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Australian Guitar

Australian Guitar Vol. 131

With a strong focus on the Australian music scene, Australian Guitar is a rich source of information on playing techniques, styles, the wide range of instruments available and all the technology that guitarists have to consider in the 21st Century.

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Future Publishing Ltd
$4.99(Incl. tax)
$34.99(Incl. tax)
6 Issues

in this issue

2 min.
australian guitar digital #131

EXCLUSIVE INTERVIEWS A VIDEO INTERVIEW WITH PETER PIK Peter Pik was the resident guitarist at the City Tattersalls Club for ten years from 1995, where he opened for every show. It was here that he supported artists such as Marcia Hines, James Morrison, Russell Morris, Normie Rowe, Don Burrows, Gina Jeffreys, John Williamson and Doug Parkinson – just to name a few. He also has worked with guitar powerhouses like Phil Emmanuel, George Golla, Kevin Borich, Mal Eastick, and Bruce Mathiske. He has performed recitals at guitar conventions in Australia, USA and the South Pacific, and is also known for his collaboration with guitar legend Tommy Emmanuel on Tommy’s critically-acclaimed guitar instruction book, Note For Note. FROM THE VAULT: AN INTERVIEW WITH REX GOH Rock guitarist and musical director Rex Goh moved to Australia from…

6 min.
good things festival

WHEN: SATURDAY DECEMBER 8TH, 2018 WHERE: PARRAMATTA PARK SYDNEY Calling a brand new festival ‘Good Things’ is a pretty bold move. After all, it leaves the door open for a lot of potentially tough questions. Will it be good, for example, and more importantly, will it be a thing? Fortunately, the festival’s inaugural visit to Sydney lived up to its name, and Australia’s loud, riff-laden, hard-rockin’ festival scene felt whole again for the first time in years. Early on, the local cohort of Redhook, Ecca Vandal, Void Of Vision and WAAX set the bar high for the international acts to come. Despite the sweltering heat, Sydneysiders jumped, sang and smashed their way through each set, ravaging their throats before the day had truly begun. Soon after, Brits Boston Manor turned a cramped stage into…

4 min.
a venomous take on the blues.

In Venom & Faith, sisters Rebecca and Megan Lovell – better known as Larkin Poe – have created a rip-roaring, melody melting, sinfully soulful album. That’s lot of adjectives, sure, but it’s appropriate given the voluptuous colour of this blues-rock wonder. As far as how the album represents where Larkin Poe are in 2018, younger sister Rebecca (the outfit’s lead singer and multi-instrumentalist) explains how by self-producing Venom & Faith, they were able to explore deeper into their own abilities, as opposed to 2016’s Reskinned and 2017’s Peach. “There’s so much non-verbal communication,” she says. “We’re able to creatively have conversations. And to be able to make decisions without having to run them by anybody else. When people listen to Venom & Faith, they’re listening to what our souls really sound like,…

5 min.
the man of the hour

Thanks in part to an unwavering eagerness to reinvent themselves with each release, AFI have pummelled through the decades and maintained their status as legends in an ever-twisting rock landscape. Whether emos, goths, hardcore kids or pop-rockers, the band have worn every new mask like it was perfectly molded for them. Such is what makes The Missing Man so polarising: it feels like a throwback to the AFIs of Christmas past, though spun through such a web of creative furor that it feels utterly fresh, too. In five short bursts of crumbly guitars and soul-caressing wails, the Californian crew deliver an album’s worth of dynamics, a full setlist of singalongs and enough searing Les Paul riffs to justify spinning the disc on repeat for a week straight. It’s also AFI’s first EP…

5 min.
orange is (still) the new black

Though usually tackling interviews with deadpan prose and a generally intimidating aura, Reba Meyers is in high spirits when Australian Guitar snags a call with her. The guitarist and vocalist is taking a short break from rehearsals, where, amidst brushing up on their breakdowns ahead of a trip Down Under (where she’ll leave no ears unscathed at the second local Download Festival), Code Orange are hashing out a few new ideas. It’ll be interesting to see where the future takes the five-piece. Their 2017 album, Forever, was a dimensional leap into new territory for the Pennsylvanian pit-brewers, dosing their usual gritty and guttural hardcore with a dash of sludge metal, some alt-rock attitudes and even a hint of industrial electro vibes. Though they arguably never were, it cemented well and truly…

7 min.
1.21 gigawatts of sonic power

Shockingly little is known about the mythology surrounding I Don’t Know How But They Found Me (colloquially iDKHow, because ain’t nobody got time for that), but we do know this much: they’re an aesthetic-heavy and esoteric two-piece doling slick, enigmatic new-wave indie-pop with a scorching post-rock edge. Their name is a quote from the ’85 classic Back To The Future, which is fitting given the duo’s audacious affection for the era. In fact, part of the (semi-)official narrative declares that iDKHow are either the modern-day prophets for a “lost band” that circled the underground bar-band scene in the late ‘80s, or that very band themselves. Spearheading this peculiar new project is vocalist and multi-instrumentalist Dallon Weekes (ex-Panic! At The Disco) and drummer Ryan Seaman (ex-Falling In Reverse), taking the incandescent summeriness of…