Hello, and welcome to my new Guitar World column! For this first entry, I’d like to discuss the way in which I approach using chords in conjunction with single notes in the formation of many of the riffs and guitar parts I write for Periphery and Haunted Shores.
It’s probably not a coincidence that effects such as wah pedals and fuzz boxes started appearing en masse about the same time that recreational drugs like marijuana and LSD became popular with rock musicians.
Gene Vincent and the Blue Caps epitomized rockabilly’s iconic image, with their leather jackets, ducktail hairstyles and kick-ass-and-take-names personae. The band also introduced one of the most adept, versatile and influential electric guitarists of his generation: Cliff Gallup.
For the recording of their new and seventh studio album, The Waterfall, Louisville, Kentucky–based rockers My Morning Jacket packed up and headed out west—specifically, to Stinson Beach, a seaside town about an hour outside San Francisco.
“Every Gang of Four record sounds different from the last one,” says Gang of Four guitarist and co-founder Andy Gill. “The thing that’s always consistent is that obsession with rhythm and groove, and the way the instruments interlock like a Swiss watch!”
“This is rock-and-fucking-roll, man! Grab your guitars and let’s rock!,” exclaims Jeff George, guitarist for L.A.-based four-piece We Are Harlot. With his long blond locks, perennial shit-eating grin and always-amped personality, George is, in a sense, the human embodiment of We Are Harlot’s sound.
Three decades after introducing black metal to the world, Venom are as dangerous as ever. Guitar World catches up with Cronos and company to discuss the band’s lethal new album, From the Very Depths, and to reflect on their tumultuous past.