15 years ago, Justin and Dan Hawkins of The Darkness swept the board at the BRIT awards. Catapulted onto the world stage, they arced high then crashed back to earth in flames when the band split in 2006. With the band now firmly back together and making joyous, hard-edged rock once again, we join the brothers to hear their advice on how to squeeze top performance from Marshall amps – and learn why they “didn’t come here to ride the teacups…”
It’s a bright morning in West London and Dan and Justin Hawkins, the brothers behind The Darkness’s double-pronged guitar sound, are putting off the inevitable. Before them is a large table laden with hundreds of CDs to sign for fans. It’s a task they’re glad to undertake, but not perhaps the most exciting duty in the diary of a rock star. So they’re happy to chat for a while before getting stuck in and reminiscing about some of the craziest excesses they enjoyed – and sometimes endured – at the height of their fame.
Older and savvier than they were in the delirious days of the early Noughties when their hit single I Believe In A Thing Called Love leaped with ecstatic energy from radios around the world, they’re still as in love with the sound of Marshalls at full tilt as the day they started. Deceptively deft songwriters, Dan and Justin also have a store of hard-won knowledge to share about how to write melodic rock guitar hits. So we put the pens to one side a little longer, grab a coffee and request permission to lounge…
You’ve been a twin-guitar team for nearly two decades now. How do you divide up guitar duties for best effect?
Justin Hawkins: “I don’t do a lot of writing on the guitar. That’s mostly Dan’s department – he does 99 percent of the riffs. We work together on the melodies and I do all the words. And then when it comes to creating solos, we work on those together because there’s often bits where we’re either harmonizing or an approximation of each other’s lines.”
’Lizzy-style harmonized guitar lines are a hallmark part of your sound. What are your tips for nailing them?
この記事は Guitarist の May 2019 版に掲載されています。
7 日間の Magzter GOLD 無料トライアルを開始して、何千もの厳選されたプレミアム ストーリー、9,000 以上の雑誌や新聞にアクセスしてください。
すでに購読者です ? サインイン
この記事は Guitarist の May 2019 版に掲載されています。
7 日間の Magzter GOLD 無料トライアルを開始して、何千もの厳選されたプレミアム ストーリー、9,000 以上の雑誌や新聞にアクセスしてください。
すでに購読者です? サインイン
QUICK CHANGE
As Gibson finally adds some Quick Connect pickups to its Pickup Shop line-up, Dave Burrluck revisits this simple no-solder method to mod your Modern guitar
Return Of The Rack
A revered rackmount digital delay makes a welcome comeback in pedal form.
Pure Filth
This all-analogue preamp pedal based on Blues Saraceno's amp is a flexible powerhouse with a variety of roles.
Reptile Royalty
From Queen to King - there's another Electro-Harmonix royal vying for the crown of octave distortion
Tradition Revisited
Line 6 refreshes its Helix-based modelling amp range by doubling the number of available amp voicings - and more
Ramble On
Furch's travel guitar folds down so you can transport it in its own custom backpack and, the company claims, it returns to pitch when you reassemble it. Innovation or gimmick?
Redrawing The 'Bird
A fascinating reimagining of one of Gibson's more out-there designs, the Gravitas sticks with vintage vibe and mojo. Oh, and that sound...
1965 Fender Jazz Bass
\"They made them later on, but it's not something I've ever seen this early.
Boss Cube Street II
Regular readers will know that the last time I took the Boss Cube Street II out, I was in rehearsal for a debut gig in London.
STILL CRAZY
One of the most creative yet reliably great-sounding effects makers out there, Crazy Tube Circuits grew out of a fetish for old valve amps. We meet founder Christos Ntaifotis to find out more