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
.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.
The Vatcher Brothers San Bruno, California “How”
Real songs with actual choruses, clever lyrics, memorable melodies, and compelling
production values seem to be coming back, and, if so, the Vatchers are going to cash in.
“How” is a rockin’ delight that just keeps punching out the goodies—one of which is the
simple, yet searing solo at 1:55. Bravo, boys!
Will Power Franklin, Michigan “From Nothing to Something”
Power can blast, but he allows his song to develop chordally and melodically before
unleashing the shred—a savvy move, as “From Nothing to Something” serves up some
great musical moments. Some guitar parts fall off the groove, however, and that’s
a drag, as a tighter performance would send this instrumental into bliss overdrive.
Calico Middlesex, New Jersey “Celebrity Crush”
This acoustic-driven song goes down as easy as hot chocolate on a winter afternoon,
and vocalist Mike has a wonderful voice (even when he channels Radiohead a bit too
much). Sundeep’s jagged wah solo is quite an unexpected wake-up call, and it kicks the
song into another headspace. Good stuff.
Orphan Project Abingdon, Maryland “Head On Your Platter”
What’s not to like about a shamelessly self-important prog tune with cinematic synths,
chattering guitars, a truly mesmerizing vocalist in Shane Lankford, and a pretty darn
brilliant chorus? The big solo is taken by keyboardist John Neiswinger—sorry, loyal GP
readers—but it soars with guitaristic impact and a slinky grace.
Joe LoPiccolo Los Angeles, California “Thunder”
LoPiccolo only puts excerpts on his page because his music is “available commercially”
(I guess he hasn’t yet learned what the major labels learned the hard way). It’s a shame
we can’t hear “Thunder” in its entirety—it’s extremely beautiful, and LoPiccolo’s melodic
runs, sensitive dynamics, and nylon-string tone are truly remarkable.
David Yeager Chicago, Illinois “Light of the World”
Yeager’s Christian-rock song is practically a master class on stirring composition, arranging
stunning vocal harmonies, song dynamics, evocative audio production, and keeping
a listener’s interest for 4:40. There’s no hot guitar here, as it supports the track rather
than taking center stage, but the song is so gorgeous that I didn’t even notice.
The Killer Jellyfish Rockaway, New Jersey “Whitewashed”
The live jam that is “Whitewashed” reminds me of the psychedelic workouts at San Francisco’s
Fillmore around ’67. The tune takes some time to develop, of course, but Ron
Vreeland’s voice is seductive, Matt Huppert and Chad Kessler lay down some crunchygood
tones, and Kessler’s outro solo is a real thrill.
Verne Andru Vancouver, British Columbia “DV8”
Andru is a designer, illustrator, and comic-book artist, so perhaps it shouldn’t be a surprise
that “DV8” is so arty and angular and weird. Over a pulsating groove, Andru’s guitar
darts in and out like a spastic robot, sputtering shards of fuzzy and jazzy lines that ooze
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New Issue Preview: Revolver December 2016
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