Web Hordes November 2009

November 1, 2009

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 myspace.com/guitarplayermag, 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 mmolenda@musicplayer .com. 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. Good luck!

Claudius Jelinek Wien, Austria “After You’re Gone”

Jelinek’s gypsy-jazz workout starts out acoustic, and then switches to electric, blending single-note and octave runs, as well as the requisite cascade of rapid picking. It’s an enjoyable little romp—although Jelinek suffers a few slight clams and seeming moments of indecision during the performance.

Guy Onraet Cape Town, South Africa “Gunslinger”

Some pretty melodic shredding is set up by a glistening arpeggio line that gives way to heavy, distorted rhythm chunking. Unfortunately, it’s a bit of a mood killer when the chunking doesn’t lock into the groove. Oh well, maybe it’s some superslick, playing-sideways-off-the-one version of 22nd-century jazz.

Stephen St. Pierre Greencastle, Indiana “Cowboy For a Night”

Sounding like a more country-washed version of a Blasters B-side, St. Pierre’s jivin’ blues tune is predictable, but his voice is pleasing, and his sparse soloing is right in the pocket—nice tone, too. The track won’t drop any jaws, but I dare ya to keep your foot from tapping.

Scranton Hayward, California “I Don’t Want You”

Guitarist Margaret Scranton has a delightfully snotty tone and she really knows how to dig into a riff until it dances into your brain. Her short solo at 1:40 cuts into the mix with a soaring bend, says its piece, and then shuts up. Nothing in excess, here—bravo!

Tony Harlan Pennsylvania “Hammer”

Harlan’s penchant for creepy, horror-movie sonics, mile-high bends, and unexpected melodic breaks “Hammer” out of the mold of a typical shredfest. In fact, it’s his arrangement sensibility and production values that are the real treats, here—almost as exciting as his pounding riffs and rapid-fire fingers.

Full on Dementia Pasadena, Texas “Quit Playin’ Around on Top”

You wouldn’t think this is serious, looking-for-a-label-deal music from the band name and the obvious Hendrix influence, and it’s not. But it sure is a helluva blast to listen to—kind of like those crazy, not-quite-there opening bands in the ’70s— and “Ram Rod” plays some hot-ass guitar.

Val Halla (a.k.a. Valerie McLeod) Regina, Vancouver “The Bad Girl Touch”

This 25-year old “Carmen Electra meets Marilyn Monroe” and her super-tight band nail a hard-boogying riff to the floor, while Halla’s seductive singing and coy lyrics, coupled with her explosive octave bends and Gibbons-inspired solo licks, slam her perky pop palms-up against the ceiling.
myspace.com/ myspacemusicvalhalla

Greg Allen Ada, Oklahoma “Oblivion (Bounce Mix)”

On this 10:11 “ambient-experimental” track Allen lays down pastoral, filter-swept chords accompanied by a cheesy but cool old-school drum sequence, then overlays sustained, ring-modded, hyper-flanged, and delayed melodies, before shifting into a brooding mood with pretty clean noodling followed by the obligatory overdriven solo. He should have stopped at 4:20.

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