Total Guitar

Total Guitar June 2021

Total Guitar is Europe’s best-selling guitar magazine, crammed full of songs to learn plus backing tracks. From the latest metal and indie hits to classic rock from the likes of Led Zeppelin and AC/DC, TG has more songs than ANY other guitar magazine!. Please note: This digital version of the magazine does not currently include the covermount items or content you would find on printed newsstand copies

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United Kingdom
Future Publishing Ltd
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19 Ausgaben

in dieser ausgabe

1 Min

On October 6th, 2020, the world lost a legend of the guitar. I’m talking of course about one Edward Lodewijk Van Halen – a player whose influence extends far, far beyond just the fans of the band he happened to play in. Eddie invented a new language of rock guitar. It’s almost churlish to talk about his tapping technique, whammy bar divebombs, his trademark ‘brown sound’ and so on – Eddie’s playing was greater than the sum of its groundbreaking parts! Of course, Van Halen’s heyday was back in the 80s, but that influence is still felt by a generation of young rock and metal guitarists today. So this issue we’ve spoken to Yvette Young, Tyler Bryant, Plini, Nili Brosh, Periphery’s Mark Holcomb, and many more, all of who were keen…

1 Min
halcyon ’gaze

On Loveless, Irish-English shoegaze trailblazers My Bloody Valentine give the listener approximately one second to prepare before launching into the first of many dizzying sonic assaults. With opener Only Shallow’s iconic intro, four quickfire hits of the snare pave the way for an onslaught of effects-laden riffing, so unique in its overall sound that it would leave many questioning whether the songs were played on guitars at all. It’s common in music journalism to exaggerate the impact of a particular song or sound, but in the case of Loveless, nothing before (and very little after) had ever sounded this otherworldly. Such is bandleader Kevin Shields’ genius, that his obsession with stacking previously unimagined amounts of fuzz, delay, chorus, pitch shifters and wah resulted in changing the perception of modern guitar tones…

3 Min
a modern-day pioneer at the peak of her powers

There’s nobody quite like Annie Clark. Since Marry Me, her striking 2007 debut as St. Vincent, she has captivated an ever-growing audience with her experimental, melodic blend of art rock, hip indie and electronica. An artist of rare integrity and vision, she reinvents herself for every record with a boldly individual and hyper-fashionable look; like Lady Gaga, like Bowie. This Bowie comparison comes up a lot, as cultural commentators seek shorthand for her broad, progressive range (Kate Bush is also predictably mentioned). Clark’s numerous accolades include the Grammy for Best Rock Song for the title track to 2017’s Masseduction, and she’s a real polymath, too. She’s a versatile, emotive vocalist, bassist, keyboardist and percussionist, and her approach to guitar is leftfield, imaginative and richly textured. Ernie Ball even invited her to…

1 Min
keeler tones!

Keeley Electronics has partnered with blues-rocker Celisse Henderson for an all-new Artist Series edition of its Monterey Rotary Fuzz Vibe. Boasting eye-catching psychedelic artwork by Dominican graphic designer and illustrator Lia Sued C, the new stompbox houses the same circuitry as Keeley’s original Monterey, with a rotary speaker simulation and a Fairchild Semiconductor transistor-powered fuzz, each with its own independent footswitch. Like the original Monterey, a three-way switch on the pedal’s front face toggles between Rotary, Vibe and Wah modes. Coupled with its fuzz section, this allows players to experiment with a rainbow of 60s psychedelic, Hendrix-esque tones. For added tonal manipulation possibilities, the pedal also features internal dipswitches, which allow players to reverse the order of the fuzz and modulation sections. While fuzz is conventionally placed before modulation, swapping them around…

3 Min
“my heroes were always the rhythm guys”

After leading Scottish hard rockers The Almighty in 90s, Ricky Warwick joined Thin Lizzy in 2009, and now fronts splinter group Black Star Riders. His current solo album When Life Was Hard And Fast is a celebration of no-frills, rock’n’roll... What exactly are we hearing on your solo album? We used my Gretsch guitars, plus a lot of [producer] Keith Nelson’s vintage Teles and Gibsons. There was a Rickenbacker 12-string on a few tracks too. They were fed through some Bogners and Marshall JCM800s. It was all old valve amps and vintage guitars. There were no plug-ins or any crap like that. I don’t care what people say, they’re okay for demos, but when you’re making a record digital stuff is a big no-no for me. And I don’t really use much…

2 Min
“my amp always has the reverb on ten!”

With rockabilly and heavy rock as well as blues, what do you think Aquariussays about you as a player? I think it’s a bit of a showcase for me. I’ve always been kind of known to play blues, that’s been the ‘thing’. Having the different styles throughout the album was to introduce my influences that have inspired me to be where I am now. Who inspires you the most? Most of the amazing blues legends aren’t with us anymore but you’ve got people like Rory Gallagher, BB King, Gary Moore, Jimi Hendrix and Stevie Ray Vaughan. Can you let us in on the secrets of your tone? My amp always, always has the reverb on ten and if it could go any further it would! I use metal picks for an almost ‘resonator feel’ -…