Cartwheel: Hotline TNT’s Sweeping Shoegaze Journey of Love and Heartbreak

Hotline TNT is helmed by Will Anderson (on the right), but the interplay between him and fellow guitarist Olivia Garner (second from right) has come to define the band’s massive, shoegaze-influenced wall of sound.
Will Anderson was teaching at a New York high school—until Jack White’s record label came knocking. Now, his band is shooting into the shoegaze stratosphere behind their second record, Cartwheel.
Hotline TNT singer and guitarist Will Anderson started writing songs as a way to work through personal relationships, so it’s no surprise that the New York band’s second LP, Cartwheel, encapsulates Anderson’s modern-day, bard-like quest for romance—for better and for worse—through heavy fuzz pedals, distorted guitars, and layered sonic textures that cascade over propulsive rhythms. Slick engineering from punk artist Ian Teeple and Aron Kobayashi Ritch lift the record into the sweeping shoegaze stratosphere, that bottomless niche of music where heartbreak and mammoth, verbed-out riffs cry on each other’s shoulders.
Each of the 12 tracks on Cartwheel features enormous guitar sounds from Anderson and guitarist Olivia Garner that, together, comprise a thrashing, muddy, angry, joyful, and howling slurry, as if the instruments were in the thralls of a cathartic musical bender. Above it all, Anderson’s simply written lyrics map out tart terrain—anyone who has experienced the throes of love in all of its messy stages will recognize themselves in his words.
Anderson, who is originally from Wisconsin, launched his music career 10 years ago with the Canadian noise-pop band, Weed, before eventually launching Hotline TNT in 2021 with the project’s debut, Nineteen in Love. Anderson traversed music scenes from coast to coast—New York and North Carolina, Wisconsin and neighboring Minnesota, Vancouver and Seattle—and his DIY dedication helped grow Hotline TNT’s audience until the band caught the attention of Jack White’s Third Man Records. Thanks in part to the label’s support, Cartwheel transcends the band’s 2021 introduction, infusing more engaging, heartfelt melodies without losing any of the band’s trademark grinding urgency.
Hotline TNT - "Protocol"
Inspired by his older brother’s jazz band, Anderson started playing bass towards the end of his time in the fifth grade. Within a few years, he’d picked up the guitar, and by high school, he was playing in cover bands with his brother. His college years marked his first attempts at songwriting, a process which, for Anderson, starts with chords and melodies, then lyrics.
Up until signing with Third Man, Anderson had been supplementing his music work with substitute teaching at a public high school in New York City. One of his colleagues had been in the Scottish rock band Teenage Fanclub, and, knowing the difficulty of being a working musician, covered for Anderson at some points so he could work on Hotline TNT matters.
“Whenever I hold a pick, my wrist gets really tight, and I just think, ‘no.’” —Will Anderson
Garner, meanwhile, started playing guitar in middle school in Louisiana. Her dad’s favorite band was the Smiths, which imprinted heavily on her while growing up. But these days, she’s reaching for Neil Young and Crazy Horse, ’90s material like Red House Painters, or ’80s pop band Beat Happening—one of Kurt Cobain’s favorites, Garner notes, and “a band who every person who picks up the guitar should listen to.” (Her other band, in fact, is named Touch Girl Apple Blossom, inspired by lyrics from the Beat Happening track “Indian Summer.”) It’s a mix that makes sense for Hotline TNT’s woolly, melodic maelstrom.
Hotline TNT's Gear
Anderson and Garner aren’t very particular about their gear—Anderson didn’t know what an amp head was until a few years ago—but they favor the fuzzy balance between a Pro Co RAT and an EHX Big Muff.
Photo by Wes Knoll
Guitars
- Yamaha SG-3
- 1996 MIJ Fender Telecaster with Lollar pickups
- 2014 MIM Fender Strat with Lollar pickups
Amps
- Randall RX120RH
Effects
- Pro Co RAT
- EHX Big Muff Pi
Strings
- Ernie Ball Super Slinky Nickel Wound (.009–.042)
Garner now lives in Austin, where Hotline TNT played at SXSW this year. “Will and I run around in similar circles of music,” she says, “so when Hotline TNT was looking for a guitar player, I came to New York and rehearsed with them. It was a good fit, so I joined. It’s been a wild ride.”
Garner acquired her main guitar—a natural finish, short-scale Peavey T-30—from a former bandmate in an upgrade from her previous Squier. “It’s my baby,” she says. “What I like about it is that it’s really lightweight, so no back problems, and I appreciate the short scale.”
“Despite the fact that this particular guitar has been with me for so long, I’m actually not that precious with it.” —Will Anderson
Anderson’s primary guitar is a vintage Japanese-made Yamaha SG-3 that he bought in Vancouver when he was 19. “These days, Yamaha SG-3s go for $2,500 in the high range, but I bought my guitar for about $788 in Vancouver from a music store called Not Just Another Music Shop,” he says. “At the time, I just thought it looked cool. Because I couldn’t afford to buy it outright, I made payments on it all summer long before I could take it home.” Anderson’s SG-3-driven leads on Cartwheel, by the way, are all straight from his fingers. “I do not play with a pick—never have,” he notes. “I get a lot of comments about this at shows. Whenever I hold a pick, my wrist gets really tight, and I just think, ‘no.’”
All three Hotline TNT guitarists, Will Anderson, Olivia Garner, and Matt Berry, come together on Cartwheel to create an entrancing blend of textural distortion under Anderson’s romance-inspired lyrics.
Despite his allegiance to his Yamaha, Anderson admits that he’s actually not all that sentimental about the instrument. The thing he loves best about the SG-3 doesn’t have to do with tone or playability—it’s that it still performs after years of abuse. “Despite the fact that this particular guitar has been with me for so long, I’m actually not that precious with it,” he says. “If something happened to it, I’d be sad, sure, but I’d also think, ‘Alright, it’s time to find a new one.’”
Still, when it comes to travel, Anderson doesn’t take many chances with his guitar. “Overseas, I usually put my guitar on a gig bag that I carry on my back when I board the plane,” he says. “I pretty much talk my way into things and out of things when it comes to dealing with travel.”
“I pretty much talk my way into things and out of things when it comes to dealing with travel.” —Will Anderson
Anderson’s love for his main axe is about as far as his gear passion goes. Though he feels an increasing sense of responsibility to improve his gear knowledge base, he confesses to being happily clueless. A few years back, he bought a solid-state Randall half-stack, which is still his go-to amp, and it provided an unexpected learning experience. “To show you how little I know about gear, two or three years ago somebody said to me, ‘Can I borrow your amp head for our set?’ I was like, ‘You can. Is it onstage now? Because I don’t know. What is that thing?’ I didn’t know what a head was until recently.”
While Anderson plucks out finer lead parts, Garner says her role is to create a “giant wall of sound” with open chords and thick distortion.
Photo by Jade Amey
Effects-wise, Anderson and Garner strike a warm balance between a Pro Co RAT, a Boss DS-1, and a Big Muff Pi that Anderson bought in high school. The interplay between the three is all over Cartwheel, but is especially prominent on “Protocol” and “BMX,” which both utilize the pedals’ respective distortions as percussive and resonant elements. The blend creates a sort of halo: It extends outward like its own multi-layered cloud strata, enveloping the lyrics in “I Thought You’d Change,” and creating an uplifting effect that counters the descending melodies in “Stump” and “Son in Law.”
The goal, says Garner, is to create “a giant wall of sound with big, giant chords.” “I hold down the big chords while Will will do his leads,” she says. One of Anderson’s oldest friends, Matt Berry, recently joined the band, completing a triple-guitar threat. (Berry serves as de facto guitar tech for the band, even changing Anderson’s strings.)
“I pretty much talk my way into things and out of things when it comes to dealing with travel.” —Will Anderson
Hotline TNT isn’t Anderson’s only outlet. He’s morphed his extracurricular interests into a hydra-esque presence online, which includes hosting both a Twitch stream and an Instagram talk show, and publishing a basketball zine. “It’s all about feeding the same vision and aesthetic,” says Anderson. “People seem to be rocking with it, so that’s cool.”
Will Anderson was teaching at a New York high school before Jack White’s Third Man Records signed Hotline TNT.
Photo by Jade Amey
But his other endeavors might have to be set on the backburner this year, as Hotline TNT’s stock is rising. They spent much of 2023 on the road, but this time out, they had a better van and sleeping accommodations. Even if they didn’t, though, Anderson wouldn’t mind. Touring feels like home—especially if he gets to see the midwest in the fall. Early this year, Hotline TNT is ripping through mainland Europe—including Italy, France, and Germany—and later, they’ll hit Japan, a personal highlight for Anderson. In line with their laissez-faire approach to gear, Anderson says they plan to leave their gear at home, and pick up fill-ins overseas to make sure they don’t run into international voltage variance issues.
Anderson currently has six demos in the hopper toward his next album. Usually, he says he’d already have another record ready to go, but Hotline TNT’s explosion in popularity has kept them busy on the road, and working with Third Man has flooded the band with exciting opportunities. But Anderson does have a shortlist of people to work with for the next release, and a rough sketch of the collection’s themes: relationships, heartbreak, and family.
But don’t expect to learn what the band’s name means any time soon. “It does stand for something, but I cannot reveal publicly what it is because me and the original members of the band from four years ago came up with it,” says Anderson. “It’s our sacred vow to keep that a secret.”
YouTube It
Bathe in colored stage lights and sweet, thick distortion with Hotline TNT’s live performance in Toronto in March 2023.
It’s almost over, but there’s still time to win! Enter Stompboxtober Day 30 for your shot at today’s pedal from SoloDallas!
The Schaffer Replica: Storm
The Schaffer Replica Storm is an all-analog combination of Optical Limiter+Harmonic Clipping Circuit+EQ Expansion+Boost+Line Buffer derived from a 70s wireless unit AC/DC and others used as an effect. Over 50 pros use this unique device to achieve percussive attack, copious harmonics and singing sustain.
Developed specifically for Tyler Bryant, the Black Magick Reverb TB is the high-power version of Supro's flagship 1x12 combo amplifier.
At the heart of this all-tube amp is a matched pair of military-grade Sovtek 5881 power tubes configured to deliver 35-Watts of pure Class A power. In addition to the upgraded power section, the Black Magick Reverb TB also features a “bright cap” modification on Channel 1, providing extra sparkle and added versatility when blended with the original Black Magick preamp on Channel 2.
The two complementary channels are summed in parallel and fed into a 2-band EQ followed by tube-driven spring reverb and tremolo effects plus a master volume to tame the output as needed. This unique, signature variant of the Black Magick Reverb is dressed in elegant Black Scandia tolex and comes loaded with a custom-built Supro BD12 speaker made by Celestion.
Price: $1,699.
“I’m a fan of the riff,” says Jerry Cantrell. “I’m always collecting ideas, and you never know when they’re going to come, or what they’re going to turn into
The 6-string wielding songwriter has often gotten flack for reverberating his classic band’s sound in his solo work. But as time, and his latest, tells, that’s not only a strength, but what both he and loyal listeners want.
The guitarist, singer, and songwriter Jerry Cantrell, who is best known for helming Alice in Chains, one of the most influential bands in hard-rock history, is an affable, courteous conversationalist. He’ll apologize, for instance, when he’s been on a PR mission all afternoon and needs to eat something. “I’m sorry. I’m starving. I’m going to make a BLT while we finish this interview,” he says on a recent Zoom call.
“That’s bacon frying, by the way,” he adds, in case his interviewer was wondering about the sizzling sound in the background.
Over the better part of an hour, only a couple of points of discussion seem to stoke his ire. One would be ’90s-era culture writers who felt compelled to brand a wide range of interesting bands from the same city (Seattle) with the same hollow tag (grunge). “It’s just a fucking label,” he says. “But I get it. You gotta have a fucking descriptor.” (When he gets miffed, or especially enthusiastic, Cantrell’s F-bombs can progress from steady punctuation to military fusillade.)
Another pet peeve: Those who seem bewildered by the fact that his solo work often evokes Alice in Chains. “It always trips me out,” he says, “when I hear comments or get questions all the time, like, ‘Well, this sounds like Alice.’ Well, what do you think it was going to sound like? I’m the guitar player and the songwriter of Alice. That’s what I do. Do you want me to not be myself? It’s just a bizarre, bizarre thing.” A big laugh follows.
“I’m always collecting ideas, and you never know when they’re going to come, or what they’re going to turn into. I look at it like depositing money in a bank.”
Cantrell, 58, has a right to feel irked by such exchanges. After all, he and the classic Alice lineup of vocalist Layne Staley, bassist Mike Starr, and drummer Sean Kinney invented a mesmeric, instantly identifiable sound that continues to stand alone in heavy music. On paper, the Alice formula doesn’t indicate multi-platinum success outright: off-kilter vocal harmonies shared between Staley and Cantrell, which can call to mind arcane American folk music or the classical avant-garde; parts written in odd time; lyrics about the most wrenching depths of drug addiction, a black cloud that followed the band throughout its ascent and tragically claimed Staley’s life in 2002 and Starr’s in 2011.
But Cantrell and Alice were also dedicated students of hard-rock history, who, along with their Seattle peers Soundgarden, helped to reinvent chart-topping metal for the alternative-rock era. To be sure, the guitarist ranks among the great riff maestros, and his solos, whether all-out wailing or comprised of a few bluesy bends, always had weight and meaning within the context of the song. And with all due respect to Extreme, no other hard-rock act explored acoustic music with more brilliant results.
Boasting nine tracks and coproduced by Cantrell and Joe Barresi, I Want Blood keeps the guitarist’s expert riffs and lyrical solos front and center.
On their masterpiece, the 1992 album Dirt, Alice in Chains managed to take Black Sabbath’s template for molten riffs into stranger, more artful, and more desperate territory, yet they also crafted tracks chock-full of hooks. A seamless meld of pop moves and bone-crushing heaviness is something of a holy grail for hard-rock songwriters and producers, and Dirt nabs it. Think of tracks like “Them Bones,” with its 7/8 intro riff and aslant vocal-harmony verses that resolve into a punchy, satisfying chorus—among the pithiest assessments of mortality in rock ’n’ roll. Or “Rooster,” an homage to Cantrell’s Vietnam-veteran father, with its left-field R&B harmonies and molasses-drip tempo. Somehow, these are songs that can rattle around in your brain throughout entire road trips or workdays; as of this writing, Dirt has sold five-million copies in the U.S.
“Let the players find their songs, and the songs find their players.”
Cantrell’s new album, I Want Blood, is his fourth solo release, and it’s a strong argument that he should continue to sound like himself and his legacy. Coproduced by Cantrell and hard-rock studio wizard Joe Barresi, its nine tracks tap into the Alice in Chains aesthetic in a way that will hit a sweet spot for longtime fans. As on the albums that Alice has released since Staley’s passing, with vocalist William DuVall, that indefinable sense of unease, that smoky ambiance of dread, isn’t so enveloping. But Cantrell’s most crucial gifts—the riff science, the knack for hooks, the belief that solos should be lyrical, musical, singable—are front and center, and razor-sharp.
What’s more, he’s recruited fellow hard-rock royalty to fulfill this vision. In addition to Barresi, whose credits comprise Kyuss, Melvins, Tool, QotSA and many, many others, the album’s personnel includes bassists Robert Trujillo and Duff McKagan, and drummers Mike Bordin (Faith No More) and Gil Sharone (Marilyn Manson, the Dillinger Escape Plan).
Through Alice in Chains’ rise in the early ’90s to recent years, Cantrell’s hard-rock presence has remained unshakeable. Here, he strikes a timeless rock 'n' roll pose.
Photo by Jordi Vidal/PhotoFuss
I Want Blood is a ripper. “Vilified” couples a chunky metal riff with wah and talk-box accents and a wandering, Eastern-tinged melody; “Off the Rails” matches a line à la John Carpenter’s Halloween score with a groove-metal thrust, before a radio-ready chorus kicks in. Ditto the chorus of “Let It Lie,” whose verse riff is pure Sabbath bliss. The earworm title track is the stuff music-sync-licensing dreams are made of. When he dials the tempo back toward ballad territory, as on “Echoes of Laughter,” “Afterglow,” or “It Comes,” Cantrell’s instinct for songcraft seems to get even stronger. As with Alice’s best LPs, I Want Blood stays with you and grows on you until it’s in steady rotation.
So what of that songcraft? It’s been over three decades since Cantrell debuted on record, and he’s still mining heavy gold. What’s the strategy, and what’s the secret? Does Cantrell’s work get harder or easier as he edges toward 60? “There’s a duality to it,” he says. “So in one way, I can answer that it’s pretty easy for me to make music. And then also, it’s fucking incredibly difficult to make something good. It can be both.”
He details the three-part work cycle that has defined his adult life: “There’s the demo process of writing. There’s the preproduction and actual recording of a record. And then there’s the period where you go out and tour it, along with all your other material, in a set. During that last third of the process, I’m really not writing, but through all the phases I’m always collecting riffs.” He’s also continually listening to great music, and allowing it to seep in. In the previous week, Cantrell says, he’d “rocked a bunch of Bad Company, UFO, AC/DC, some Maiden, some Hank Williams, some Ernest Tubb, some ‘Jungle Boogie.’”
Jerry Cantrell's Gear
This photo, taken from underneath the stage, shows Cantrell in his element, performing with Alice in Chains at Lollapalooza in the early ’90s.
Photo by Ken Settle
Guitars
- G&L “Blue Dress” Rampage
- G&L “No War” Rampage
- Gibson “D Trip” Les Paul Custom
- Gibson Les Paul Junior
- Gibson Flying V
- G&L ASAT
Amps
- Bogner Fish preamp
- Friedman JJ-100 signature head
- Snorkeler (Bogner-modded Marshall JCM800)
Effects
- Dunlop Jerry Cantrell Firefly Cry Baby Wah
- MXR Jerry Cantrell Firefly Talk Box
- MXR EQ
- MXR EVH Flanger
- MXR Smart Gate
- MXR Timmy
- MXR Poly Blue Octave
- MXR Reverb
- Ibanez Tube Screamer
- Boss CE-5
- Boss DD-500
- Strymon Ola dBucket Chorus & Vibrato
Strings & Picks
- Dunlop strings
- Dunlop picks
“I’m a fan of the riff,” he adds. “I’m always collecting ideas, and you never know when they’re going to come, or what they’re going to turn into. I look at it like depositing money in a bank. Like if I’m in a dressing room somewhere and I’m just warming up, and I see [one of my bandmates] react to something that I’m playing—put it in the bank. If I have a superpower, it is being able to hear something that might be a cool thing to work up and develop into a full-on song.
“When I’m slugging out riffs and just jamming out, if it feels good to rock out and your head starts moving and your foot starts tapping and you got something good—you know. It’s got to hit on a primal level first, and satisfy in that way.”
Writing, then, is often the more cerebral duty of assembling the best of what Cantrell has accrued and documented. “Like Lego pieces,” he says. “That used to be one of my favorite toys when I was a kid—Legos. Building stuff, block by block.” But, Cantrell points out, the process can also be more straightforward; he’ll start with a single riff and attempt to build the song’s infrastructure out from there, “throwing options at it, and ideas,” he says.
Cantrell, pictured here at 27, has carried on his hard-rock legacy with confidence, defying those who question his support and continuation of Alice in Chains’ influential sound.
Photo by Ebet Roberts
“I don’t necessarily know where I’m going a lot of the time. I just know that I have an intention to get there, and I’ve been able to take that journey to completion and make some pretty decent albums and songs over the years. And so I have the confidence to know that I probably can do this again—if I just put my mind to it and go through the process and work my ass off in concert with a group of people who have the same thought process.”
“There should always be the threat that the train is going to come off the rails.”
Cantrell is most certainly a “band” guy. For I Want Blood, he decided to play through a bunch of the material with his famous friends in preproduction, rather than simply assigning them one or two songs to guest on: “Let the players find their songs, and the songs find their players,” as he puts it. “It might’ve been with a little bit of frustration, because they got day jobs in some pretty impressive bands.” Time wasn’t exactly plentiful, but he did get in some living-room jams and other sessions with Trujillo, Bordin, and McKagan that ensured each track had its best possible lineup. Fortunately, Cantrell’s coproducer, Barresi, is similarly averse to cutting corners. Cantrell describes him as “a long-haul trucker” who “doesn’t suffer fools.”
“I’m an architect who is also a builder. You know what I mean?” says the guitarist, alluding to the relentless, often tedious work of record-making.“There should always be the threat that the train is going to come off the rails,” he says. For both men, Cantrell explains, “When you’re done with the record is when you think you couldn’t have done it any better.” Or, as Barresi likes to say, “How do you know you’ve gone too far unless you’ve already been there?”
Barresi also has a kind of encyclopedic recall of rock sonics. “He’s a guy who knows where all the bodies are buried,” Cantrell says, “and any combo of stuff you want to achieve: ‘Like, you know that song in The Departed, the Stones tune where it sounds like the guitar is going through a Leslie?’ [“Let It Loose,” off Exile on Main Street.] ‘Yeah, I know that pedal, man. Let’s grab it.’ You give him a reference and he knows how to replicate it.”
“I love working with a lot of different colors,” Cantrell says. “So I’ll use any guitar or any amp or any pedal to get a certain sound, and that all comes with experimentation. But it always starts with the basics.”
“When you’re done with the record is when you think you couldn’t have done it any better.”
If you’re a faithful reader of Premier Guitar, you may already know what that means: two mid-’80s G&L Rampages and the Les Paul Custom that Cantrell relied on to write his 2002 solo album Degradation Trip (the instrument with the custom blowtorch finish job). In amps, his go-to was the Bogner Fish preamp that he immortalized in Alice in Chains, in addition to his Friedman JJ-100 signature head. Cantrell also mentions the Bogner-modded Marshall sound he’s known for—aka the fabled Snorkeler—alongside tones from Orange and Laney. Among the guitars that made the cut: a butterscotch Les Paul Junior that was a gift from Billie Joe Armstrong a couple years back. When asked about effects, picks, and strings, Cantrell responds that he’s “a Dunlop guy”—which includes his MXR Jerry Cantrell Firefly Talk Box and Dunlop signature Cry Baby wah pedals.
YouTube It
Live at the Grammy Museum in Los Angeles in 2021, Jerry Cantrell testifies to his status as one of the most iconic guitarists in hard-rock history.
Cantrell is a fount of anecdotes, and talking guitar is a great way to hear some of them. He first saw the Rampage onstage in a club, after moving from Washington to Dallas, Texas, in the mid-’80s. Later, he began jamming with some guys who played Rampages, and picked up a job at a music shop that their father managed. The shop was a G&L dealer, so Cantrell paid for his instruments in part by working there. The Rampage, he adds, “just felt right.”
“The guy who built the necks and bodies that Eddie used to build his guitars was right in my backyard.”
“You gotta give a lot of credit to Eddie Van Halen,” he adds. “[The Rampage] was basically Leo Fender’s answer to Frankenstein, to the Charvel/Jackson model. One tremolo, one knob, one humbucker; that’s it. No-nonsense, just a meat-and-potatoes rock ’n’ roll guitar.”
A few years before the Rampage—Cantrell pinpoints 1979, because Van Halen II was out—he obtained a neck that was originally intended for EVH, and used it on a Strat he built himself in woodshop. The neck was payment from Boogie Bodies, the legendary guitar-parts manufacturer where Lynn Ellsworth and Jim Warmoth laid the foundation for the Superstrat era. “That shop was in Puyallup, Washington,” Cantrell says, “and I lived in Spanaway, which was right next door.The guy who built the necks and bodies that Eddie used to build his guitars was right in my backyard.”
Cantrell was barely in his teens when he got a gig helping out around the shop, and earned a “beautiful bird’s-eye maple neck” that didn’t make it to Eddie because it had a small divot in the 3rd fret. Cantrell recalls today that his duties included sweeping up sawdust. Then, as now, it was all about the work.
Kevin Shields of My Bloody Valentine is one of the loudest guitarists around. And he puts his volume to work creating mythical tones that have captured so many of our imaginations, including our special shoegaze correspondent, guitarist and pedal-maestro Andy Pitcher, who is our guest today.
My Bloody Valentine has a short discography made up of just a few albums and EPs that span decades. Meticulous as he seems to be, Shields creates texture out of his layers of tracks and loops and fuzz throughout, creating a music that needs to be felt as much as it needs to be heard.
We go to the ultimate source as Billy Corgan leaves us a message about how it felt to hear those sounds in the pre-internet days, when rather than pull up a YouTube clip, your imagination would have to guide you toward a tone.
But not everyone is an MBV fan, so this conversation is part superfan hype and part debate. We can all agree Kevin Shields is a guitarists you should know, but we can’t all agree what to do with that information.