GUITAR PLAYER INVITES
all D.I.Y. artists and bands
to share their guitar skills
with our reader community.
This opportunity is open to
any player/band with a Web
site or MySpace page that
has their music posted. All
you have to do is go to
add the magazine as
a friend, and invite “Editor
Boy” to your music space. If
you’re not on MySpace,
simply send an invite to
firstname.lastname@example.org. I’ll check out your
tracks and determine
whether you get coverage
in this column. Tracks are
evaluated for creativity,
composition, guitar chops,
and audio-production quality—
or you may make the
cut simply because your
track is surprising, interesting,
or brilliantly awful.
I Teceo “Au Deni Des Delits” Montreal, Canada
This is BIG stuff: theatrical guitar parts by Gilles Fourny, undulating layers of keyboards,
huge drums, and a soaring, passionate vocalist in Emelyne Rameaux. Sure, it’s
more than a bit Rainbow circa 1975 in its production concept, but that just means
that Fourny is freed up to deliver some impressive, Blackmore-inspired thrills.
The Conformed “I Take the Boring Face” Long Island, New York
It’s tough to rate pop-rock bands these days because 90 percent of them sound
damn good. Of course, 90 percent of them also sound like some other band, but
that’s the commercial music biz, right? I dig this track—and there’s a cool, bend-y
solo at 1:47—but it’s disturbingly familiar.
Tad Hillin “Aire Azul” Austin, Texas
Hillin’s guitar tones on this jazz-blues workout are good, and so are his chops,
but there’s a lack of heat that stops this tune just short of knocking me out. I
feel almost guilty for not loving it, so please check it out and tell me if I’m full
of bull dung.
DIP “Feel the Breeze” Helsinki, Finland
DIP’s Juha can write a helluva riff, and he has talent for developing an aggro,
repeating line into a melodic adventure. He also holds off the shred tactics until
he has won your interest, which makes his crescendo a real treat, instead of just
“more of the same.” Bravo!
Martin Traussnigg “Daphne” Austria
While certainly not as mind-blowing as a John Jorgenson rendition, this is an
enjoyable Gypsy-jazz romp. The acoustic rhythm pops and stings, and the solos
dance across the groove nicely. The live vibe made me feel as if I was bopping
to this in a small café in Arles, France.
Jeremy Green “Phatso” Ontario, Canada
“Phatso” launches with a nice and greasy riff that totally got me swaying. But it
also got me anticipating something a bit more ballsy than the slinky harmony
lines and cascading melodies that followed. It’s a good track, but a more conceptually
explicit, “story”-oriented arrangement would have been monstrous.
Gianluigi Giorgino “Song for Grace” Lecce, Italy
Giorgino shows some mad balls for playing just a few sparse harmonic pings for
almost the first minute of this tune. Beautiful minimalism! Then, he swoops into
slow, sexy whammy lines before gradually increasing the intensity. The result is
a gorgeous instrumental “song” that speaks volumes in just 2:42.
Patrick Walters “Midtown July” Halifax, Nova Scotia
Walters uncorks some elegantly beautiful crying lines over a percolating rhythm
section (I’m guessing midtown Halifax is much calmer than Manhattan). His
phrasing is very vocal-like, and he doesn’t hurry his compact, concise lines at all,
instead using the spaces between melodies to craft a delicious tension. Dreamy.