Congrats, man! Sounds great.
Triptides- Set You Free
Friday, July 26, 2013
A nod to my buddy...
...Glenn Brigman (of Ty Segall anecdote fame- see first post), who just released a new single with his band Triptides on Stroll on Records.
Congrats, man! Sounds great.
Triptides- Set You Free
Congrats, man! Sounds great.
Triptides- Set You Free
Admitting Defeat...
This past Monday, the new group of very talented musicians with whom I'm currently playing under the moniker of Tres Tigres Tristes, played a really fanastic songwriting showcase at the famous Eddie's Attic in Decatur, GA. We did not win, or even advance to the top 5; regardless, it was an exciting night, and we gladly bowed to those who made the cut. The talent in the room was palpable. We met some amazing musicians that night, we picked up a couple of gigs, and were invited back by the emcee to play next month.
The winner that night, Catherine Feeny, truly stole the whole show. The first song she played quieted the whole venue. I looked at our bass player, Will, and mouthed Holy sh*t. She's gonna win. Anyone in the room could have seen it coming. We were all fortunate enough to watch her play another song in the finals, and the emcee coaxed her group into playing four additional songs after most of the audience had gone home. Feeny was there with her friends, Sama Dams, who also played an incredibly electric guest slot at the showcase and backed her up on the last few tunes. Katie, Will and I were able to enjoy an intimate little set with the ten folks that were lucky enough to stay behind. Still, it was that first song that really caught my ear. I went home and downloaded it (along with the rest of her album, America). It's called "Spill it All Over the Ground". It's phenomenal, and, not that she needs it, but good luck, Catherine. [Even] Great[er] things are in your future (she's already opened for Wilco...super jelly).
Catherine Feeny- Spill it All Over the Ground
The winner that night, Catherine Feeny, truly stole the whole show. The first song she played quieted the whole venue. I looked at our bass player, Will, and mouthed Holy sh*t. She's gonna win. Anyone in the room could have seen it coming. We were all fortunate enough to watch her play another song in the finals, and the emcee coaxed her group into playing four additional songs after most of the audience had gone home. Feeny was there with her friends, Sama Dams, who also played an incredibly electric guest slot at the showcase and backed her up on the last few tunes. Katie, Will and I were able to enjoy an intimate little set with the ten folks that were lucky enough to stay behind. Still, it was that first song that really caught my ear. I went home and downloaded it (along with the rest of her album, America). It's called "Spill it All Over the Ground". It's phenomenal, and, not that she needs it, but good luck, Catherine. [Even] Great[er] things are in your future (she's already opened for Wilco...super jelly).
Catherine Feeny- Spill it All Over the Ground
Thursday, July 11, 2013
Top 10 Guitarists of the 2000's
For my first entry on the Dark Prince Jeffrey music blog I wanted to make a list. Lists seem to be popular (or controversially unpopular and therefore popular) on the interweb these days. This list, though, has a place close to my heart. I've been playing and writing guitar parts for almost ten years now, and I feel that through this I have developed a deep relationship with the instrument and established a brotherly empathy with those trying to "make it" in this crazy world of modern music.
All of these artists began releasing music after 2000. All of the other lists I could find under this title included artists that have been established since the 90's (Jack White, Tom Morello, John Fruciante) So perhaps I should have titled this, "Top 10 Relatively Unknown Guitarists of the Past Decade". And most likely the few people who read/care about this list will scratch their heads at some of the names on here, but I fully intend to justify each and every choice I've made. All of these artists are unique, but what they have in common is ability to compose tasteful melodies, guitar parts that compliment the song and are not shredding or wanking, and undeniable skill that constantly inspires and makes me excited to play the instrument.
It should be noted that this is not a ranking, and I'm sorry if I missed anyone.
1. Kevin Parker- Tame Impala
One listen to the powerhouse riff of "Half Full Glass of Wine"will have anyone bobbing their head in a hypnotic groove. The thing that really puts Parker on this list is the fact that he always leaves you wanting more (i.e. the solo at the end of the aforementioned track). His guitar playing isn't precise or virtuosic, but it is so damn tasteful. It builds the song in the best ways possible. Note the solo that transitions into the backbone of the chaos at the end of "Keep on Lying". Tame Impala is really starting to catch on these days, and Parker's playing and writing have everything to do with that.
2. Daniel Rossen- Grizzly Bear, Department of Eagles
You'll rarely hear Rossen play a solo in the traditional sense, but his chord compositions and counter-melody lines are so texturally and tastefully complex that they are impossible to ignore. They can't help but become the focal point of the tracks. Not to mention the signature guitar tone that he has honed over Grizzly Bear's four album, two EP career that comes from a beautiful vintage Guild T-50 into a Fender amp with the reverb cranked. His acoustic playing is also incredibly non-traditional. It really shines in "Southern Point", which could be one of my favorite tracks of all time.
3. Hank Sullivant- Kuroma, 1000 AD
Sullivant is one of the greatest unsung guitar heros of this age of music. On Kuroma's first album, Paris Sullivant builds a really classic sound. He is the first on the list that really caters to the "guitar solo" in the most traditional sense. Don't mistake this for him being a showboat, though. His solos really evolve the tracks. And his rhythm playing ain't nothin' to scoff at, either. Sullivant has a great pop sensibility, and his songwriting has only gotten stronger in recent years. Kuroma's second album Psychopomp is the best album you've never heard, and if you like great experimental pop you will be kicking yourself for not picking it up sooner. For newer stuff, check out this side project 1000 A.D.. Rumor has it that Kuroma has a new album in the works. Be on the look out.
4. Ty Segall- solo, Reverse Shark Attack, Fuzz
One of the youngest on the list, Segall has really made a name for himself in the last few years. The dude has one of the most raw, cut-your-head-off styles out there today. Your ears will be ringing for days after seeing him play live. Segall's guitar playing is no-nonsense f*ckin rawk, but he isn't sloppy. In fact, despite his garage-y sound, he is very pretty true to his playing on the records. He's a showman for sure with a ton of talent and limitless potential. An anecdote for the road: My buddy Glenn and I saw him at the Earl in Atlanta a couple years back. After the show we had a great conversation with him about the Kinks, among other topics. He signed Glenn's copy of Melted with the note, "Ray Davies is God. Let us go to church." A reverence for the classics. Just another reason this kid will go far. That and his ability to tastefully twist knobs on delay pedals.
5. Oliver Wood- Wood Brothers
Wood is definitely the rootsiest player on the list, but he does not constrain himself to traditional playing in the least. His compositions are deceptively simple. His voice is sweet and his playing is 100% soul. Tracks like "Glad" off Ways Not to Lose are prime examples of this. Being the only guitar player in the bass/guitar duo with his brother, Chris (who also plays with Medeski, Martin and Wood), Oliver has to fill out the composition. This takes an amount of skill that is easy to overlook, but is something that everybody should appreciate. He is incredible at slide, as well. The solo on this track gives me goosebumps every time.
6. Patrick Flegel/Christopher Reimer- Women
Experimental does not even begin to describe the guitar playing on Women's two full length LP's. Their second album, Public Strain is a triumph of haunting noise-rock. The compositions are like journeys through dissonant shadows that, at the very moment that you think they have reached their darkest, pull you up into the light of resolution. The interplay between Flegel and Reimer's guitars is incredibly complex, and at times harkens back to the Verlaine/Lloyd guitar dynamic of Television. Listening to either of Women's albums, I constantly catch myself thinking, How the Hell are they doing that? The chord structures and suspensions that they employ are nothing short of extraordinary, and the precision with which the two guitarists must play together is really something to be admired. Unfortunately, Reimer passed away last year, and the shaky construction of the band may have crumbled for good. Remember him through amazing tracks like this:
7. Kurt Vile
Vile is just one of those players that comes along every once in a while that takes a whole new approach to the instrument. The alternate tunings, the non-traditional fingerpicking styles, and use of effects on acoustic guitars all amount to a fantastic, original sound. Vile also has one of the most unique sense of melodies that I've ever had the pleasure to hear. His production has recently become a little more radio-friendly, but he isn't rolling over or selling out. He is using the bigger budget and more open tape to create an even more complex sound. Still, sometimes I miss the drum machines.
8. John Dwyer- Thee Oh Sees
I've been on a huge Oh Sees kick ever since I got their new album, Floating Coffin. Dwyer is another fuzzfiend. Recently, he developed a new fuzz pedal with Death By Audio called the Fuzz War Overload, and it is all over the new album (DBA also provides pedals for #4, Ty Segall). Dwyer also has a really unique gear set-up that accounts for somewhat of a signature sound. He often plays a Burns 12-string with their Trisonic pickups into some fuzz and often uses a Whammy pedal to throw in octave sweeps, which can be heard in songs like "The Dream". His experimental and at times almost avant-garde playing really distinguishes Thee Oh Sees from any other garage-y rock band out there, and they've really hit their groove with this lastest output. This is my favorite track off Floating Coffin.
9. Ruban Nielsen- Unknown Mortal Orchestra
10. Mac Demarco
Any guitar player that describes his gear as stuff that "no serious musician would ever use", or his genre as "jizz jazz" is A.O.K (almost obtusely kick-ass) in my book. (Plus, I have to have at least two Canadian artists on any list that I make, according to secret Canadian--I've said too much...) But not about Demarco, who is quickly becoming one of my favorite songwriters/guitarists out there. There is something just magnetic about the funky riffs and lo-fi sound of his guitar tones. He comps some really fantastic chords and is a hell of a rhythm player. His lead lines serve as fantastic counter melodies that are anything but traditional, and create a great dichotomy from the funky chords he employs. He is going to be another one to watch in years to come.
Runner-ups:
John McCauley- Deer Tick
Tim Presley- White Fence
Cass McCombs
Matt Mondanile- Ducktails, Real Estate
All of these artists began releasing music after 2000. All of the other lists I could find under this title included artists that have been established since the 90's (Jack White, Tom Morello, John Fruciante) So perhaps I should have titled this, "Top 10 Relatively Unknown Guitarists of the Past Decade". And most likely the few people who read/care about this list will scratch their heads at some of the names on here, but I fully intend to justify each and every choice I've made. All of these artists are unique, but what they have in common is ability to compose tasteful melodies, guitar parts that compliment the song and are not shredding or wanking, and undeniable skill that constantly inspires and makes me excited to play the instrument.
It should be noted that this is not a ranking, and I'm sorry if I missed anyone.
1. Kevin Parker- Tame Impala
One listen to the powerhouse riff of "Half Full Glass of Wine"will have anyone bobbing their head in a hypnotic groove. The thing that really puts Parker on this list is the fact that he always leaves you wanting more (i.e. the solo at the end of the aforementioned track). His guitar playing isn't precise or virtuosic, but it is so damn tasteful. It builds the song in the best ways possible. Note the solo that transitions into the backbone of the chaos at the end of "Keep on Lying". Tame Impala is really starting to catch on these days, and Parker's playing and writing have everything to do with that.
2. Daniel Rossen- Grizzly Bear, Department of Eagles
You'll rarely hear Rossen play a solo in the traditional sense, but his chord compositions and counter-melody lines are so texturally and tastefully complex that they are impossible to ignore. They can't help but become the focal point of the tracks. Not to mention the signature guitar tone that he has honed over Grizzly Bear's four album, two EP career that comes from a beautiful vintage Guild T-50 into a Fender amp with the reverb cranked. His acoustic playing is also incredibly non-traditional. It really shines in "Southern Point", which could be one of my favorite tracks of all time.
3. Hank Sullivant- Kuroma, 1000 AD
Sullivant is one of the greatest unsung guitar heros of this age of music. On Kuroma's first album, Paris Sullivant builds a really classic sound. He is the first on the list that really caters to the "guitar solo" in the most traditional sense. Don't mistake this for him being a showboat, though. His solos really evolve the tracks. And his rhythm playing ain't nothin' to scoff at, either. Sullivant has a great pop sensibility, and his songwriting has only gotten stronger in recent years. Kuroma's second album Psychopomp is the best album you've never heard, and if you like great experimental pop you will be kicking yourself for not picking it up sooner. For newer stuff, check out this side project 1000 A.D.. Rumor has it that Kuroma has a new album in the works. Be on the look out.
4. Ty Segall- solo, Reverse Shark Attack, Fuzz
One of the youngest on the list, Segall has really made a name for himself in the last few years. The dude has one of the most raw, cut-your-head-off styles out there today. Your ears will be ringing for days after seeing him play live. Segall's guitar playing is no-nonsense f*ckin rawk, but he isn't sloppy. In fact, despite his garage-y sound, he is very pretty true to his playing on the records. He's a showman for sure with a ton of talent and limitless potential. An anecdote for the road: My buddy Glenn and I saw him at the Earl in Atlanta a couple years back. After the show we had a great conversation with him about the Kinks, among other topics. He signed Glenn's copy of Melted with the note, "Ray Davies is God. Let us go to church." A reverence for the classics. Just another reason this kid will go far. That and his ability to tastefully twist knobs on delay pedals.
5. Oliver Wood- Wood Brothers
Wood is definitely the rootsiest player on the list, but he does not constrain himself to traditional playing in the least. His compositions are deceptively simple. His voice is sweet and his playing is 100% soul. Tracks like "Glad" off Ways Not to Lose are prime examples of this. Being the only guitar player in the bass/guitar duo with his brother, Chris (who also plays with Medeski, Martin and Wood), Oliver has to fill out the composition. This takes an amount of skill that is easy to overlook, but is something that everybody should appreciate. He is incredible at slide, as well. The solo on this track gives me goosebumps every time.
6. Patrick Flegel/Christopher Reimer- Women
Experimental does not even begin to describe the guitar playing on Women's two full length LP's. Their second album, Public Strain is a triumph of haunting noise-rock. The compositions are like journeys through dissonant shadows that, at the very moment that you think they have reached their darkest, pull you up into the light of resolution. The interplay between Flegel and Reimer's guitars is incredibly complex, and at times harkens back to the Verlaine/Lloyd guitar dynamic of Television. Listening to either of Women's albums, I constantly catch myself thinking, How the Hell are they doing that? The chord structures and suspensions that they employ are nothing short of extraordinary, and the precision with which the two guitarists must play together is really something to be admired. Unfortunately, Reimer passed away last year, and the shaky construction of the band may have crumbled for good. Remember him through amazing tracks like this:
7. Kurt Vile
Vile is just one of those players that comes along every once in a while that takes a whole new approach to the instrument. The alternate tunings, the non-traditional fingerpicking styles, and use of effects on acoustic guitars all amount to a fantastic, original sound. Vile also has one of the most unique sense of melodies that I've ever had the pleasure to hear. His production has recently become a little more radio-friendly, but he isn't rolling over or selling out. He is using the bigger budget and more open tape to create an even more complex sound. Still, sometimes I miss the drum machines.
8. John Dwyer- Thee Oh Sees
I've been on a huge Oh Sees kick ever since I got their new album, Floating Coffin. Dwyer is another fuzzfiend. Recently, he developed a new fuzz pedal with Death By Audio called the Fuzz War Overload, and it is all over the new album (DBA also provides pedals for #4, Ty Segall). Dwyer also has a really unique gear set-up that accounts for somewhat of a signature sound. He often plays a Burns 12-string with their Trisonic pickups into some fuzz and often uses a Whammy pedal to throw in octave sweeps, which can be heard in songs like "The Dream". His experimental and at times almost avant-garde playing really distinguishes Thee Oh Sees from any other garage-y rock band out there, and they've really hit their groove with this lastest output. This is my favorite track off Floating Coffin.
9. Ruban Nielsen- Unknown Mortal Orchestra
Getting toward the end of the list, I had a lot of trouble deciding between these last few names (hence the Runner-up section), but Nielsen made the list for one reason: the solo on "Ffunny Ffriends". This was the first track the world ever heard from UMO, and Nielsen released it on a nameless, information-less Bandcamp account. I love the combination of R&B grooves, psychedelic tones and lo-fi production, but the solo is really something special. Nielsen serves as an experimental filter for all these genres. He employs a great combination of funky chords, thumbpicking and hammer-ons, not to mention his love of funky old effects like the Roland Funny Cat. This is also the only live video on the list. This is because a) youtube live videos are usually crap-tastic cellphone quality and b) he shreds even harder on this version than on the studio track (plus that Copperphone mic looks and sounds so great.)
10. Mac Demarco
Any guitar player that describes his gear as stuff that "no serious musician would ever use", or his genre as "jizz jazz" is A.O.K (almost obtusely kick-ass) in my book. (Plus, I have to have at least two Canadian artists on any list that I make, according to secret Canadian--I've said too much...) But not about Demarco, who is quickly becoming one of my favorite songwriters/guitarists out there. There is something just magnetic about the funky riffs and lo-fi sound of his guitar tones. He comps some really fantastic chords and is a hell of a rhythm player. His lead lines serve as fantastic counter melodies that are anything but traditional, and create a great dichotomy from the funky chords he employs. He is going to be another one to watch in years to come.
Runner-ups:
John McCauley- Deer Tick
Tim Presley- White Fence
Cass McCombs
Matt Mondanile- Ducktails, Real Estate
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