Norse Guitar Feeds

Angine de Poitrine have spent the last few years building one of the strangest cult followings in experimental guitar music: microtonal riffs, looping chaos, papier-mâché masks and a ridiculous custom double-neck guitar/bass that looks like it escaped from a fever dream.

The instrument has become such a key part of the duo’s identity that they’ve learned to live with one unavoidable problem: nobody actually makes a case for something that bizarrely proportioned.

• READ MORE: Al Di Meola plays Jerry Garcia’s $11.5 million “Tiger” guitar live onstage: “It was emotional in a way I didn’t expect”

Speaking to The Guardian following the release of their second album, Vol II, the duo reveal that they’ve resorted to transporting the instrument inside a sleeping bag while travelling – a decision that apparently raises more than a few eyebrows at airport security.

While their masks usually pass through customs without much issue, Khn says the oversized guitar tends to invite more concern.

“The guitar gets funny questions because I carry it in a sleeping bag and it looks like a dead body,” says the guitarist.

The exaggerated double-neck build has already become central to Angine de Poitrine’s whole aesthetic. Earlier this year, the duo described it as “the perfect choice to make fun of guitar heroes”, a fairly natural extension of a band whose entire idea was to “assume a bit of a satirical approach to rock music in general”.

Klek and Khn continued playing together through their teens before officially forming Angine de Poitrine in their early twenties. “For a while, we didn’t take it seriously,” says drummer Klek. “It was just like playing with Legos.”

“Well, maybe that’s true for you,” Khn replies. “I was 12 when I picked up a guitar and I instantly became very serious about it. I always had the intention to make a band.”

That attachment to the band’s original homemade world still remains intact, even as their audience grows. The pair say they have no plans to replace their battered papier-mâché masks with cleaner or more polished versions.

“People have fallen in love with the band as it’s always been,” says Khn. “So we’re not gonna change everything [because] we have a bigger budget now. We’re emotionally attached to our old beaten-up costumes that have been in car accidents and are full of snot. We think people love the fact that you can feel they have lived.”

As for the music itself, the duo say most songs emerge through long stretches of improvisation and trial-and-error.

“We improvise and make a lot of crap, then you have a little spark,” sasy Khn. “A lot of the songs on the second album, I found one riff that’s got something to it, then you build from that.”
Building loops repeatedly creates “a feeling of anxiousness”, adds Klek. “We’re always playing with that feeling, and tension and release.”

Khn also notes how using a loop pedal live keeps them in line: “If I start from this idea, I have to find a coherent way to move away from it,” he says. “[Otherwise we] have a tendency to make songs that go from A to Z without coming back to A or B.”]

The post “The guitar gets funny questions because it looks like a dead body”: Angine de Poitrine have to transport their double-necked guitar in a sleeping bag – which causes problems at airport security appeared first on Guitar.com | All Things Guitar.

Napalm Death guitarist Mitch Harris has been touring the world for almost 40 years. Now he is building TourFlip to help new acts last as long as he has. The platform is a hub for that streamlines every element of live music events.

Promoters can host their gigs while allowing artists to bid on their slots. Once the booking is confirmed, logistical aspects of the show, such as contracts, riders, and settlements, can be managed from within the app.

• READ MORE: The history of pinched harmonics, divebombs and squeelies
  

TourFlip can also be a hub for different elements of touring. Log in to find people to run merch or drive the buses. And if touring gets slow, there are different sources of income for artists, such as studio sessions and side shows.

Beyond the artists and the players directly involved in live music, freelancers can use the service for the same purpose. Should anyone need producers, engineers, designers, photographers, videographers, etc., the community can solicit their services as well.

The TourFlip website reads:

“Streaming killed album income. Radio barely supports new artists. Costs keep rising. Fuel, travel, everything. Ticket prices go up. Service fees go up. Fans pay more. Artists take home less. Venues take a cut of merch. Bands are first in, last out, last paid. Crews still find work through word of mouth. Promoter offers never reach the artists they’re meant for. Venues are under pressure, and many struggle to stay profitable.”

On the flip side,  promoters can also sell tickets directly to users on TourFlip, removing the need for corporate tentacles from Ticketmaster and its ilk. TourFlip will charge a 5% fee to use Stripe, but nothing more.

“The artists. The crews. The promoters. The fans. The community that drives this culture. Let’s keep music alive, together.”

TourFlip is currently in a crowdfunding phase. As of this writing, just over $5,000 has been donated, roughly 8% of the $65,000 goal.

To donate and learn more, go to TourFlip.

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The Rolling Stones have announced their new album Foreign Tongues.

The band confirmed the news on Tuesday (5 May), revealing that the record – their 25th studio album – was produced by Andrew Watt and features appearances from Paul McCartney, Robert Smith, Steve Winwood and the Red Hot Chili Peppers’ Chad Smith.

Foreign Tongues is the Stones’ first full-length release since 2023’s Hackney Diamonds, which marked their return to original material after 18 years. The record was also their first full album since the death of drummer Charlie Watts in 2021.

• READ MORE: Rolling Stone names its 100 Greatest Guitar Solos of All Time – and the internet is doing what it does best: arguing over it

The album launch was marked the same day with a listening party and Q&A hosted by Conan O’Brien at the Weylin venue in Williamsburg, Brooklyn.

Speaking at the event, the Stones revealed how McCartney ended up on the record. Keith Richards says the Beatle star was working in a nearby London studio when he dropped by unannounced.

“I think Paul really wanted to jump in there,” frontman Mick Jagger adds [via AP]. “There was no intimidation. He wanted to play with the band.”

The band also confirmed that Foreign Tongues includes one of Charlie Watts’ final recordings, a track titled Hit Me in the Head.

“We did that in LA with Charlie,” Jagger says. “It’s a real fast punk rocker. A super-fast song.”

Watts’ long-time replacement Steve Jordan, who was recommended by Watts himself, handles drums across the rest of the album.

Of the recording process, Richards says, “When you get in the studio, and the guys get together, and you lay out a track, an idea, and you let it take off from there – you can’t plan all of this stuff. You kind of just have to follow it and hope you come out the other end.”

Earlier this year, the Stones also cancelled their planned 2026 touring schedule, though Jagger now says he would still “love to tour the album”.

“I absolutely would love to,” he says. “I hope to do it as soon as that’s possible.”

Elsewhere, Ronnie Wood also reflects on the making of Rough and Twisted, the vinyl-only single the band released last month under the name The Cockroaches. He said he used the same guitar he played on Faces’ 1971 track Stay With Me on the new single.

“It was so spontaneous,” Wood recalls. “We even surprised ourselves with it.”

Due out on 10 July, Foreign Tongues is now available to pre-order.

The post Mick jagger says he “absolutely would love to tour” Rolling Stones’ new album Foreign Tongues appeared first on Guitar.com | All Things Guitar.

For a guitar that just sold for $11.56 million, Jerry Garcia’s legendary “Tiger” sure isn’t spending much time behind the glass.

After resurfacing onstage in March with Derek Trucks during a Tedeschi Trucks Band show at New York’s Beacon Theatre – just a day after its historic Jim Irsay auction sale – the iconic custom-built instrument has now made yet another live appearance. This time, in the hands of jazz fusion heavyweight Al Di Meola.

• READ MORE: “It only felt right to return the favour”: Al Di Meola is the latest guitarist to play Greeny – so he let Kirk Hammett play his ‘71 Black Beauty in return

Last weekend (3 May), Di Meola brought “Tiger” onstage during a performance at Park West, alongside Josh Olken of Grateful Dead tribute act Terrapin Flyer.

Sharing footage of him playing the guitar on social media, Di Meola reflects on Garcia’s legacy and the surreal feeling of plugging into one of the most famous instruments in rock history.

“I never got to meet Jerry Garcia, but I later heard he mentioned me as one of his favourite guitar players,” Di Meola writes. “I couldn’t believe it, honestly.”

He continues, “When I was 15, my friends and I would skip school, take the bus into the city, and see the Grateful Dead at the Fillmore East. Some of my best memories! That era was magical!”

“Last night in Chicago, I had the chance to play Jerry’s famous ‘Tiger.’ It was emotional in a way I didn’t expect. This is a close-up from soundcheck, just getting a feel for it. And there it was… the Jerry tone.”

Di Meola also thanked Olken for “sitting in,” as well as the guitar’s new owner, Family Guitars co-founder Bobby Tseitlin.

Meanwhile, Terrapin Flyer also praised Olken for handling the pressure of performing alongside Di Meola with minimal preparation.

“Josh had very little rehearsal time,” writes the band. “Al changed the key so Josh had to transpose the song on the spot. It was a tight spot for Josh to be in performing with someone so talented and revered and he slayed it. We’re all very proud of him. Josh walks amongst giants. Mind blown.”

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The renewed spotlight on “Tiger” comes just months after the death of legendary luthier Doug Irwin, who built the instrument for Garcia in the 1970s. Earlier this year, the six-string fetched a staggering $11.56 million at the Jim Irsay collection auction, instantly becoming one of the most expensive guitars ever sold.

The post Al Di Meola plays Jerry Garcia’s $11.5 million “Tiger” guitar live onstage: “It was emotional in a way I didn’t expect” appeared first on Guitar.com | All Things Guitar.

It’s been more than six years since guitar legend Peter Frampton first revealed his diagnosis with inclusion body myositis (IBM), the progressive muscle disease that has since changed the way he moves, lives, and plays the guitar.

In that time, the guitarist has hardly slowed creatively. Since going public with his diagnosis in 2019, Frampton has released multiple records – including instrumental covers album Peter Frampton Forgets the Words – while continuing to write and record new material with his son Julian.

Now, in a new interview with the New York Times, Frampton opens up about adapting to life with IBM, explaining that learning to accept the condition has become a crucial part of moving forward.

• READ MORE: Peter Frampton teams up with Tom Morello on new protest song about the ultra-powerful

Discussing the physical realities of the condition, Frampton details the adjustments he’s had to make as a guitarist, and why he still spends nearly every night playing music.

The musician traces the earliest signs of IBM back to a 2009 songwriting trip with Julian.

“Julian said, ‘Let’s run up this hill.’ Normally I would beat him, and I didn’t,” Frampton recalls. “It felt like there were insects in my legs, like they were vibrating.”

Years later, after a series of unexplained falls onstage and at home, Frampton was diagnosed with IBM, which causes gradual muscle deterioration in the arms and legs. The disease has forced him to rethink parts of his playing technique, with riffs and solos that once came instinctively now sometimes taking multiple attempts to complete.

Still, music remains embedded in Frampton’s everyday routine. He continues writing and recording with Julian – who he says “knows who I am, what makes me tick, what I can do, what I can’t do” – and reveals the pair already have a half-dozen new songs underway.

He also describes a nightly ritual of getting into bed, smoking “a little weed” and playing guitar for around an hour before revisiting the recordings the next morning to see if any ideas stick. While he admits he still doesn’t know whether he’ll tour again due to the fall risks associated with IBM, he says he hopes he can.

“People say, ‘Oh, you must be so upset,’ and, yeah, I am,” Frampton admits. “But you can fix the little things.”

“But big things never worried me,” he adds, “because the big things you can’t do anything about. If I don’t accept what I have, I’m going to be mad for the rest of my life.”

Frampton is set to release his new album Carry the Light on 15 May. The record marks his first collection of new songs since his IBM diagnosis, as well as the first and the first full-length project he’s created alongside his son Julian.

Listen to the latest single Lions At The Gate, featuring Tom Morello, below.

The post “If I don’t accept what I have, I’m going to be mad for the rest of my life”: Peter Frampton on accepting his illness and continuing to play guitar appeared first on Guitar.com | All Things Guitar.

Few things get guitar players talking faster than Rolling Stone publishing another “greatest of all time” list.

This time, it’s the magazine’s new 100 Greatest Guitar Solos of All Time ranking, topped by Prince’s solo on Purple Rain – a choice likely to split opinion given the competition sitting beneath it.

The choice also closes a long-running loop in Rolling Stone lore. The publication famously left Prince off its 2004 100 Greatest Guitarists Of All Time list, a snub long rumoured to have inspired his now-legendary performance of While My Guitar Gently Weeps at the 2004 Rock and Roll Hall of Fame Induction Ceremony. Now, Rolling Stone has not only crowned Prince number one for Purple Rain, but also placed that very While My Guitar Gently Weeps solo at number 15.

• READ MORE: Have Greta Van Fleet broken up? Fans speculate over meaning of “thanks for the wild ride” social media post

Rolling Stone describes the list as a “full-blast mix of different genres, generations, grooves”, spanning blues pioneers, punk icons, metal players, funk innovators and “hippie jammers”. The criteria, it says, wasn’t sales or chart success, but “six-string brilliance” – solos that ‘make the song’ rather than simply mirror its melody.

“Some are solos that always make you hum in the car, or play air guitar using the nearest vacuum cleaner,” the magazine writes. “A few you could even sing in the shower.”

And, unsurprisingly, many of the usual heavyweights dominate the upper reaches. Alongside Prince at number one are classics like Stairway to Heaven, Hotel California, Johnny B. Goode, Kid Charlemagne and Maggot Brain – plus Eric Clapton’s lead work on While My Guitar Gently Weeps.

The upper end of the list sticks fairly closely to the established guitar canon. Jimi Hendrix appears multiple times in the top 20 with Machine Gun, All Along The Watchtower and Little Wing, while David Gilmour’s Comfortably Numb lands at number four. Eddie Van Halen’s revolutionary Eruption, meanwhile, comes in at number five – a placement many might consider low given its influence on modern guitar technique.

There’s also a notable emphasis on solos from the late ’60s through the ’80s. While newer inclusions do appear lower down – including Geese’s Getting Killed at 98 and MJ Lenderman’s Knockin’ at 81, the top 50 is still largely dominated by classic rock, blues-rock and guitar hero-era staples. Contemporary prog, djent and modern metal barely register.

That said, the list does make room for some broader historical touchpoints. Sister Rosetta Tharpe earns a 34th place with Strange Things Happening Every Day, a nod to one of the foundational figures in rock guitar whose influence is often acknowledged far less than it’s heard.

On the flipside, several legacy rock and metal staples land lower than many fans might have expected. Dimebag Darrell’s solo on Cemetery Gates, for instance, appears at number 85 despite its near-mythic status among metal guitarists, while AC/DC only just scrape into the ranking, with You Shook Me All Night Long landing at number 100.

And speaking of Rolling Stone lists, producer and YouTuber Rick Beato will likely have opinions ready. Following the magazine’s 250 Greatest Guitarists Of All Time feature in 2023, Beato blasted the ranking as “idiotic” in a reaction video, while branding it a “sh*t list” on the thumbnail.

Time will tell whether this latest list avoids a similar fate.

Check out the full list of rankings at Rolling Stone.

The post Rolling Stone names its 100 Greatest Guitar Solos of All Time – and the internet is doing what it does best: arguing over it appeared first on Guitar.com | All Things Guitar.

The pinched harmonic is a technique unique to the guitar. Other stringed instruments can create a similar, ghostly tone that a guitar can by striking a string without depressing the string to fret it, but the squealy, cutting tone of a pinched harmonic? That’s a guitar technique, and something that has stayed fairly rooted in blues, rock and metal since its inception.

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A natural harmonic creates a ghostly, soft tone, and generally works best at only a handful of intervals along the neck. The pinched harmonic, with enough gusto, can be performed anywhere. Its extensive use in heavy metal genres has led to various other harmonic based techniques, used by famous guitar players like Eddie Van Halen, Zakk Wylde and the late Dimebag Darrell.

The pinched harmonic – aka pinch harmonic, the squealie, or any other manner of nicknames – is performed by striking a string, generally with a plectrum, before your thumb follows through and creates an artificial harmonic by striking the string as well.

Much easier to perform with some distortion, the modern pinch harmonic is used broadly in modern metal, in either rhythm playing like Kublai Khan’s Antpile or in lead playing by people like Zakk Wylde who, despite using them extensively, doesn’t overdo it.

Blues Beginnings

The origins of the pinched harmonic are usually attributed to blues-rock pioneer Roy Buchanan in the 50s. Buchanan’s song Potato Peeler features a few vocal-like pinched harmonics in its solos, settling in amongst a horn solo in the two and a half minute instrumental, the most notable squealing harmonic appearing about 50 seconds in.

The horn solo that follows uses some whistly, screaming tones, so the aggression of the harmonic on the guitar feels more at home. The sound appears just once, so whether it was an accidental moment of magic or not, a legend was born.

Inspired, Billy Gibbons of ZZ Top has used pinched harmonics throughout his career, again both in rhythm and lead playing. One of the solos in the Little Old Band from Texas’ La Grunge uses pinch harmonics almost exclusively, Billy scooping and pinching for a wholly expressive, scorching solo. Billy’s use bought the technique to the fore like never before.

Then, later 70s and 80s saw the late Eddie Van Halen using them across Van Halen solos and riffs, further cementing and refining the technique. Eddie’s use of unconventional techniques like tapping, harmonics and pick scrapes were so widely influential that they became a convention. Eddie’s mysterious techniques were so mesmerising that people couldn’t help but add them into their own music.

Eddie inspired a young Zakk Wylde, who pushed the technique to breaking point and really nailed it home as a heavy metal technique. Going far beyond the screech of Roy Buchanan and the wail of Billy Gibbons, Wylde’s pinches are loud, proud, and incredibly controlled, with particular focus on pinched harmonics on the lower strings. These yield a different character to those on higher strings, adding girth and impact to the technique.

Zakk has continued to inspire the heavy metal community in his work in the late Ozzy Osbourne’s band, Black Label Society and most recently, taking the place of another pinched harmonic master: Dimebag Darrell in Pantera.

Bombing Out

Dimebag’s own legacy features extensive use of harmonics in another form – divebombs. Divebombs are another trick used by heavy metal players to give solos a moment of crescendo as a natural harmonic rises from the depths of the lowest notes on the fretboard to otherworldly heights thanks to the harmonic elevating the sound a few octaves higher than the plucked note, as well as being aided by a tremolo bridge, often of a Floyd Rose style.

Dimebag’s own version, deemed a ‘Dimebomb’ by the man himself, is performed by ‘dumping’ the Floyd Rose so the strings are as floppy as possible, plucking a string and creating a harmonic, before allowing the strings to slowly return to tension and beyond— the harmonic slowly emerging from the rubble of the dumped string noise.

The divebomb came along a little later than the pinched harmonic, having been used extensively by Jimi Hendrix. Though not as exaggerated as the modern metal divebomb, Hendrix’s use of divebombs with his Stratocaster’s tremolo system added a new level of expression and vocal-like tonality to his playing. Rock and metal players exaggerated this and added either natural and pinched harmonics to dive down, and rise from the divebomb with a natural harmonic.

These soaring, squealing sounds have become a staple of rock and metal guitar, serving to excite the crowd as well as subvert their expectations, the squeal that emerges and cuts through a dense mix being an ear-catching moment in music. Mastering the technique can help build out your toolkit of sounds and noises when the moment strikes.

Rock Discipline

The pinched harmonic has stayed rooted firmly in rock since its inception in the 50s, its popularisation through the 70s and 80s into the modern day: a staple technique for rock and metal guitar players. The demanding squeal of a pinched harmonic is exciting and stands on its own, but when paired with a divebomb or other tremolo expression, can be used to elevate the performance to new heights.

Used extensively in lead playing by people like Eddie Van Halen and Billy Gibbons, the pinched harmonic has now been used as a tool in rhythm playing and riffs. The squealing sound sandwiched between low-noted chugs adds definition and dynamic to a riff, emphasising how heavy the notes that follow the harmonic are. Building on the technique, as experimental as rock and metal players are, has led to both the divebomb and ‘Dimebomb’, adding a new flavour beyond simply using a tremolo for vibrato or subtle pitch shifting and modulation.

Much like riding a bike, a pinched harmonic can be difficult to learn, but once you do your first, you never really forget.

The post The history of pinched harmonics, divebombs and squeelies appeared first on Guitar.com | All Things Guitar.

Press Release

Source: Deko Entertainment 

This 8-song collection by Linc Bloomfield (also known as Ambassador Lincoln Bloomfield Jr.), longtime bass player for Kelakos, showcases his songwriting, singing and overall musicianship, along with his studio engineering skills. After remixing and re-releasing the 1978 Kelakos album in 2015 as Kelakos Uncorked, Linc produced Kelakos’ second album, the 2023 Deko double LP release Hurtling Towards Extinction in which the collection of accompanying videos have racked up over one million views.

Echoes of Dreamwold is a true solo project. With the skillful studio work of two great drummers, Carl Canedy and Andy Hamburger, a sweet country pedal steel track by Billy Cooper on ‘No Second Chances’, and a classic lead guitar track by George Haberstroh on ‘(Got to) Save the World’, Linc sang all the vocals, played all the guitar, bass, keyboard and percussion tracks, and mixed every song, before they were mastered by Blaine Misner.

Listen to Echoes of Dreamwold here: https://push.fm/fl/nhz0a3fg

This album is meant to be played over and over, in the tradition of the sixties’ and seventies’ legends who inspired and influenced LB Junior’s own songwriting. No two songs are in the same genre. As he explains the origins of each of the songs

“Walk Away My Girl” is a soft-rock tale of heartbreak, originally written on his dad’s 1917 Steinway baby grand piano, on which he recorded this smooth, melodic track.

“Alive” explores the insecurity that holds many people back. Against a lively track derived from the reggae sounds heard on local radio on the island of Kauai, the lyrics are about coming to terms with self-doubts.

“Shot Down”, the first song Linc wrote after leaving Kelakos, in 1978, is a lively pop song featuring bright acoustic guitar harmonics and chords, and a story about how not to try and meet women.

“Greedy Child”, also written years ago, captures the sadness as the giants from the golden age of rock and pop music pass from the scene and along with it, a generation for whom their music was the soundtrack of their lives.

“(Got to) Save the World” reflects Linc’s life’s work promoting international security. This fast-paced rocker featuring George Haberstroh’s lead guitar and Andy Hamburger’s relentless backbeat, is a wake-up call to do something about armed conflict, mass shootings, and environmental destruction, and realize what is at stake.

“The (2nd) Fiddler’s Song” is a personal message set to a soft acoustic track, in which LB JUNIOR explains why contributing to something worthy and necessary is more satisfying than chasing personal glory.

“No Second Chances” is a country song, pure and simple, featuring Billy Cooper’s pedal steel licks and the distinctive rich tone of Linc’s 1955 Gretsch Country Club guitar.

Linc Bloomfield

“Sand in My Hourglass” completes the 8-song set with a blues song, inspired by the recent pandemic, and showing LB JUNIOR’s chops on his 60s Les Paul guitar – inspired long ago, in 1968, when teenage Linc saw a memorable performance by bluesman Mike Bloomfield accompanied by Al Kooper and his whipping Hammond organ sound. This one is a real ‘echo’ of late sixties’ Dreamwold, as Linc’s earlier band Emergency Exit used to perform Kooper’s classic tune with Blood, Sweat, and Tears, ‘I Love You More than You’ll Ever Know’

Dreamwold was a grand estate built in 1901–1902 by financier Thomas W. Lawson in Scituate, Massachusetts. By the late 1960s, the ballroom had become a popular venue for live music. One of the regular performers was Emergency Exit, from nearby Cohasset, that included Linc, George Haberstroh, and Mark Sisson, who would later join Carl Canedy to form Kelakos. The band had a homemade light show, black lights, and a vintage Kustom P.A. system wrapped in sparkling Naugahyde. The Dreamwold estate was eventually redeveloped into condominium residences.

Order the vinyl of Echoes of Dreamwold while supplies last:  https://www.dekoentertainment.com/inthesquare/lb-junior

TRACKLIST:

For more information, visit
www.dekoentertainment.com
Deko Entertainment–Art Has Value

British amp brand Orange has partnered with London brewery Signature Brew on a special edition of Backstage IPA, one of its core beers.

Available exclusively at independent music venues on draught and in specially designed cans, profits from the sale of the Orange Backstage IPA will be donated to the Featured Artists Coalition (FAC), the UK representative body for music artists.

Specifically, proceeds will support the UK Artist Touring (UKAT) fund, which, launched in March 2026, supports artists through the “cost of touring crisis” and helps them continue on the road.

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Backstage IPA is described as a “bold and punchy” modern IPA which blends East and West Coast styles, with passionfruit, tangerines and berries with pine and crisp citrus notes.

“In an increasingly digital world, taking time to come together and experience something live, unique, and curated by and for the community is precious and worth protecting,” says Tom Bott, Founder and Managing Director of Signature Brew.

“Grassroots venues are where scenes are built, artists are developed, and culture moves forward. This collaboration is about backing those spaces in a meaningful, practical way.”

“By partnering with Signature Brew and the FAC, we hope to create tangible help for artists,” adds Managing Director of Orange Amps, Sarah Yule. “We also hope this collaboration rallies the broader industry to come together, and do what they can to protect our grassroots and emerging music scenes in the UK and beyond. If we can help just one more artist make touring viable, I’ll raise a pint to that!”

Gus Unger-Hamilton, alt-J & FAC Director says: “This an incredibly powerful gesture from Signature Brew and Orange Amps. We are extremely grateful for the recognition of our work protecting and supporting the UK’s artist community through initiatives like the UK Artist Touring fund.

“The UK’s live music ecosystem is in a precarious place right now, but we know that UKAT’s targeted investment into artists’ touring activity is one of most effective ways to help the sector. If artists can sustain themselves on the road, it means more musicians and live professionals will be employed, more venues get booked and more audiences experience live music.”

The beer will be subject to a coordinated launch across venues and festivals throughout summer, with artist ambassador shout-outs and an autumn celebration show at Signature Brew.

Learn more at Signature Brew.

The post Orange beer? Legendary guitar amp brand launches its own IPA with Special Brew appeared first on Guitar.com | All Things Guitar.

In what’s safe to say a pretty unexpected announcement, power metal juggernaut DragonForce have announced their new frontwoman as Alissa White-Gluz, former singer of Arch Enemy.

Arch Enemy announced the departure of White-Gluz in November last year, ending a 12-year tenure with the band, and promising “big news” to come in 2026. And now, she’s certainly delivered on that promise.

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It doesn’t look like White-Gluz’s introduction into the DragonForce brood means the departure of longtime vocalist Marc Hudson, though, as it seems that the pair will serve as co-lead vocalists. Hudson has sung on five DragonForce albums: The Power Within (2012), Maximum Overload (2014), Reaching into Infinity (2017), Extreme Power Metal (2019), and Warp Speed Warriors (2024).

“In a momentous union of two storied and unstoppable forces, the preeminent pioneers of extreme power metal will now be joined by one of metal’s legendary vocalists, unleashing both an intrepid evolution of the genre and the start of a seismic year ahead,” reads a press release confirming the news.

“Alissa joining the band is an expansion of everything we’ve done up to this point,” says DragonForce co-founder and lead guitarist Herman Li. 

“Twenty years is a long time to do anything, let alone survive the music industry and still be so inspired to continue doing what we love. Together we will honor what made Inhuman Rampage matter, while showing people exactly where we’re going next. 

“Having Alissa in the room changes everything. She doesn’t just sing, she makes all aspects of our music better. And she sounds incredible live! I can’t wait for the fans to see her and hear what we have been working on.”

“I am beyond excited to be bringing such iconic music to life with these amazingly skilled musicians in such a fun and inspiring environment,” says Alissa White-Gluz. “It feels great to showcase all the colours of my voice and utilize all my singing styles in technically challenging, deeply energising, highly addictive songs. 

“I am so thankful for the amazing support I have been lucky enough to receive from the metal world over this wild career I’ve built; I want to keep pushing my boundaries and delivering exceptional music and live experiences to the fans that I cherish so much.”

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After stepping down from Arch Enemy in November, Alissa White-Gluz launched a solo career, recruiting guitarists Alyssa Day and Dani Sophia for her solo band, Blue Medusa. What the new announcement means for Blue Medusa remains to be seen.

DragonForce – with Alissa White-Gluz in tow – are set to perform at two upcoming dates. Check them out at the band’s official website.

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Nowadays, they’re one of the biggest metal bands – nay, artists – in the world. But Iron Maiden are where they are after 50 years plus of hard graft, which has included supporting some of the biggest names on the planet.

And in a new interview with Classic Rock, founder and bandleader Steve Harris comments on the unspoken and somewhat healthy rivalry that often occurs between headliners and support acts.

Over their multi-decade career, Iron Maiden have supported a who’s who of rock and roll’s elite, including Kiss, Judas Priest and Queen. And the biggest lesson Harris learned from supporting the former two? “Be nice to people,” he says.

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“I’m not naming names,” he says. “But there [were] a lot of things going around, with headline bands worrying you were going to go down better than them. I’ve always felt you should give up if you’re worried about support bands.”

He continues: “Any band supporting us, their job is to go out there, push us hard and try and take our audience.”

Harris recalls an interaction at the inaugural edition of Rock in Rio in 1985, which found Iron Maiden supporting headliners Queen. As he remembers, following their set, guitarist Brian May tracked him down before Queen’s set.

“Brian said we’d frightened the life out of them. I thought: ‘Good, we’ve done our job.’ Of course it didn’t make any difference to Queen, they still went down amazing. But it’s good to ruffle feathers.”

Iron Maiden’s members are now all in their late 60s and early 70s, but there remains a strong sense of physicality to their live shows.

“In the early days when we had frontmen that didn’t move so much, I had to cover the stage more. It was my job,” says Steve Harris. “After Bruce arrived, I didn’t need to be in the middle of the stage – despite what he says!”

“But I always wanted to keep moving. These days it takes more effort to get across the stage, without slipping over in my own sweat. I’ve always done a lot of sports, though. I still do a lot of running and I just played tennis this morning.”

Iron Maiden have a string of tour dates planned for the remainder of 2026. For a full list of shows, head to their official website.

The post “Brian said we’d frightened the life out of them. I thought: ‘Good, we’ve done our job’”: The time Queen thought Iron Maiden – their support act – had upstaged them appeared first on Guitar.com | All Things Guitar.

Here’s an idea: instead of carting around an amp that’s both as bulky and as fragile as a manosphere influencer, why not use a backpack-friendly analogue preamp instead?

These powerful, neatly sized boxes of tone are catching on. They do the same job as the first part of an amplifier that your guitar’s signal would hit, boosting and shaping the signal before it is amplified (by the next part of the signal chain) to your chosen volume.

Tweak the preamp’s settings – which typically include volume, EQ and various other parameters – then plug it into a powered cab to hear your signature sound. It’s like using an amp head with a cabinet in a stack, but the power stage that amplifies the signal is not included (in most cases). The advantages of a guitar preamp over a head would typically be better portability and the possibility to tap into completely different amp sounds on the go. Some of these options do include a power amp, but this list focuses mainly on pure preamps – which you can then make louder with a dedicated power amp, the FX return on another amp, or by going into a cab sim if needed, and then straight into headphones or the PA.

Digital preamps are also available, but there’s a specific appeal to an analogue preamp that magicks the sonic character (and key components) of a cumbersome transistor or tube amp into a portable package. Perhaps tellingly, the leading brands in this space are not the usual suspects – so instead of the likes of Fender, Blackstar and Orange, we’re looking at pre-amps from lesser-known brands including Victory, EAE and Solar Guitars.

The potted reviews below will introduce you to some of the best analogue preamps on the market, with models to suit a variety of genres and budgets. Let’s find your solution to fill a venue with sweet, analogue sound, without filling the car boot.

At a glance:

• Our pick: Victory V4 The Kraken
• Best transistor preamp: Electronic Audio Experiments Model feT
• Best high-gain preamp: Solar Guitars Chug Pedal
• Best versatile preamp: Science Amplification Mother
• Best boutique preamp: Milkman x Benson The Amp
• Best valve preamp: Two Notes ReVolt
• Vest vintage preamp: Victory The Copper
• Best advanced guitar preamp: DSM & Humbolt Simplifier X
• Best preamp for beginners: Tubesteader Magnezium
• Best retro preamp: Tone King Imperial Preamp
• Why you can trust Guitar.com

Our pick: Victory V4 The Kraken

Valve preamp meets cab simulation in this monstrously good unit from boutique amplification brand of the moment, Victory Amps.

Unlike many of the best guitar preamps, this model includes a power stage (solid state, up to 180W). Combined with your choice of ten virtual Victory cabinets, this means you can plug straight into an unpowered speaker cabinet and play – loud.

Of course, for analogue aficionados, the big draw to the V4 Kraken is its valve preamp stage, driven by a trio of CV4014s and one EC900. With two gain channels on-board, there’s scope to quest for your own Atlantis of harmonic scuzz. That’s quite a long way to travel without leaving your pedalboard.

Best transistor preamp: Electronic Audio Experiments Model feT

Powerful and replete with EQ and brightness settings, the Model feT is a fantastic homage to the Model T. And no, we’re not referring to the car.

You might know the Sunn Model T amp head for the high-gain sounds that have been cranked out of it by the likes of Josh Homme and Buzz Osborne – or you might be more clued into just how good the Model T sounds clean. The Model fET from Electronic Audio Experiments spans that night-and-day divide in a pedalboard-friendly package.

Like the Model T, the Model feT sounds superb with a distortion or overdrive pedal ahead of it in your chain. Unlike the Model T, it doesn’t cost a small fortune.

Best high-gain preamp: Solar Guitars Chug Pedal

Want to make just about any amplifier or guitar sound chuggy? As its name suggests, this analogue preamp from Solar Guitars will help you do it. It even made a Jazzmaster sound gnarly during our hands-on review.

A true preamp, the Chug Pedal needs to be plugged into a power stage or cab sim. All of the many controls crammed onto the top of the pedal basically give you different shades of chugginess, covering EQ, noise gating and, of course, gain. It’s incapable of sounding even remotely clean, so consider this your dedicated preamp pedal for heavy sounds only.

Best versatile preamp: Science Amplification Mother

If you’re shopping for a preamp that’ll give you great sounds in just about any situation, this versatile, dual-channel model based on the Mother MKIII amplifier would be a great pick. Whether you work it into your pedalboard or plug it straight into your amp or recording interface, it’ll give you the best of tube-like FET transistor tone.

One of the keys to this preamp’s versatility is its choice of two outputs: one that’s made for hooking up to a normal amplifier, and another that provides a full-range response to feed into a neutral power amp. It’s designed to sound great with both electric guitar and bass.

Best boutique preamp: Milkman x Benson The Amp

This pedalboard-friendly collaboration from Milkman and Benson puts analogue at the heart of everything, with tube-driven preamplification and EQ. There’s a fine balance of classic tone and contemporary convenience here, with options to send your signal straight out to your big, old cab, or through a new and immaterial cab sim via XLR.

Above all, what you need to know about this preamp is that it sounds exceptional. Plugged into a cab, it delivers glorious dynamics and chime, and our reviewer was pretty besotted with the on-board reverb. You won’t get much change out of a grand when you buy The Amp – but you will get something special for the money.

Best valve preamp: Two Notes ReVolt

Three-channel, fairly priced and packed with adjustable parameters, the Two Notes ReVolt could well be the ultimate accessible option for valve amp sounds. The 12AX7 vacuum tube behind its little window on the enclosure might look a bit like a museum artefact, but it makes itself heard in the ReVolt’s natural overdrive and crunchy, Marshall-like valve sounds.

Whether you’ve plugged the preamp into your amp’s effects loop or sent its signal out via the headphone or XLR outputs, you’ll find power, warmth and nuance in the ReVolt’s sound. We see it as a full-blown amp substitute; not just an addition to your pedalboard.

Vest vintage preamp: Victory The Copper

For guitarists on the prowl for vintage character in a practical package, the Copper from Victory is a surpassingly classic-sounding option. It’s all-valve with two CV4012s and two CV4014s, and the sounds at your disposal range from chiming cleans to raucous overdrive.

There are plenty of settings to play around with, including a standout, footswitch-operable treble boost that’s ideal for playing spiky lead parts or solos, a la Dave Davies in ‘You Really Got Me’. You can feed it straight into your amp, although we’d tend to plug it into the effects loop input for a more focused sound.

Best advanced guitar preamp: DSM & Humbolt Simplifier X

Touted as the most advanced analogue amp simulator ever, the Simplifier X builds impressively on the legacy of earlier DSM & Humboldt gems including the Simplifier DLX (which is still worth considering pre-owned). It boasts an assignable AUX input (either for your headphones or output to PA), true stereo sound and standout multi-stage reverb.

A preamp-lover’s preamp, the Simplifier X gives you granular control over your sound, with two separate, switchable channels incorporating preamp, power amp and cab sim stages. There’s an abundance of knobs to get your head around, but the layout is intuitive – and the analogue sounds on offer merit the exploration.

Best preamp for beginners: Tubesteader Magnezium

If there were such a thing as a guitar preamp for beginners – and that’s debatable – then the Tubesteader Magnezium could be it. There are two channels delivering Fender-like and Marshall-like overdriven sounds respectively, and tapping into them is as simple as selecting your channel and tweaking the gain and EQ to your taste.

Proudly analogue, this preamp celebrates its 12AX7 valves with a peek-a-boo design. Just be careful if using it while wearing stilettos. There are two output modes tailoring the signal to different setups, so you can plug straight into a regular amplifier, or send a beefier signal to a power amp or cab sim instead.

Best retro preamp: Tone King Imperial Preamp

This preamp looks and sounds straight out of the 1950s, serving up a soda fountain of classic sounds powered by three 12AX7 preamp tubes. It’s based on the Tone King Imperial MKII combo amp, and that’s pretty much what you’re getting (minus a few elements like, erm, a speaker) in a pared down, large format pedal.

The sounds on offer are decidedly vintage, paying homage to ’50s and ’60s Fender amplification classics, as well as 1970s British rock tone – and the on-board tremolo and reverb complete the mood perfectly. Something decidedly more contemporary is the Imperial’s power amp simulation, which enables you to plug it straight into the PA or recording interface.

Why You Can Trust Us

Every year, Guitar.com reviews a huge variety of new products – from the biggest launches to cool boutique effects – and our expert guitar reviewers have decades of collective experience, having played everything from Gibson ’59 Les Pauls to the cheapest Squiers.

That means that when you click on a Guitar.com buyer’s guide, you’re getting the benefit of all that experience to help you make the best buying decision for you. What’s more, every guide written on Guitar.com was put together by a guitar obsessive just like you. You can trust that every product recommended in those guides is something that we’d be happy to have in our own rigs.

The post The best analogue guitar preamps and pedalboard amps appeared first on Guitar.com | All Things Guitar.

Marshall has unveiled its new mascot. It’s simply a Marshall stack with a somewhat dopey looking smiley face on the amp head, and as unsettling as it may be, we kinda love it.

The amp giant has let its mascot loose upon unsuspecting Londoners in order to spread the word and raise the hype around the fast-approaching UK festival season.

• READ MORE: Marshall protein powder and AI-powered gloves that play for you: These are the best guitar April Fools hoaxes we’ve seen this year

The only thing is, the mascot is yet to be officially named. And Marshall has put it to its fanbase to come up with suggestions.

“I don’t know what to call them but they [look] like they’ve already hot boxed their tent and I love that for them,” one fan writes. “He looks fucking high,” adds another.

Another suggestion we love – as does Marshall – comes from one fan: “Lexi the Plexi.” There’s a number of “Jim” suggestions, too, in honour of Marshall Founder, and the “Father of Loud”, Jim Marshall.

You can watch the mystery mascot dance around London and interact with fans and members of the public in the wholesome video below: 

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It’s been a strong few months for Marshall. Just last month, the company teamed up with Steve Jones on a 50th Anniversary Sex Pistols JCM800, outfitted in the bright pink and yellow colour scheme of the punk pioneers’ landmark album, Never Mind the Bollocks.

And as seen by its wacky new mascot, Marshall is never afraid to have a laugh, either. In November, it celebrated the release of Spinal Tap II with the “loudest amp ever made”, with knobs that go to 11 and a master volume that goes to infinity.

And for this year’s April Fool’s Day, the brand unveiled its foray away from the world of audio and into the world of gym supplements, launching its first protein powder, Marshall Gainz (not really).

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The post Marshall has unveiled its new mascot – and we’re a little scared appeared first on Guitar.com | All Things Guitar.

The Black Keys have reflected on the cancellation of their entire 2024 North America tour, commenting on the “poisonous” nature of the modern-day music industry.

When the duo – comprising guitarist and singer Dan Auerbach and drummer Patrick Carney – announced the cancellation of their 2024 tour supporting Ohio Players, many speculated it was due to poor ticket sales. Carney later expressed dissatisfaction with the band’s management, saying they had booked “rooms they shouldn’t have been in”.

• READ MORE: Fender Godzilla Distortion: imbue your pedalboard with the “sonic might of the King of Monsters”

“Everything went tits up,” Carney tells The Times, elaborating further on the reasons for the tour’s cancellation.

“Live Nation owns a piece of almost every management company, and they own Ticketmaster, and they even scalp their own tickets – which they just got sued for [by the Federal Trade Commission in September 2025].

“So I’m an artist managed by Live Nation, trying to negotiate with Live Nation, being promoted and ticketed by Live Nation? It’s insane, man!”

The situation ultimately led the duo to have to fire their crew months before the trek was scheduled to start.

“We had to fire our whole crew. Why? Because Live Nation cancelled four months before the first show without a single call,” Carney continues. “It’s my dumb ass for being involved in this stupid industry. It’s evil.”

Guitarist Dan Auerbach chimes in: “Poisonous.”

Elsewhere, the duo speak on the current state of social media, and how artists are somewhat required to play the social media game.

“When you get famous real quick, you’re suddenly surrounded by people who seem like they’re your buddies but they’re not,” Carney says.

“That’s when you start asking yourself, what does it all mean? I don’t want to be a content creator. I don’t think it’s cool to be on Instagram all the time. We’re interested in the natural state of things, which you can hear on the first album – and the last.”

“Junior Kimbrough [legendary blues musician] never made a TikTok video,” Auerbach adds.

View a full list of upcoming Black Keys tour dates via their official website.

The post “It’s my dumb ass for being involved in this stupid industry. It’s evil”: The Black Keys reflect the reasons for their 2024 tour cancellation appeared first on Guitar.com | All Things Guitar.

After making its grand debut at January’s NAMM show, Blackstar’s Beam Mini desktop amp is finally available to the public. The tiny DSP-powered amplifier boasts massive tone, as well as cramming a whole host of digital amp models, ISF control and TONE3000 NAM compatibility into its portable size.

Regardless of whether you’re performing with an acoustic, bass or electric guitar, the Beam Mini offers 12 different amp models to experiment with. The selection varies from six Blackstar amps, to six recreations of classic amps crafted by Ampton. There are also three specialised bass amps, as well as a pair of acoustic voices and an acoustic simulator thrown in for good measure.

Despite its smaller scale, Blackstar has assured that the Beam Mini doesn’t sacrifice on tone. That means that you can take that diverse selection of amps anywhere and know it’ll still sound cracking. That’s also aided by the amp’s two 60mm full-range drivers, its pair of passive bass radiators and Blackstar’s Super Wide Stereo technology, all designed to offer an “expansive, room-filling sound”.

• READ MORE: “I wake up every morning thinking about what’s on my pedalboard” Adam Granduciel on his love of effects and the next The War On Drugs album

Users can also fine-tune their sound thanks to Blackstar’s ISF controls, as well as morphing their tone with any of the 35+ effects in the amp’s library. Users can navigate their way through any personalisation on the amp’s SpeedDial and Light Beam Display, removing any need to navigate through long, bloated menus.

However, if there is any interest in delving a bit deeper, the amp can be controlled via the Beam app. The app allows for further editing of tones, as well as allowing access to an online library of amps, cabs, mics and pedal models – as well as any artist-uploaded patches and tone settings, which can be uploaded and shared amongst the app’s community.

Alongside the tone editing and modelling abilities, the amp also boasts Blackstar’s IR-driven speaker and mic simulation, CabRig. The addition allows the amp to extend beyond a mere tool for performing and instead allows for recording – be that guitar parts or vocals, thanks to its studio-quality microphone input.

The amp is even planning to introduce Moises AI down the line in August, which should allow users to separate stems from your recordings. Blackstar plan to add the additional AI tool in a software update.

If that already sounds up your street, there’s also the guarantee of it being weatherproof, dust-tight and rechargeable. With 18 hours of potential playtime, it’s a strong option for musicians wanting to practice or record on the go, keeping things light but still offering a nice selection of tone to play with.

For more info, head to Blackstar.

The post Blackstar’s Beam Mini is available now – and it packs a mighty punch despite its portable size appeared first on Guitar.com | All Things Guitar.

Following the roaring success of Fender Japan’s Godzilla-themed Stratocasters last year – which we labelled, and still believe to be, some of the coolest guitars we’ve ever seen – the guitar titan has now unleashed its Godzilla Distortion pedal upon the world.

The distortion pedal was first unveiled along with the Godzilla-themed Strats in October 2025, but like those, was exclusively available in Japan. Now, those who sit in the intersection of the guitar player/Monsterverse fan Venn diagram all over the world can get their hands on one.

They’re subject to “limited stock”, though, so you’ll have to be quick…

Described as a “powerhouse pedal” capable of transforming your rig into a “heat-ray-breating beast”, the Godzilla Distortion is designed for the range of distortion use cases, from “thick rhythmic chugging” to “soaring lead tones that cut through any mix”.

The unit itself is powered by an op amp-based distortion circuit, with active Treble and Bass controls for crafting the perfect EQ curve for your tone.

• READ MORE: Online games have been doing it for years – are guitar brands cottoning on to the lucrative nature of crossover collaborations?

Visually is where the pedal really shines, though; there’s a striking Godzilla-themed wraparound artwork, with “Godzilla” emblazoned on the bottom of the unit.

It’s pedalboard-friendly, too, of course, with top-mounted jacks plus a road-ready aluminium enclosure. There’s also true-bypass switching, so when the pedal is switched off, you know your signal is clean and unaltered.

So if you want to “unleash sonic might as legendary as the King of Monsters himself”, you’d better get on the Godzilla Distortion quick, as we imagine these will sell out fast.

Price-wise, the Godzilla Distortion clocks in at a totally reasonable £145. Get yours at Fender.

The post Fender Godzilla Distortion: imbue your pedalboard with the “sonic might of the King of Monsters” appeared first on Guitar.com | All Things Guitar.

Last year, bassist Jason Newsted was diagnosed with throat cancer, and kept it a secret from fans. Though he has already had treatment to fully cure it, he chalks the cancer up to the “accelerated lifestyle” of his time touring with Metallica.

In a new interview with the Let There Be Talk podcast, Newsted explains that he received a cancer diagnosis last February. While he’d been suffering with earaches and a sore jaw, he had simply written it off as minor ailments that were only slightly impacting his ability to sing. When he finally noticed a lump on his neck, he decided it was time to get checked up. “The doctor calls [back] and he says, ‘You need to come in’,” the bassist recalls [via Blabbermouth].

The 63-year-old initially thought “there’s no way…”, before remembering how chaotic his years in Metallica had been. “I expected [a diagnosis like that] maybe 20 years from now… but then I started thinking about it,” he says. “Our accelerated lifestyle [in Metallica]… with the big tours, you’re doing a couple of hundred shows a year… Those touring years are dog years.”

• READ MORE: “I wake up every morning thinking about what’s on my pedalboard” Adam Granduciel on his love of effects and the next The War On Drugs album

He goes on to explain how, due to the intense touring schedule, one Metallica year is the equivalent of “four or five” normal years. In his opinion, its a lifestyle that has taken its toll. “If you put the math down, that’s taxing on your cells, three flights a day… that kind of shit, it’ll get you,” he says.

Newsted underwent surgery for this cancer last May, a procedure he describes as the doctor taking “a bunch of shit outta [his throat]” with lasers. “The cavern inside my head is different than it was, but we got it early,” he explains. “And I got my ‘free and clear’ about three weeks ago! So I beat it.”

While Newsted is happily celebrating his cancer-free future, he advises his rock and roll peers to seriously be cautious and conscious of their own health moving forward. “There’s 550 cancers that we deal with… and there’s no telling when it’s going to come,” he reflects. “I wanna be an advocate, of course, for everyone to be aware of things like that. It can happen to anybody.”

To further prove his point, he name-drops peers that have also suffered from mouth, tongue and throat related cancers, pointing to Iron Maiden’s Bruce Dickinson, Megadeth’s Dave Mustaine and Social Distortion’s Mike Ness. “It’s the most prevalent cancer now for males over 40,” Newsted explains.

Despite the lifestyle taking its toll on his body, Newsted doesn’t regret his time in Metallica. The bassist parted ways with Metallica back in 2001 after 15 years, and continues to be a massive supporter of the thrashers.

Regardless of his diagnosis, the bassist hopes to carry out his North American headline tour with his Chophouse Band project this summer. The tour comes a full year after his cancer surgery, so Newsted is ripe and ready to roll. “I promised myself I was going to rest [after my surgery], and that was the first time I’ve done that in my life,” he says.

Jason Newsted and the Chophouse Band will be playing an eight-date headline tour this July, before supporting country rockers Blackberry Smoke for a further 10 dates.

For tickets and more information on Jason Newsted and the Chophouse Band’s summer tour, head to the band’s website.

The post “Those touring years are dog years”: Former Metallica bassist Jason Newsted believes the “accelerated lifestyle” of touring contributed to his throat cancer diagnosis appeared first on Guitar.com | All Things Guitar.