After spending nearly 10 years as one of the premier deathcore bands on the extreme metal circuit, SUICIDE SILENCE undergo a dramatic transformation with their latest album—and say “bring it on!” to anyone who questions their judgment.
VETERAN DEATHCORE BAND Suicide Silence started experimenting with aspects of nu-metal and experimental rock shortly after they finished touring for their 2014 album You Can’t Stop Me. And they began to solidify their new sound at the end of 2015, immediately after playing direct support to Korn on the band’s 20th anniversary tour. In early January, Suicide Silence revealed their revamped style to the public with the release of the single “Doris.” The frantic, mid-paced number is colored with a melodic chorus, textural tendrils of guitar and an echoing middle-section. It’s more unsettling than it is explosive and it’s pretty much a microcosm of their eclectic self-titled new album.
“We’re 100 percent gung-ho crazy about this record,” lead guitarist Mark Heylmun says over the phone from his home in Venice Beach, California. “We took a big risk making it and it comes from a different place emotionally that took a lot of courage and focus.”
Although it took Suicide Silence until 2017 to reveal their new musical facelift—three years after the release of their fairly conventional deathcore album You Can’t Stop Me—Heylmun and guitarist Chris Garza were initially motivated to alter the band’s course after the motorcycle accident that took the life of their vocalist and close friend Mitch Lucker on Halloween night, 2012.
“Seeing Mitch pass away in front of me gave me the clarity and purpose to continue with no fear and no boundaries,” says Garza. “I was the only band member in the hospital that night. Doctors were trying to stop the internal bleeding. He went through two surgeries in eight hours, but the bleeding wouldn’t stop and there was nothing anyone could do.”
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Denne historien er fra April 2017-utgaven av Guitar World.
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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
