Music is the universal language
“Glory to God in the highest heaven, and on earth peace to those on whom his favor rests.” - Luke 2:14
General Interest
Question of the Month: The Most Wanted Albums of 2026
Question: What record are you most looking forward to this year?
Joe SutkowskiDirt Buyer/This Is Lorelei
A: To be so honest, I don’t really know very much about upcoming releases, but I do know that Gorillaz is putting out a new record and I hope that it’s good. The singles have been pretty cool. The thing that I appreciate about Damon Albarn is that he’s a serial collaborator and just kind of does whatever he wants, and that’s Gorillaz. It’s always been his weird version of pop music that nobody else can touch.
Obsession: Right now I’m totally obsessed with old Pokémon cards. I have a pretty huge collection at this point. I have binders full of slabs and top-loaders; some of my favorite cards from the vending series from 1998. The art is mostly all crudely drawn and looks like it was made by a child. There’s this Onyx (a big and long rock-snake Pokemon) card where he’s crying and taking refuge from a storm inside of a cave. There are so many cool cards like that and I’m so passionate about it. Scalpers are ruining collecting, but you can still find affordable gems.
Augusta KochGladie
A: My most anticipated record this year would have to be a new rumored release from Aldous Harding. It’s been four years since her last release, Warm Chris, which was a masterpiece in my book. Her albums are always such inspirations to me. She builds these incredibly beautiful sonic worlds you can dive into. Fingers crossed these rumors are true.Obsession: My current obsession these days is watching videos on projection mapping and trying to figure out how to do it, and staying in on weekends working on all my little projects.
Jom Grana Reader of the Month
A: I don’t really stay up to date on upcoming releases, plus I have my own bands (Mindless Pop, Warpten, Irrevocable) busy trying to record and release hopefully this year, too. But! I do know that most of the bands I’ve been listening to since forever are still alive and kicking: Streetlight Manifesto are dropping The Place Behind The Stars on June 24 so I’m hoping this doesn’t jinx them, and while a new RX Bandits record isn’t coming anytime soon, their vocalist Matt Embree is releasing his solo album Orion this March 7.
Obsession: HBO Max’s The Pitt.
Richard Bienstock Editorial Director
A: The new Black Crowes album, A Pound of Feathers. I’m a day-one Crowes fan. Sure, they work within a very specific lane, but they do it with overwhelming personality. You can hear the Stones, the Faces, and a dozen other classic-rock touchstones, but that kind of swagger and soul can’t be carbon-copied. You either have it or you don’t. The Robinsons have it. I was genuinely psyched when they got back together (again!) a few years back, and thought 2024’s Happiness Bastards was a strong, if somewhat straight-ahead, comeback. Even better was last year’s Amorica reissue, a deep dive into what’s arguably their creative peak.
Based on the two songs they’ve released from A Pound of Feathers so far—which dropped the day I’m writing this, actually—I’m fully in. “Profane Prophecy” in particular opens with a killer Keith Richards-style riff, features some smoking slide guitar, and finds the band sounding looser and more playful (those call-and-response backing vocals) than they have in years. Plus, they always kill it onstage.
Obsession: Billy Corgan’s The Magnificent Others podcast. Corgan as a host, like Corgan as a musician, is very much a love-it-or-hate-it proposition. I love the music, and I think I love the podcast, too. Yes, he sometimes dominates the conversation, and yes, almost anything a guest says somehow ends up looping back to his own experiences—but the upside is a run of surprisingly great, weird, and revealing conversations. Steve Vai, Vernon Reid, and particularly Dale Bozzio, were excellent. But so were Chazz Palminteri, Corey Feldman, and freakin’ Carrot Top. It’s a wild mix, and absolutely worth an hour or so of your time.
“These are recordings that were going to be the next Van Halen record”: Alex Van Halen sheds light on upcoming “Van Halen” album featuring Steve Lukather
![[L-R] Steve Lukather and Eddie Van Halen](https://guitar.com/wp-content/uploads/2025/03/Steve-Lukather-Eddie-Van-Halen-hero@2000x1500.jpg)
Last year, Alex Van Halen teased that he and Toto’s Steve Lukather were working together on a new Van Halen record. Now, the Van Halen drummer has shed more light on the project.
While it’s unclear whether it will be released under the ‘Van Halen’ name, the record will feature a slew of archival Van Halen demos. Speaking to Brazilian journalist Gastão Moreira for Kazagastão, Alex explains that the project will rework tracks that he and his brother, Eddie Van Halen, never finished. “These are recordings that were going to be the next [Van Halen] record,” he explains [via Blabbermouth]. “We stopped because [Eddie] didn’t live that long…”
In the past, Alex has previously insisted that there is enough Van Halen material in the vault for another “three or four records”. It seems that this project with Lukather will allow some of those tracks to see the light of day.
“Many people have asked, ‘What about releasing unreleased stuff?’” he says. “Well, we’re not gonna release it in its embryonic form because it wouldn’t make any sense. But I’ve been fortunate enough to have Steve Lukather, who was a good friend of Ed’s, and we’re working on putting a record together.”
As Alex explains, “quality” is of the utmost importance. The release aims to honour Eddie’s original riffs, and create a record fans will love. “It’s not just to say, ‘Hey, here’s some music that we made,’” he says. “No – It has to be of a certain level of quality.”
That’s exactly why Lukather has played a pivotal role in the recording process. Last March, Alex told Dutch newspaper De Telegraaf that, due to Lukather knowing his late brother, he has an understanding of how Eddie might have worked. “Ed and Steve Lukather were very good friends and they often worked together,” the drummer said [via Guitar World]. “There is no one who can do this process with me as well as he can.”
In the new chat with Moreira, Alex once again praises Lukather’s guitar skill. “He is the connective tissue,” he explains. “Luke can play anything – but because of this talent that kind of blends in with everything, he doesn’t get the recognition that I think he deserves… I love the guy. We’ve known him for years.”
Of course, some of Eddie’s original riffs may still be included. While he doesn’t exactly say “yes”, he hints that some guitar parts were already tracked. “The drums, the guitar and the bass are already in there,” he says. “What we didn’t have was a vocalist, and obviously the subtleties…”
Alex has also revealed that another key Van Halen cog will feature, with Wolfgang Van Halen once again serving his bass duties. Though he says “most” of the basslines are Wolf, due to the recordings being from those original Van Halen recording sessions prior to Eddie’s passing. It’s unclear whether Wolf has tracked anything in more recent studio sessions.
Considering the last piece of music Alex and Eddie written together, Unfinished, didn’t feature a vocalist, journalist Moreira asks whether any vocalists will feature on the upcoming record. “We originally had plans to have FREE’s Paul Rodgers… but he can’t do it anymore,” he reveals. “[We] are looking for somebody else now… I really believe that the universe will work something out, and this project will come out the best it can possibly be. We have no other intent other than to have it come to fruition.”
The post “These are recordings that were going to be the next Van Halen record”: Alex Van Halen sheds light on upcoming “Van Halen” album featuring Steve Lukather appeared first on Guitar.com | All Things Guitar.
Nile Rodgers reveals how a last-minute change to Shrek 2 made him “a fortune”
Sync licensing can be a highly lucrative income stream, particularly for artists who land their music in big Hollywood feature films. And as Nile Rodgers explains in a new interview with Vulture, a significant proportion of his earnings have come from such placements.
The guitarist has enjoyed an illustrious five-decade career dabbling in a whole host of different genres, most notably performing in disco powerhouse band Chic, and alongside A-list music stars like Daft Punk, Pharrell Williams and Michael Jackson, to name a few.
But his music has often been featured in motion pictures, too, including Chic smash hit Le Freak, which plays during a scene in Shrek 2. And as Rodgers explains, that placement earned him a fair bit of coin.
“A lot of my songs have brought in a lot of money from sampling, but the most lucrative ones have been placed in films,” he says.
“The only reason why I know that this one made a fortune was because of the length of the cue: There’s a film called The Birdcage from the mid-’90s, starring Robins Williams, that took place at a queer club in Miami.
“It opens with a camera going across South Beach and then the shot goes straight into a club where [Chic’s] We Are Family is being performed by a group of drag performers. It’s a very long music cue. And then We Are Family is played several more times later in the film. My bank account was happy to see that deposit.”
He goes on, explaining how he earned a “fortune” from the placement of Chic’s Le Freak in Shrek 2 (2004).
“The film originally had the Gap Band’s Burn Rubber (Why You Wanna Hurt Me) as the cue when Shrek and his girlfriend take off in the car and their friends are behind and watching their house. Or is it a cart? What do ogres drive?
Rodgers explains that the scene wasn’t landing with audiences during test screenings, leading producers to test out Le Freak instead.
“Right before Shrek 2 locked, and I really mean an hour or so before, I got a call asking if they could try Le Freak,” Rodgers recalls. “I said, ‘Sure, cool.’ So Shrek turns around and his friends are partying like crazy to Le Freak. It was clear that the song made the joke work. It’s a teeny, tiny cue, and I made a fortune.”
Elsewhere in the interview, Nile Rodgers speaks on his unashamedly confident approach to session work. Asked to name the most intimidating collaborator he’s ever worked with, he replies: “Nobody. No way, man.
“If I ever believed that, it would mean I’m walking into the studio and thinking, ‘You can make a record better than me.’ And nobody can make a record better than me. Please don’t take this in an egotistical way. Who have I made records with? Herbie Hancock, Stevie Wonder, Al Jarreau, the London Symphony Orchestra. I’m not intimidated. I’m here to have fun…
“The one thing that’s super important is to make an artist know that I have their best interests at heart. That’s all I care about. My legacy is pretty much written.”
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It’s been a long wait, but the highly anticipated Line 6 Helix Stadium Floor is finally shipping
The wait is over – Line 6’s Helix Stadium Floor, the latest instalment in its Helix series, has finally began shipping.
Eight months ago, Line 6 first shared news of its new Helix Stadium amp modellers. In the initial announcement, the company teased a pair of new modellers, with the flagship Helix Stadium XL Floor earning an earlier release and shipping out at the end of last year. Now, it’s the Helix Stadium Floor’s time to shine.
While the XL model offers the most “comprehensive and integrated guitar processor ever created by Line 6”, according to the brand, the smaller Helix Stadium Floor offers a cheaper, more streamlined alternative. It scraps the built-in expression pedal, and halves the amount of effects loops, external expression pedals, and drum trigger inputs it can support to just two each.
While it’s taken a while for the ball to get rolling, the original announcement of the new amp modellers marked the 10th anniversary of the original Line 6 Helix.
A decade on, the new amps utilise a new modelling algorithm called Agoura, a revamped take on Helix’s HX modelling tech. The tech allows for more authentic amp modelling, as well as a more accuracy when modelling how a physical amp would respond to you.
Both the XL and streamlined Stadium model also have a ‘Hype’ control, allowing you to shift between “idealised” and “ultra-authentic” tone. This allows users the option of a cleaner, more digital sound or something a little more gritty and real.
The Stadium line also offers a new engine for live shows called Showcase. This can trigger MIDI changes, engage presets, and even automate lighting for your stage setup. As well as this, there’s also both WiFi and Bluetooth connectivity to store and make captures of your gear.
With its new improvements and revamped technology, Line 6 has promised that the Stadium line is its “most powerful and most flexible” Helix to date.
Eric Klein, Chief Product Design Architect, states: “Helix Stadium XL Floor and Helix Stadium Floor are in many ways a new type of product. In addition to featuring the best-sounding, most powerful, and most flexible processing Line 6 has ever offered, they can serve as performance workstations that aim to upend the way you approach playing – whether that’s writing and learning songs, jamming with friends, or controlling your band’s entire stage rig. And most of all, they’re fun to use.”
The Helix Stadium Floor is available now, with prices starting at $1,799.99. For more information, head to Line 6.
The post It’s been a long wait, but the highly anticipated Line 6 Helix Stadium Floor is finally shipping appeared first on Guitar.com | All Things Guitar.
JHS Pedals Launches Morning Glory Clean Overdrive
JHS Pedals has introduced the Morning Glory Clean pedal, the latest version of the company’s revered Morning Glory transparent overdrive.
The Morning Glory Clean offers clearer pick attack, improved low end, and more versatile gain stacking. It’s designed to provide an ideal first-stage overdrive pedal for a broad range of musical styles.
For the new Morning Glory Clean, JHS took their Morning Glory circuit (a Bluesbreaker-style topology) and completely rebuilt it around a studio-grade parallel clean blend. It’s not just a modification, but a redesign from the ground up.
Why blend a clean signal into something already transparent? The Morning Glory's magic happens when you turn up the Drive, and the circuit boosts higher harmonics and adds soft compression. The newly added parallel clean circuit lets you keep all that while dialing the natural low end back in.
The new Morning Glory Clean offers a four knob control set: Volume, Drive, Tone and Clean.
Volume — Adjusts the overall volume in conjunction with the drive and clean.
Clean — Full left: original Morning Glory. Full right: pure clean signal. Start with Clean and Drive maxed, dial Clean back (counter clockwise) until you find your perfect balance.
Drive — Saturation. Crank it and use the Clean control as your balance. This pedal is designed to be used this way.
Tone — Classic Morning Glory tone stack. This Tone control affects only the overdrive path. Your clean signal stays parallel and untouched. Adjust Tone back for warmth, forward for clarity.
Clean Boost Pro Tip – Morning Glory Clean can be used as a stand-alone clean boost. Set the Clean to 100% (fully clockwise) and increase the Drive. In this configuration, the Drive will not produce any overdrive clipping - only clean volume boosting.
This isn't a Clean knob slapped on a Morning Glory. The Clean control uses a dual-gang potentiometer. As you turn it, clean gain scales proportionally with the drive signal — it’s perfectly engineered from the ground up. Think of the Clean control as adding back in wattage, clarity, and punch. Most clean blends are an afterthought — a simple mix knob tacked onto an existing circuit. This one was designed so the two signals track together across all gain settings – with no volume or weird phase issues. Just seamless blending from Morning Glory to pure signal and everything in-between.
The pedal is also well suited for bass. The Clean blend dials that low end back on command for different bass and amplifier needs, making it a highly versatile bass overdrive.
Other Morning Glory Clean features include:
- Pedalboard friendly top-mounted jacks
- Uses standard 9V DC Center Negative external power – no battery compartment
- Silent Buffered Bypass Switching
An important note: this pedal does NOT replace the JHS Morning Glory V4 pedal, which remains a key item in the company’s product lineup.
The new Morning Glory Clean carries a street price of $179. For more information visit jhspedals.com.
Gibson Custom Debuts the Gary Clark Jr. ES-355
Gibson Custom today proudly unveils the new Gary Clark Jr. ES‑355™, a striking signature model created in close collaboration with the four‑time GRAMMY® Award–winning guitarist, singer, and songwriter. Austin-born and globally celebrated for his electrifying live performances, Gary Clark Jr. has long blended blues, rock, soul, and hip hop into a sound entirely his own. His previous Gibson and Epiphone signature instruments—the SG™ and Casino™—each captured facets of his musical identity, but the ES‑355 represents a deeper personal connection. Inspired by the first time he saw B.B. King command the stage with one, the ES‑355 has become Clark’s new number‑one guitar, now reimagined with the craftsmanship and detail of the Gibson Custom Shop. The Gary Clark Jr. Custom ES‑355 is available worldwide at Gibson Garage locations in Nashville and London, via authorized Gibson Custom dealers, and on Gibson.com.
The Gary Clark Jr. Custom ES‑355 is built with a three‑ply maple/poplar/maple body with a figured maple outer layer, paired with a mahogany neck carved to a comfortable 50s Rounded Medium C profile. A bound ebony fretboard with 22 Historic medium jumbo frets and mother‑of‑pearl block inlays delivers a classic playing feel, while multi‑ply binding on the body and headstock elevates the guitar’s vintage‑inspired aesthetic. The headstock features the iconic Custom split diamond inlay and Grover® Rotomatic® tuners with kidney buttons, underscoring the instrument’s premium heritage.
Under the hood, the ES‑355 is equipped with a pair of unpotted Custombuckers featuring Alnico 3 magnets, chosen for their warm, articulate response and dynamic range. The pickups are wired with CTS® audio taper pots, paper‑in‑oil capacitors, a Switchcraft® three‑way toggle, and a mono Varitone circuit topped with a black chicken‑head knob, offering players a wide spectrum of tonal colors. True Historic gold Top Hat knobs with dial pointers complete the control layout, reinforcing the guitar’s vintage authenticity.
Every detail of the instrument reflects Gibson Custom’s commitment to precision and artistry. The hardware is finished in VOS nickel, including the ABR‑1 Historic no‑wire bridge and a Bigsby® B7 vibrato for expressive pitch control. The guitar is offered in a stunning VOS Cobra Burst finish, adding a dramatic visual flair that complements its sonic versatility. Each model ships in a Gibson Custom hardshell case adorned with Gary Clark Jr. graphics, featuring a brown exterior and black plush interior.
This special run is limited to just 100 guitars, handcrafted by the expert luthiers of the Gibson Custom Shop in Nashville, Tennessee. With demand expected to be high among collectors, players, and fans alike, the Gary Clark Jr. ES‑355 stands as an extraordinary opportunity to own the artist’s new go‑to instrument—an inspired blend of heritage, innovation, and unmistakable style.
In 2026, Gary Clark Jr. continues to push his creative boundaries while bringing the bold sonic world of his 2024 album JPEG RAW to audiences across North America. The project marks a defining leap in his artistry—melding blues, rock, hip-hop, jazz, and global influences into a unified, future-leaning sound that has earned widespread critical acclaim. Onstage, Clark channels this new era with a renewed sense of urgency and experimentation, weaving immersive grooves, pointed lyricism, and explosive guitar work into performances that reaffirm his status as one of modern music’s most electrifying live artists.
Listen to Gary Clark Jr. HERE, and for the latest tour dates, go HERE.
Beyond the studio and the stage, Clark’s artistic reach has expanded into film, cultural programming, and high-profile collaborations, underscoring his evolution as a multifaceted creative force. His portrayal of Arthur “Big Boy” Crudup in Baz Luhrmann’s Elvis, his role as Music Director for Jon Stewart’s Mark Twain Prize ceremony, and his continued work with icons across genres reflect an artist operating at the height of his influence. With JPEG RAW ushering in a bold new chapter and a major tour underway, Clark stands firmly at the forefront of contemporary music—restless, visionary, and shaping the sound of what comes next. Rooted in the blues yet unbound by genre, he’s pushing the tradition forward with purpose and originality, cementing his place as one of his generation’s defining guitarists and storytellers.
Shnobel Tone Unveils Dumbbell Driver OD/Boost Pedal
Shnobel Tone has introduced the latest addition to its line of premium guitar effects. The new Dumbbell Driver combines the company’s acclaimed Daily Driver Overdrive with the recently launched Dumbbell Boost into a single, super flexible pedal.
The Dumbbell Boost and Daily Driver circuits are identical to the standalone versions of these pedals. Both the overdrive and boost circuits are completely independent and can be used together or separately, activated by their own dedicated true-bypass footswitches. A two-position toggle switch allows you to assign the order of the effects when both circuits are in use: Boost>>Overdrive or Overdrive>>Boost are available, providing a huge range of sonic options. Setting the toggle to the right places the Dumbbell Boost in front of the Daily Driver.
The pedal offers an intuitive 6-knob control set. The four knobs on the left side of the pedal control the Daily Driver circuit with Volume, Gain, High frequency and Low frequency EQ. The Daily Driver controls on the left side also include a three-position toggle switch for added EQ flexibility: the switch offers two different high-cut settings, along with a flat setting in the center position, so you can dial in the perfect overdrive sound with any amp.
The two knobs on the right side of the pedal control the Dumbbell Boost circuit. The Input knob adjusts the input impedance and acts as a supplemental tone control: when turned all the way to the left it gives you a brighter, less bassy sound; turned all the way to the right it delivers a full range sound with rich harmonics reminiscent of a Dumble-style circuit. The Level knob controls the Dumbbell Boost’s output level.
Sporting gloriously retro-flavored chrome-skirted knobs and available in either Black or White, Shnobel Tone’s Dumbbell Driver includes these features:
- Six control knobs: Four knobs on the left side for adjusting the Daily Driver overdrive; and two knobs on the right side for adjusting the Dumbbell boost.
- Three-position “Hi Cut” toggle switch affects just the Daily Drive portion of the circuit (not the Dumbbell boost).
- Two-position toggle selects the order of effects when both circuits are engaged
- Two true bypass foot switches for activating each circuit
- Pedalboard-friendly top mounted power and in / out jacks
- Hand-built with top quality through-hole components
- Standard 9v center negative power – no battery compartment
Shnobel Tone’s Dumbbell Driver carries a street price of $329 and can be purchased at shnobeltone.com.
“It’s a dream come true”: Gary Clark Jr’s signature Gibson honours his hero BB King
To honour Gary Clark Jr’s fusion of blues, rock, hip-hop and jazz, Gibson has unveiled a new signature model in his name. Inspired by BB King’s beloved Gibson, the Gary Clark Jr. ES-355 serves as a testimony to the blues legend as well as marking Clark’s ongoing impact on the genre.
While Clark has previously worked with Gibson on his SG and Casino models, this guitar is particularly special. “When I was a child, I had a poster on my wall with BB King playing his signature Lucille guitar,” Clark explains in a Gibson promo clip. “As a kid, I always wanted one of those guitars. I would go to the music shop, I would see them on the wall, and I liked the way that they sounded. I just wanted to be a part of that world.”
Handcrafted in Nashville by the Gibson Custom Shop, the Gary Clark Jr. ES-355 boasts a three-ply maple and poplar body. The multi-ply binding allows for a more vintage aesthetic, thanks to its figured maple outer layer and VOS Cobra Burst finish.
The guitar also has a mahogany neck, which has been shaped into a ‘50s Rounded Medium C profile, with a bound ebony fretboard. In terms of frets, you’re looking at 22 medium jumbo frets and mother‑of‑pearl block inlays.
Up on the headstock, there’s another vintage nod in the form of the iconic Gibson Custom Shop split diamond inlay. There are also Grover Rotomatic tuners, to add a more premium feel.
Credit: Gibson
The hardware has also all been finished in VOS nickel, emphasising that aged and vintage feel. That extends to the ABR‑1 Historic no‑wire bridge and a Bigsby® B7 vibrato. Gold Top Hat knobs with dial pointers have also been used to add that nostalgic edge.
The Gary Clark Jr. ES-355 is also kitted out with unpotted Custombuckers featuring Alnico 3 magnets, to capture a warm and dynamic range. The pickups are also wired with CTS audio taper pots and paper‑in‑oil capacitors, while there’s also a three‑way toggle, and a mono Varitone circuit to tweak and toy with your tone.
With a limited run of 100 guitars, it’s no wonder why the Gary Clark Jr. ES-355 has already sold out. Each lucky buyer will receive their guitar in a Gibson Custom hardshell case adorned with Gary Clark Jr. graphics.
Now a four-time Grammy Award winner, having his own signature Gibson is no longer a dream. It’s a reality he has earned. “It’s a dream come true, really,” he says. “And it’s one of the most versatile instruments… with the humbuckers and semi-hollow body, you can play it acoustic. It’s my go-to instrument at this time. And it’s gorgeous!”
For more information, head to Gibson.
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Metal-ready shredders and new Broadkaster models: Inside a massive new guitar drop from Jackson, Charvel and Gretsch
Since the furore of NAMM – where hundreds of brands launched more exciting new products than we could realistically keep track of – the world of guitar gear has felt relatively quiet. But it seems things are starting to switch back on, as a slew of new guitars arrive courtesy of Jackson, Charvel and Gretsch.
So get ready for some six-string eye-candy, and if you like, to nerd out on some spec sheets from the massive new drop. Here’s everything you need to know:
Jackson Pro Plus Pure Metal
Credit: Jackson
Three new guitars join Jackson’s blacked-out Pro Plus Pure Metal series, a line of instruments “built for speed and designed to withstand the demands of relentless touring”.
Comprising the Pro Plus Pure Metal Limited Edition Soloist SL1A, Limited Edition Rhoads RR1A and Limited Edition Kelly KE1A, the three new additions come loaded with singular Bare Knuckle Holydiver humbuckers, Floyd Rose 1000 Series double-locking tremolos and stainless steel frets.
Learn more at Jackson.
Charvel Pro-Mod Plus Dinky
Charvel has expanded its Pro-Mod Plus Dinky line with five new guitars, which blend “sophisticated style with assertive tone”.
Specifically, the new additions are the DK24 HH 2PT E in Raven Black and Celestial Silk, DK24 HH 2PT E QM in Midnight Ocean and Chlorine Burst, DK24 HH HT E QM in Violet Radiance, DK24 HSS 2PT QM in Blue Curaçao, Limited Edition DK24-7 HH 2PT EB in Celestial Silk.
These guitars sport Seymour Duncan Full Shred TB-10, Alnico Pro II APH-1N and Custom Flat Strat SSL-6 pickups in various configurations.
Learn more at Charvel.
Gretsch Broadkaster LX Figured Center Block with String-Thru Bigsby
Credit: Gretsch
Four new Broadkaster models join the Gretsch lineup: the Broadkaster LX – with a figured center block and string-thru Bigsby – in Havana Burst and Bourbon Stain, and the Broadkaster Jr. LX in Caramel Dawn and Tropic Aura. Both feature Pro Twin Six humbucking pickups and Adjusto-Matic bridges with string-thru Bigsby B7GP vibrato tailpieces.
Learn more at Gretsch.
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Rig Rundown: Spiritbox
Ahead of Spiritbox’s recent show at Nashville’s Pinnacle, PG’s Chris Kies spent some time with the Canadian alt-metal giants’ guitarist Mike Stringer and bassist Josh Gilbert to get the story on their down-tuned mayhem. See about the highlights below, and watch the full Rig Rundown for more.
Brought to you by D’Addario.
Signature 7
Stringer’s signature Aristides STX guitars, like this 7-string, are the first axes he reaches for. Inspired by Kurt Cobain’s Jag-Stang, the STX comes in 6-, 7-, and 8-string configurations, as well as multi-scale options. In lieu of traditional guitar woods, Aristides’ proprietary Arium material works perfectly for Stringer’s needs—it can hit any “stupid-low” tuning with ease and clarity. The guitar is loaded with Stringer’s signature Bare Knuckle Halcyon pickups and an EverTune bridge. The 7-string STXs are in F-sharp tuning, with Ernie Ball Custom Paradigm strings (.010–.074).
Ocho Loco
Stringer calls this 8-string Aristides the “prototype,” since it was the first one produced. It’s employed on “Fata Morgana.”
PVH vs. EVH
Stringer uses a Fractal Axe-Fx III, favoring a PVH 6160 model based on the EVH 5150 Stealth. It shares rack space with an ART Pro Audio SP4X4 power distribution system, Shure AD4Q, and Radial JX-44.
Mike Stringer’s Pedalboard
Stringer’s buddy at Omilion Audio built out his onstage boards. Along with a Fractal FC-12 Foot Controller, RJM Mastermind PBC/6X, and a Radial SGI-44, Stringer’s board carries a Peterson StroboStomp tuner, Boss DD-6, Electro-Harmonix Freeze, a pair of DigiTech Whammy Ricochets, Line 6 DL4 MkII, Chase Bliss Mood and Generation Loss, EarthQuaker Devices Sunn O))) Life, a pair of EarthQuaker Rainbow Machines, and a Hologram Electronics Microcosm.
Charvel Shredder
Modeled on Charvel’s San Dimas bass, this multi-scale (34-37") 5-string is tuned to F-sharp, and has Nordstrand pickups and a Darkglass B2M2 Tone Capsule onboard preamp. The custom-gauge strings come from Kalium Music.
Four-String Friend
This Fender Precision bass is also on hand, tuned to B-A-D-G. It takes Ernie Ball strings.
Axe and Block
Along with his Quilter Bass Block 800, Gilbert, too, uses a Fractal Axe-Fx III, nestled in his backstage rack alongside a Shure AD4D and a Radial JX 42. Like Stringer, he uses a 6160 model for his dirty tones; a Darkglass B7K model is also in the mix. Gilbert’s tonal “scene changes” are handled in Ableton.
EarthQuaker Devices Sunn O))) Life
Thoughtful Tips for Supporting Others Musically
Thieves steal Martin D-28 worth $15k from Baltimore music store: “You feel violated – it’s really sad”
Police are appealing for help identifying four suspects believed to have stolen a Martin D-28 acoustic guitar worth $15,000 from a music store in Baltimore, Maryland.
The guitar – located high on the wall in the acoustic room at Music Land in Bel Air – was the target of a group of four thieves believed to be of Romani origin, police say. As CCTV footage shows, the suspects wait for the employee present to step out of the room, before taking the guitar from the wall and concealing it inside a big winter coat.
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“One of the female suspects was on lookout,” says store owner Larry Noto [via WMAR-2 News Baltimore]. “The other two suspects took the guitar. She had a long black winter coat on, a very puffy coat. It was freezing out. You know how it was a couple of weeks ago and had sort of a black bag that they slipped the guitar in.”
It’s believed that the theft took place in under a minute. Noto explains of the rare, high-price D-28: “This was a consignment piece from 1947, so a very rare, special piece that we just happened to have on sale as part of our consignment programme.”
“You know you trust people, and they came and they even said, ‘Oh, you have such a nice store,’ and we just thought these were nice people looking for guitars,” says Noto.
“You do feel violated and it was really sad and disturbing to watch the video that had happened. We’re a local family-owned business, [and have] served the community for 55 years.You just don’t think something like that’s going to happen to you.”
Those with information on any of the suspects are encouraged to contact Bel Air police on 410-638-4500.
Sadly, music gear remains a common target for thieves. Just this month, guitarist Chris Buck appealed for help finding a selection of gear stolen from his car in Bristol.
And Music Land is far from the first brick-and-mortar store to deal with thieves; for example, in 2024, criminals made off with a $5,200 Gibson Les Paul by simply walking out of a Canada store with it.
The post Thieves steal Martin D-28 worth $15k from Baltimore music store: “You feel violated – it’s really sad” appeared first on Guitar.com | All Things Guitar.
“I started dicking around and said, ‘F**k, this is a totally new technique”: Eddie Van Halen explains the origins of his legendary tapping technique in unearthed 1978 interview
One of the greatest guitar players who ever lived, Eddie Van Halen is widely credited with popularising two-handed tapping as a guitar technique.
Many guitarists dabbled with tapping before Eddie entered the limelight in the late ‘70s – with evidence of the technique predating hard rock by decades, used by the likes of Harvey Mandel, Frank Zappa, Steve Hackett and Italian guitarist Vittorio Camardese, to name a few.
But it was Eddie who really brought tapping to a mainstream audience following the release of Van Halen’s landmark debut in 1978, and has become somewhat synonymous with the technique.
And in a newly unearthed 1978 interview with rock journalist, author and Eddie’s close friend Steve Rosen, the legendary guitarist can be heard recounting his experience stumbling across the technique, before it would later captivate audiences on classic Van Halen cut Eruption.
“It’s like having a sixth finger on your left hand,” Eddie explained shortly following the release of the band’s debut album. “Instead of picking, you’re hitting a note on the fretboard.”
Asked by Rosen whether he developed the technique himself or had heard it elsewhere, Eddie replied: “I really don’t know how to explain it. I was sitting in my room at the pad at home, drinking a beer. I remember seeing people just stretching one note and hitting the note once…
“Anyway, it’s just one note like that, and they popped the finger on it real quick to hit one note and I said, ‘Well, fuck nobody is really capitalising on that.’ I mean nobody’s really doing more than just one stretch and one note real quick.”
He continued: “So I started dicking around and said, ‘Fuck, this is a totally new technique that nobody really does.’ ‘Cause it is. I really haven’t seen anyone really get into that as far as they could because it is a totally different sound. A lot of people listen to that, and they don’t even think it’s a guitar.”
Elsewhere in the interview, Eddie reflected on how he “hates” bands at the time who overloaded their records with overdubs and extra tracks. He explained that the majority of the songs on Van Halen were relatively simple in terms of additional guitar tracks.
“I’d say out of the 10 songs, three of them, like Runnin’ with the Devil – [that’s] a melodic solo, so I put a rhythm underneath it, you know.
“Songs that have a spontaneous solo like I’m the One, Ice Cream Man, and most of the songs on the album – Ted [Templeman], our producer, felt, and us also, that it was good enough on its own without fattening it up. Also then when we play it live it sounds the same.
He went on: “I hate people – without naming names – all these bands, they over-produce in the studio, and then when they walk out on stage people go, ‘Wow, is that the same band?’ It doesn’t sound the same.
“With us, it sounds exactly the same, and maybe even better, because you get to see us doing it at the same time. It’s very energetic. We’ll get you up and shake your ass.”
You can watch the full unearthed 1978 interview below:
The post “I started dicking around and said, ‘F**k, this is a totally new technique”: Eddie Van Halen explains the origins of his legendary tapping technique in unearthed 1978 interview appeared first on Guitar.com | All Things Guitar.
A New Big Muff For Bassists
Hylight UK Unveils Custom SD 2x12” Combo Amp
Hylight UK has introduced their new Custom SD 2x12 amp, a 20-wattcombo that builds upon the company’s legacy dating back to the 1960s.
With modern features such as Effects Loop and Line Out, the new Hylight Custom SD "Shiny Diamond" combo (VR204C-212F) is powered by a pair of EL84s and offers clean headroom and bright chime, ideal for crunchy British rock.
The amp delivers 20-watt output at full power and has a built-in attenuator (via splitting the transformer, activated with a toggle switch on the front control panel) which can dial back the output to ½-watt. Its preamp tube configuration includes four 12AX7s/ECC83s and the combo comes standard equipped with a pair of Fane F70 12” speakers. Other speaker options include Fane A60s, Crescendos reissue, A30, F30, F25, and F90. Hylight also offers Celestion speakers options upon request.
This 20-watt combo is made in England with the best available components for those guitar players who are looking for a classic British sounding amp based on the early 70’s models.
Hylight Electronics has been making high quality amps since the 1960's. Bands such as Pink Floyd, the Moody Blues, the Rolling Stones, and The Who have all used Hylight-made amps to help create their legendary sounds. With their military-spec chassis, point-to-point wiring, and marine-grade cabinets, Hylight amps are known for their rugged, professional build quality.
The new Highlight Custom SD 2x12 carries a street price of $3799. For more information visit hylight.co.uk.
Failure Announce New Album ‘Location Lost’ Out April 24th
Beloved and influential Los Angeles trio Failure – Ken Andrews, Greg Edwards, and Kelli Scott – announce Location Lost, their seventh studio album and fourth since reuniting in 2014 after a 17-year-hiatus, along with a spring North American tour. The LP features nine new tracks that showcase a focused, modern and ever-evolving vision of Failure’s utterly unique sound, led by first single "The Air’s on Fire." Location Lost will arrive April 24th as the first release under Failure Records/Arduous Records/Virgin Music Group.
Pre-save / pre-order Location Lost here: https://ffm.to/locationlost.
Recorded after the completion of the recent Hulu/Disney+ documentary Every Time You Lose Your Mind, Location Lost doesn’t arrive as a victory lap or a nostalgia exercise. Instead, it sounds like a band actively negotiating where — and who — they are now. “It’s very different,” Edwards says plainly of the follow-up to 2021’s Wild Type Droid. “There are sounds and parts that really don’t have any precedence within the Failure world.”
“The Air’s on Fire” embodies this sense of disorienting unfamiliarity. Almost immediately after finishing editing the documentary, Andrews suffered a serious back injury that required surgery. The operation was technically successful; the recovery was not. The single is the album’s most literal confrontation with Andrews’ medical trauma, its oppressive atmospherics and crushing bottom end mirroring his struggle to breathe on his own. “That song is directly about my surgery and waking up,” he explains. “I basically coded. Everything was spinning. I kept saying, ‘Turn the air on. I’m fine—just take me home.’ I was definitely not fine.”
Listen to “The Air’s On Fire” HERE and watch the video for the track, directed by Sean Stout, HERE.
WATCH & SHARE “THE AIR’S ON FIRE” OFFICIAL VIDEO
At the opposite emotional pole is the largely acoustic, straight-up breakup song “The Rising Skyline” featuring Paramore frontwoman Hayley Williams, an artist whose longtime public admiration for Failure has unquestionably helped introduce the band to an entirely new generation of listeners. The album also delivers dose after dose of Andrews, Edwards and Scott’s signature creative and instrumental interplay, from the warning bell-like guitar chimes on propulsive opener “Crash Test Delayed,” to the elastic, bass-driven groove of “Halo and Grain” and the grinding, methodical wall of sound on “Solid State,” which wouldn’t have sounded out of place on 1996’s all-time-classic Fantastic Planet. Other songs such as the slow-burning, dream-inspired closer “Moonlight Understands” and the stuttering “Someday Soon” emerged from singular, unrepeatable moments.
Failure will premiere material from Location Lost on their spring headline North American tour, kicking off with an album release show on April 21 at Zebulon in Los Angeles and wrapping in Toronto on May 20th. All Under Heaven is supporting all headline dates starting May 3. Their run of shows also includes festival appearances at Las Vegas’ Sick New World, Chicago’s SPACE ECHO @ Radius and Daytona Beach’s Welcome to Rockville. Tickets go on sale to the public this Friday, February 20th at 10am local time. For tickets links and more information, visit https://www.failureband.com.
Failure’s musical communion has intrigued critics, fans, and peers for more than three decades. Following Comfort and Magnified, the trio created what is largely considered one of the ‘90s most influential and innovative albums, 1996’s Fantastic Planet. The 17-track collection earned rave reviews and onboarded a trove of new fans and also led the band to headline Lollapalooza’s second stage and craft one of the era’s most recognizable videos, “Stuck on You.” After a 17-year hiatus, Failure returned with The Heart Is a Monster in 2015, followed by 2018’s In the Future Your Body Will Be the Furthest Thing from Your Mind and 2021’s Wild Type Droid.
‘LOCATION LOST’ TRACK LISTING
01 - Crash Test Delayed
02 - The Rising Skyline ft. Hayley Williams
03 - Solid State
04 - The Air's on Fire
05 - Halo and Grain
06 - Someday Soon
07 - Location Lost
08 - A Way Down
09 - Moonlight Understands
FAILURE TOUR DATES
Apr 21 Los Angeles, CA - Zebulon (Album Release Show)
Apr 25 Las Vegas - Sick New World Festival
May 02 Chicago, IL - SPACE ECHO @ Radius
May 03 Cleveland, OH - Grog Shop
May 05 Nashville, TN - Basement East
May 06 Atlanta, GA Masquerade - Hell
May 08 Daytona Beach, FL - Welcome To Rockville Festival
May 09 Asheville, NC - Eulogy
May 10 Carrboro, NC - Cat’s Cradle
May 12 New York, NY - Le Poisson Rouge
May 13 Cambridge, MA - Sinclair
May 14 Hamden, CT - Space
May 15 Washington, DC - Union Stage
May 16 Harrisburg, PA - Arrow at Archer Music Hall
May 17 Philadelphia, PA - Underground Arts
May 19 Detroit, MI - Shelter
May 20 Toronto, ON - Opera House
Failure Announce New Album ‘Location Lost’ Out April 24th
Beloved and influential Los Angeles trio Failure – Ken Andrews, Greg Edwards, and Kelli Scott – announce Location Lost, their seventh studio album and fourth since reuniting in 2014 after a 17-year-hiatus, along with a spring North American tour. The LP features nine new tracks that showcase a focused, modern and ever-evolving vision of Failure’s utterly unique sound, led by first single "The Air’s on Fire." Location Lost will arrive April 24th as the first release under Failure Records/Arduous Records/Virgin Music Group.
Pre-save / pre-order Location Lost here: https://ffm.to/locationlost.
Recorded after the completion of the recent Hulu/Disney+ documentary Every Time You Lose Your Mind, Location Lost doesn’t arrive as a victory lap or a nostalgia exercise. Instead, it sounds like a band actively negotiating where — and who — they are now. “It’s very different,” Edwards says plainly of the follow-up to 2021’s Wild Type Droid. “There are sounds and parts that really don’t have any precedence within the Failure world.”
“The Air’s on Fire” embodies this sense of disorienting unfamiliarity. Almost immediately after finishing editing the documentary, Andrews suffered a serious back injury that required surgery. The operation was technically successful; the recovery was not. The single is the album’s most literal confrontation with Andrews’ medical trauma, its oppressive atmospherics and crushing bottom end mirroring his struggle to breathe on his own. “That song is directly about my surgery and waking up,” he explains. “I basically coded. Everything was spinning. I kept saying, ‘Turn the air on. I’m fine—just take me home.’ I was definitely not fine.”
Listen to “The Air’s On Fire” HERE and watch the video for the track, directed by Sean Stout, HERE.
WATCH & SHARE “THE AIR’S ON FIRE” OFFICIAL VIDEO
At the opposite emotional pole is the largely acoustic, straight-up breakup song “The Rising Skyline” featuring Paramore frontwoman Hayley Williams, an artist whose longtime public admiration for Failure has unquestionably helped introduce the band to an entirely new generation of listeners. The album also delivers dose after dose of Andrews, Edwards and Scott’s signature creative and instrumental interplay, from the warning bell-like guitar chimes on propulsive opener “Crash Test Delayed,” to the elastic, bass-driven groove of “Halo and Grain” and the grinding, methodical wall of sound on “Solid State,” which wouldn’t have sounded out of place on 1996’s all-time-classic Fantastic Planet. Other songs such as the slow-burning, dream-inspired closer “Moonlight Understands” and the stuttering “Someday Soon” emerged from singular, unrepeatable moments.
Failure will premiere material from Location Lost on their spring headline North American tour, kicking off with an album release show on April 21 at Zebulon in Los Angeles and wrapping in Toronto on May 20th. All Under Heaven is supporting all headline dates starting May 3. Their run of shows also includes festival appearances at Las Vegas’ Sick New World, Chicago’s SPACE ECHO @ Radius and Daytona Beach’s Welcome to Rockville. Tickets go on sale to the public this Friday, February 20th at 10am local time. For tickets links and more information, visit https://www.failureband.com.
Failure’s musical communion has intrigued critics, fans, and peers for more than three decades. Following Comfort and Magnified, the trio created what is largely considered one of the ‘90s most influential and innovative albums, 1996’s Fantastic Planet. The 17-track collection earned rave reviews and onboarded a trove of new fans and also led the band to headline Lollapalooza’s second stage and craft one of the era’s most recognizable videos, “Stuck on You.” After a 17-year hiatus, Failure returned with The Heart Is a Monster in 2015, followed by 2018’s In the Future Your Body Will Be the Furthest Thing from Your Mind and 2021’s Wild Type Droid.
‘LOCATION LOST’ TRACK LISTING
01 - Crash Test Delayed
02 - The Rising Skyline ft. Hayley Williams
03 - Solid State
04 - The Air's on Fire
05 - Halo and Grain
06 - Someday Soon
07 - Location Lost
08 - A Way Down
09 - Moonlight Understands
FAILURE TOUR DATES
Apr 21 Los Angeles, CA - Zebulon (Album Release Show)
Apr 25 Las Vegas - Sick New World Festival
May 02 Chicago, IL - SPACE ECHO @ Radius
May 03 Cleveland, OH - Grog Shop
May 05 Nashville, TN - Basement East
May 06 Atlanta, GA Masquerade - Hell
May 08 Daytona Beach, FL - Welcome To Rockville Festival
May 09 Asheville, NC - Eulogy
May 10 Carrboro, NC - Cat’s Cradle
May 12 New York, NY - Le Poisson Rouge
May 13 Cambridge, MA - Sinclair
May 14 Hamden, CT - Space
May 15 Washington, DC - Union Stage
May 16 Harrisburg, PA - Arrow at Archer Music Hall
May 17 Philadelphia, PA - Underground Arts
May 19 Detroit, MI - Shelter
May 20 Toronto, ON - Opera House
Electro-Harmonix Unearths the Bass Big Muff Pi 2
Upon resurrecting the long-lost Dual Op-Amp Big Muff 2 circuit with Josh Scott of JHS Pedals, Electro-Harmonix recognized that the pedal would be an instant favorite of low-end lovers and went to work “bassifying” the pedal. Enter the low-end optimized Bass Big Muff Pi 2 with features selected for full spectrum fuzz tones of all flavors.
The Bass Big Muff Pi 2 features the original’s pushed mid grunt and classic singing sustain any Big Muff lover would feel at home with. The bass version now includes a clean BLEND knob and Bass Boost for extended tone performance with Bass Guitar or any player looking for extra clarity and low-end. The typical VOL/TONE/SUSTAIN knobs set overall output volume, treble/bass eq balance, and distortion respectively. BLEND sets the overall wet/dry mix to dial in the perfect balance of fuzzy chaos and solid fundaments from your clean tone. The BASS BOOST switch adds even more low-end to your signal for booming bass tone even at higher TONE knob settings.
Additionally, the pedal features a silent true bypass footswitch with Latching/Momentary Action. Click the footswitch for normal latching functionality or press and hold the footswitch of a momentary burst of fuzz.
The Bass Big Muff Pi 2 ships a 9 Volt battery (power supply optional), is available now and has a U.S. Street Price of $122.00.
“The king of random side quests”: Matty Healy goes viral for helping jumpstart a stranger’s car – and giving a TV to a perplexed Uber driver
All has been quiet in the world of The 1975 since their headline Glastonbury set last year, but it seems frontman Matty Healy has been undertaking a series of random side quests.
At the end of their set last summer, the word ‘DOGS’ flashed up on stage. Since then, Healy has suggested that the band are working on not one, but two new records during a Q&A at a college, and that DOGS could be the name of at least one of them.
No further details have yet been revealed, and it looks like Healy has his hands full. In a recent viral video, he was seen gifting a TV to an unsuspecting Uber driver, and in another viral post was photographed jumpstarting someone’s car.
Healy had recently taken over comedian Dax Flame’s Instagram for a week, where he shared a number of skits, including his random TV giveaway. A few weeks prior, a TikTok circulated of Healy helping to jumpstart the stranger’s car after it broke down.
You can see both posts below:
At the band’s Glasto set, Healy had a rather cool guitar in-hand: a creation of one of the Fender Custom Shop’s most interesting builders, Levi Perry, who has earned a rep for loading his builds with built-in effects. The Fuzz Brain ’67 Tele Matty used on the revered Pyramid Stage offered just that, with built in fuzz, octave and delay circuits.
Whether or not Healy has put any of his custom builds of vintage guitars down on the new albums to come from The 1975 is not yet clear, but one thing we’re certain of is that it won’t be heavy. In 2024, Healy said, “For me… unless you’re Glassjaw, Converge, Refused, or further than that, heavy is fucking lame… We can do heavy all day long, but we’re not because it wasn’t new. We wanted to be something quite new.”
The post “The king of random side quests”: Matty Healy goes viral for helping jumpstart a stranger’s car – and giving a TV to a perplexed Uber driver appeared first on Guitar.com | All Things Guitar.
“Kiss are rock gods, but they don’t have a lot of roll to them”: Public Enemy leader Chuck D responds to Gene Simmons’ comments that hip-hop doesn’t belong in the Rock Hall
![Gene Simmons [main], Public Enemy's Chuck D [inset]](https://guitar.com/wp-content/uploads/2026/02/Gene-Simmons-Chuck-D@2000x1500.jpg)
Should the Rock and Roll Hall of Fame be reserved only for veterans of the rock genre? It’s a stance Gene Simmons holds, and made clear during a recent appearance on the Legends N Leaders podcast.
“Hip-hop does not belong in the Rock And Roll Hall Of Fame – nor does opera or symphony orchestras,” he said.
Whether or not the Rock Hall should include artists from a wide range of genres is up for debate – but the fact remains that many non-rock artists, including hip-hop veterans like Public Enemy, Grandmaster Flash and Run-D.M.C., count themselves as inductees.
And in a new interview with TMZ, Public Enemy leader Chuck D refutes the comments of his fellow Rock Hall of Famer Gene Simmons, saying he’s missing the “roll” part of the Hall’s name.
“Everything else other than rock, when rock ‘n’ roll splintered in the ’60s, is the roll,” he explains [via NME]. “Soul music, reggae, hip-hop, which is rap music. Hip-hop is a culture, so it embodies sight, sound, story, and style.”
“But music, the vocal on top of the music, has already been determined. So that’s the roll, that’s flow, that’s the soul in it. Kiss are rock gods, but they don’t have a lot of roll to them.”
Chuck D is thee right person to address Gene Simmons’ tone deaf commentary.
I love how he focuses on the importance of music creation and narratives because it’s not enough to own our stories.
We have to keep telling them too. #BHMpic.twitter.com/qSIqLcxNTZ
— Renee (@PettyLupone) February 13, 2026
Gene Simmons attracted criticism with his initial comments, in which he spoke about hip-hop: “It’s not my music. I don’t come from the ghetto. It doesn’t speak my language.”
In a recent interview with People, the bassist denied that his comments were racially veiled, saying, “I stand by my words,” while adding: “Ghetto is a Jewish term… How could you be, when rock is Black music? It’s just a different Black music than hip-hop, which is also Black music.”
“Rock ‘n’ roll owes everything to Black music,” he concluded, adding: “All the major forms of American music owe their roots to Black music.”
The post “Kiss are rock gods, but they don’t have a lot of roll to them”: Public Enemy leader Chuck D responds to Gene Simmons’ comments that hip-hop doesn’t belong in the Rock Hall appeared first on Guitar.com | All Things Guitar.
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