, hear the words, and think, ‘Okay, what kind of guitarist would be playingalong with that? What does this need?” Da BN mae) Cm og Sn Pere aera aaa am ec a Sometimes, ateit,andif1do, say, “tiowcan destroyit® And if can’t estroy it I'l think, ‘How can make this something I wouldn't laugh at? [nd what's the secret to doing what You've ust said onthosectassic ‘Tom Waits songs tke Clap Hands and Jockey Full f Bourborf? ‘With Tor, he thinks ~at east, when I work with him ~ kindof dramatically He thinks of the guitar asa characterin play, you know? I's the voice of one ofthecharacces in a story he's welting. So, ifthe guitars the woe, andler’s say 1 Voice is very dry, with no reve, that implies someone stalking closely ‘ormaybe in yourearat abar. Bt what ifthey'r yelling? Is there band playing inthat bar? If so, whatare they playing? So,1hhad to think dramaccally about those songs and on Rain Dogs.’ think, “Okay, what country are we in? And hat decade isi? What sie of town are these people on?” Those things influenced what pickups Tused, how ‘much reverb for example, Lused, and what sort of reverb used. Whatwas your setup tke while ‘working with on Rain Dogsand Franks Wid Years? Poverty accounted for many of my choicesbackthen! And God, this AC Ce they've served! me el like dealing ‘with things that coulplausib through a distorted Deluxe Rey Pushing forward to your work on Robert Plant & Alison Krauss's Raising ‘Sand, how had your rig progressed? Notby mach! had my 60s Fender Jag by then; balieveit’sa’s2. And had gotten into the EHX staff by then. By that time, also had my Lee [Mo ‘Volume Pedal, the oneall the pedal steel players use. But the approach stayed the same because I always try to think about what sonically blends and sticks out ‘Andwith Robert and Alison, whatt stuck out most? With Raising Sand, it was more about ‘whathistorcally blends and sticks out. "ad to thin, ‘isthisa record is the pas? Are they going fora classic Nashville sound! istemble,butIhad thisoldTele,and | Iwanted ten: Ican’trememberthenameofit-Itwas whatever they fake thing =I beliveit they were trying tobe. Twanted to ESP. But that'sthe guitarlusedon ein the right decade, country, race, ks Wild Years. Itwas and gender, you know ‘made in Japan, and i was awful but as beautiful Irwasa knockoffand not How does shifting froma knockoff a Fender, but looking back, maybe Tele toa Fender JagtoanSGalter iewasa strong fake Tele whatyou de? ‘There'salot that goesinto inspiration Keth Richards alsoplayedon Rain There's more nuance in the jag than the Dogs.Did youcolaboratewithhim Tele, where there re sight changes in during those sessions? ‘what dowith my lft or right hand. No, nocatal. We might have be That can makeaig tonal difference, the stu together once, bt not As forthe SG, [don’t now; guess the Jagseems to inspire less predi ‘and weirder tones than the: ‘And what's the secret tabolancing collaboration. Keith maybedid some _beinga successful session player ‘asic tracks thatI’mon for Rain Dogs, _withyour solo career? ‘but would have come in after todo You'd have toas neelse about ‘overdubs. Butchere were plenty af beinga succesful session played! Tell instances where we weren't even all the musicians out there that I’m ‘on thesametracks available ~ that 'm the presidentof Overs Us! Call my manager How about your signal chain, Pmhome all week! But don’t ‘specifically on Waits'1887 song know... Session workanel my stuffare Hang On St. Christopher? ‘entirely itferent animals. The studio Back then, just plugincoalotof puts time under a microscope, and you ‘cheap pedals and hope forthe best. That feeliton a granular level. But with ray hasn'tchanged much, but with my EHX stuff especially when I play lv, ij and Analog Man stff,'ve upgraded grooves, and there reno limitations, sil have somethin kee chat wa oe ay aie STU NL SUD Alt-rock trailblazers Sleater-Kinney were making bass- less records long before The White Stripes and The Black Keys came along. As co-leader L-Tee(-Ba}de\iuelia-jiel says: “The power comes from the conversation that the two guitars are having with each other...” | BTU ae | formed amid the "90s riot gv movement, ee ee ad pee Cer easy ‘Ropeis barely less explosive but primarily eerie tet Sue keaucunehue ne Re ul eee ee Petersen prs feelings flo in sounds that range from thundering to ee teen ery Soc nn ners their Gibsons into tones both caustic and vulnerable. ee eter td Prtcon ne eee en ‘wanted to make something that felt extroverted, that fet meen gogo? bigemotions and sounds,” she says, “Usually ou favourite recordsare something that's going to bring people in and Seen eee areata ene est Penner eee Pe ee tee Cote eet aes et oH voLTAGE Caen eres Emercead Pr Ce ete Carrie explains. “Two pedals that we really toyed with alot \were the Expandora fuzz] and the Jangle Box compressor] es eee ae end ‘things, oc phase, but like stacking that over something. Cau rere eee ee oan er aS Recace cen Terre eee eee iad ee rte eine t's notjust blown out, butie'satmospheric, I guess, and See eter ned ee neg ey ee ee ne ee ee nee este etn eas pee ce nee ead Pree etensteien etc ec eee “Pye messed around with modellers but elly ike heating eee rs Corin and Carrie bth rly on Fenderamps as clean pedal platforms to build their tones. Corn recorded Little Ropewith Fender Showman head that was stolen justaftr she finished ee eee ey Pee Caan bres eee et ees Set ee en oe pee ete nate t ge ena te) eg poem a eer see ane eee Piet tn aoe ence a See eee eee a es Set ee can really expres the highs and lowsand not get too bogged ‘down by too much midrange. 's.a good dynamic amp.” Guitar-wise, however, the Fender loyalty ends. Cotin’s current favourite squeeze isa P-90 Les Paul gold top that was asoth birthday present from Brownstein, Care's favourite Se een ea er ae eee eee eer crete ae Cee ee eet Rete one rey Sra eee eee eee Se eee emcee ee tee Por meet een es en isdarkeronanSG.” Sey ee sey rn eee eee een) Pore es et cere ene ee et ee er \we're both sil in the Gibson word, we ust ike the density of Pee ees eae aL ed poe eet eee i erent a erent Pree eee ted eee et an pee ee Oey ea rece aed Perce ent ‘While The White Stipes and The Black Keysare often Se ees eee ee ee eed eee ee een ent ect ees SS eee ee gece teen eee \whata conventional band looked lke. In Oympia, Washington Cee ce cn a aia Prd sees eens ascorethat realy picecbadenr peony pomeey Poeeteeertn Pees ery justbass and drums. There were one eee ee erent eo pe een ess ee Pmeeernenmieg eee erred Ree Cer ena y Pree cone cee een eee and the detuning, Ithink naturally Re ead Pesaran eee Peer eer ts eet ey ea ny ee Peete ty putting out two records, Batt just ‘worked, We weren't overly concerned pence er se tents event ete sey Rene ee nets Pere es Sen ae Peter nee eats Eee eet ts Deas cose eee Sn Ry Seen aero Perera For Sleater-Kinney, it’s the reverse. Siriaas ets Preece guitar," Cate observes. “The building eee erty Corin sometimes playing something pees ener es See ar CeCe eee enna Breer neers ee Praeeroy een ers ee eed ee ee ety Prono ern Rat rats Ra ee as ea ence) Resets een ee) Erne ented Perce ated SSO tad Ee nea Pee ed Peers ten See ee eae Aue ort eral! this idea that you have tobe garrulous Pe Sa aed eee tenes E ey Cee unas Pe eee) ee ee rt Bec ene ere Coe eed pee eter ed ad Pe ea eee oe Pen eee Sn ee pee eee eta Petr nromreg coated eer eres en eet See eect ocean eee Ce ee ere eens seen Pree eee ann ns Po teeters somewhere else. We werent ooking mre creating the frequency out of what was Pearman Se ee eee Pet eens Ta eee pea ere tte Serene omen eect Pea na tat aoe 'mistening to someone else's song, ee eed ee ee ty Preece Ce ee Peete tne Peng es een ted ee een ay re esd eateries Pee ott ett peestreretene tis tad approaching with that humanity and that openness can make for some really creative, innovative pay.” ore erty ee tere ce PAE ALO t AMIS A temo hel MUIR AOU est ime LATE O YARD ACT Cy ey Lee eee ean Pees testy ee ey from convention, pehaps justo leave a ee) ee eee ets pin on them. Those we had are out of date. Cerarenres eet Sent tns ae cee feetneer eter ahr meet eee Pee ee Birr epee Tener te eeneattore eee caLem eae ec ee eet ie eet Pee ee ees St en et Rea ete Pree yee eon ator eee eee ences eee aortas eee ey Pena etteneet ese ee ee acer te Se eee ae ey ee ed Serene ect et Sra oO teat an) the philosophical thought experiment about the Ship Geert ene Pree nes ee Serene ca Perens om a slow development,” Sam says, “I didntintentionally ete aes es Pee eee eee eaten etd Eee mor een Geeta ane en ra eee eS Pere eee eater ed ese oer ees ee ent eee eet eee een eee en ert ene ant doa samples record anymore because i's nightmare Se ee) Seong peer tee aes eo Perens er ethene ee ee erat andin the low-key triumphant We Make Hits, the track \heezes int lifeas though ithad been parted onto vinyl and warped upto pitchas the tentable accelerates 1033 rpm. Likehip-hop, the sound is similarly led by verse, ee eae aa ta {© Aiection ofthe song, Indeed, Smith's ‘writing sters the direction ofthe ‘writing process leaving Shipstone in {the postion of composing tothe vcals, and that has changed how he phrases hisguitae parts allowing foran Lunorthodex conversational style thatadds not only tothe forward ‘momentum of the mater 2s though all the insrumentation was in pursuit ofan ides, but also a sense of freedom, Anything could happen. sa Yard Act thing,” Sam says, “and thinkcitcomes from the fact hat unusually fora band ~ the vocals come really, really early in the demoing and often James writes sofastand so ‘quickly. think that allows for more of conversation because you are not having toundo any ofthe workyouare doing,” But whether itcould be dassified as hip-hop seems besides the point. There are way too many other musical references to ever sustain the smusicologiss hip-hop line of enquiry. Yard Actreference soundsas though it vwereas easy as channel-surfing Shipstone's guitar gives Yard Actthe ‘untamed electricity of rack’ rll often dialling ina ghostly spaghettiwestern tone that could have come off the soundtrack to Alex Cox's Straight To Hell[19871- His playing also connects Yard Actto funkand sou, aswhen parking chord stabs onthe backbeat (on The Undertow, but there are aso ‘occasions when conventional licks would bean irelevance, when using .guitarasa texture maximises its impact. ‘Shipstone’s conversational style can ‘make it soundas though heis playing ‘on fee timewhilehisbandmates are punching the dock on the grid and this sleight ofhandsellsus the illusion that these songsare being composed inthe moment. ‘Again, the audience doesn't need tobe aware of just how difficult itwas to put this together. Keep them on the other side of the curtain. They're happy there. But the practising musicians need to ‘know; they need to beaware that there can beall manner of restrictions when you write guitar toa vocal ine, Ike ‘when inspiration stikes and you compose abeast ofa riffon 4 time ‘only tofind it doesn’ fit. Riffs live and Yar Ae. fromle Ryontieacham, Sam ShpstoreJanes | Smith Joy Russo

    You might also like