A sugar-rush basement brew of choogle, slo-mo kraut, and garage cosmic jazz.

Writhing Squares

Out of the Ether

The Writhing Squares’ new LP is a head-bludgeoning shovelful of The Stooges-level primitivism and it thrillingly explodes the notion of what such primitivism should sound like—using a skeletal band construct (overdriven-to-fuzzy bass, sax, flute, drum machine) to create a private little space-rock cosmos lit by the spirits of basement psychedelic alchemists like Madrigal and Michael Yonkers.

Sometimes there’s a whiff of First Issue‑era Public Image Ltd, with Daniel Provenzano standing in for Jah Wobble’s bass, Robert Quine’s guitar, and John Lydon’s nitrous-echo vox all at once. It’s also easy to hear the throbbing economy of early dub. Kevin Nickles’ processed flutes add doses of U.K. pastoral prog. And the convergence of sax and bass filth conjures thoughts of a parallel-universe Fun House.

It’s killer for warding off a truck-stop-coffee crash at 4 a.m.—a trance-y saccharine rush of squalid and transcendent cosmic rock, minus the overt psychedelic trappings.

Must-hear track: “A Whole New Jupiter”

Photo by cottonbro



  • Demonstrate a variety of drone guitar techniques and approaches.
  • Examine drone points of reference from an array of genres.
  • Learn how to use standard, drop D, and uncommon alternate tunings in drone contexts.

Playing a melody or solo with a “drone” means playing over just one note or, in some instances, one chord. Besides playing without any harmonic accompaniment, it is about as simple a concept as one can image, which also means the possibilities are endless. We’ll look at ways to use drones in a variety of contexts, from ancient to contemporary, blues to metal, traditional to experimental.

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See a sampling of picks used by famous guitarists over the years.

Marty Stuart

Submit your own artist pick collections to rebecca@premierguitar.com for inclusion in a future gallery.

The latest in EHX's 9 Series is designed to turn guitar tone into a string ensemble synthesizer.

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