He’s a pioneer of the Eighties thrash metal movement and a strict vegan, but what Guitar World readers really want to know is…
Q: WAS IT DIFFICULT TO BE PLAYING THRASH METAL IN GERMANY IN THE EARLY DAYS OF THE BAND? —BILL HESSON
There were no clubs that really had it. And people didn’t know what to think. There was a huge rock scene, and we had some metal bands like Scorpions and Accept, but there was nothing like Kreator and the early thrash scene. We would play festivals and we would play in the morning. People were like, “Ah, let them play early—it’s just noise.” We were not really respected by the press or whatever. But the fans, they’re the ones that made it happen and we owe everything to them. If it wasn’t for the fans in the beginning, we wouldn’t be here now. We didn’t really have much support from any press, or from anywhere. It was all underground. But it grew naturally. We were never part of the hype or anything like that. We were just part of a scene that happened to become bigger.
Q: Did you have any particular direction in mind with the new Gods of Violence? —Isaac Stephens
We wanted something exciting. And heavy. That’s basically it. We never make any master plan or map of what we want to do. It’s very instantaneous.
Q: The first single from Gods of Violence, “Satan Is Real,” is killer. What is the song about? Do you think that Satan is real? —Maya Christophi
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Kittie - Guitarists Morgan Lander and Tara Mcleod discuss the canadian metal powerhouse's unexpected rebirth — by fire!
Guitarists Morgan Lander and Tara McLeod explain that making new music was “not on their bingo card” when the band regrouped in 2022 for a few festival appearances, preferring to think of the sets as more of a “final lap” than a new beginning. But drilling into old favorites — whether the nu-flavored teenage slams of 1999’s Spit or the more venomously groove-thrashed tunes of their late-’00s period — revealed that despite not having raged together in years, there was something undeniably special about Kittie’s musical connection. “Playing with these girls is like putting on an old pair of pants,” Lander says. “It’s very comfortable — and it looks good too.”
McKinley James - Why all you really need is a guitar, a drummer and some serious low-end six-string skills
Nashville-based blues rocker McKinley James came flying out of the gate in 2022 with his Dan Auerbachproduced EP, Still Standing By. His momentum screeched to a halt, however, when his keyboardist split, leaving only him and his drummer, Jason Smay (who also happens to be his father). “For a moment, I was like, ‘What are we going to do?” James says. “But then I thought, ‘Well, other bands have succeeded as a duo. Maybe we can, too.”
TC Electronic TC 2290P Dynamic Digital Delay
THE MID EIGHTIES was a golden age for digital delay, thanks to the proliferation of pro- and studio-quality rack effects units from Eventide, Korg, Lexicon, Roland and Yamaha.
Danelectro Doubleneck
WHEN I THINK back to the Seventies, the famously coined “Me” decade, it seems the only surefire way you could leave audiences awestruck was to strap on a doubleneck guitar.
CARLOS ALOMAR
The former David Bowie guitarist talks Young Americans, Station to Station and the Berlin Trilogy, plus recording (and co-writing) \"Fame\" with John Lennon
GEORGE TERRY
It turns out Eric Clapton's Seventies guitarist (and co-writer of \"Lay Down Sally\") also played on ABBA's \"Voulez-Vous.\" Below, he looks back on a decade-plus of E.C., Bee Gees, Diana Ross and more
FRANK MARINO
The Mahogany Rush frontman charts the band's Seventies lows and highs, plus SG's, pickups and how he was definitely not visited by the ghost of Jimi Hendrix
DEWAYNE "BLACKBYRD" MCKNIGHT
The jazz/funk/fusion veteran on his smooth segue from Herbie Hancock sideman to full-on Funkdaledic member -plus his '70s gear and what he learned from Shuggie Otis
PAT TRAVERS
The Canadian-born virtuoso discusses the rise and fall of the Pat Travers Band, witnessing the U.K. punk revolution and the riotous roots of \"Snortin' Whiskey\"
JOE PERRY
The iconic guitarist looks back on Aerosmith in the Seventies, the decade that literally made and temporarily broke apart those Bad Boys from Boston
