
Jose González's Cordoba Rodriguez model is based on a 1970s instrument made by the famed Rodriguez family of luthiers from Andalusia's city of Córdoba. It's large, but lightweight, with five rather than the more typical seven braces.
With nylon-string guitars, spare effects, avian accompanists, and an introspective spirit, the songwriter and composer built the quietly organic workspace for his new solo album, Local Valley.
Acoustic guitarist José González doesn't give in to the fast-paced pressures of the music business. If you take a look at his discography, you'll see that the Swedish-Argentinian singer/songwriter has released just three solo studio albums in the past 18 years—the first having come out in 2003, when he was 25. (To be fair, he has also released two full-length albums and several EPs with his band, Junip, but most of these were put out in the '00s.) González turned 43 this year, just in time for the recent release of his fourth studio album, Local Valley.
"I wish I was faster, but I am slow," he says. "I feel like I'm doing a style of music that isn't trend-sensitive, so I think I'm allowed to take my time. Even if I wanted to push the pace, that would be a very unnatural rhythm."
José González - Line of Fire (Lyric Video)
Local Valley is anything but an interruption of González's natural rhythm. The collection of astral, quietly textural compositions for solo fingerpicked nylon-string guitar and voice evokes an ephemeral sense of solitude, creating its own realm in which listeners can, like González, distance themselves from external pressures. It's an extension of the same reality González designs for himself.
That's not to say that he hasn't had a full, successful career. His music has been placed in TV shows, including The O.C., One Tree Hill, Bones, House, and Friday Night Lights, and in 2011 he went on a tour with the Göteborg String Theory that spotlighted 11 arrangements of González's songs for orchestra. In 2013, he worked with Ben Stiller on the soundtrack of Stiller's remake of The Secret Life of Walter Mitty, which features González's solo work along with music from Junip.
"The existential lyrics are more acute now than they used to be, in a good way, because I'm comfortable with the finite nature of reality."
When discussing Local Valley, González reflects frequently on how he's changed as a musician over the years, both in terms of his approach to music and in his life philosophy. Out of everything, growth seems to be his priority. The album was wrapped in March 2020, and its release was put on hiatus for what has now been a year-and-a-half, due to the pandemic. But like the rest of González's work, it has a timeless quality that no doubt stems from that progressive mindset.
Existential Stead
The process of making Local Valley goes all the way back to 2017, when its songs were seeds, in the form of early demos. The following year, González got a residency at an artists' retreat in Grez-sur-Loing, France, where he decided he was going to begin more seriously writing and recording. There, he composed almost half of the album.
TIDBIT: Like most of his solo albums, this year's Local Valley was recorded by González in his preferred setting—at home. That approach allows him to work at his own pace.
"I had an ambition to go back to my first album and do short songs that were pretty melodic and guitar-oriented. Once I had those songs, I allowed myself to experiment a bit, put the producer's hat on, and not so much be the one who wants to impress people with just this one guitar." He decided to use a looper for some of the tracks, and on the songs "Tjomme," "Lilla G," and "Swing," he used a drum machine—which he says he's always wanted to do. Using the two devices also allows him to create more layers that he can effectively recreate alone when playing live.
During this timeframe, González and his partner, Swedish designer Hannele Fernström, purchased a summer house in Hakefjorden, an hour outside of his home city of Gothenburg, Sweden, where González was then able to record in a quieter environment. (All but his second album were home-recorded.) Onsongs such as "Visions" and "Lasso In," you can hear his field recordings of local birdsong.
Photo by Jim Bennett
The songwriter's guitars of choice are an Esteve 9 C/B and a Córdoba Rodriguez. The former is equipped with a Fishman Prefix Pro Blend pickup. Both guitars feature something else that's crucial to González's recording preferences: very old strings. "I try to vary how old they are for the different songs to get different sustain," he says. "There's something about the lack of treble that I like." A couple of González's other recording tricks include using a wooden percussion stomp box run through an octave pedal, and using a de-esser on the guitar—a favorite technique that takes away the "metallic-sounding frequencies. I'm allergic to 2 kilohertz," he says.
For the first time, González wrote lyrics in Swedish and Spanish—nearly half of the songs on the album are written in both of what he calls his native tongues. The use of the latter was influenced by his daughter Laura, who was born in 2017. When Laura was a toddler, he spoke to her in Spanish, which helped to keep the language alive in his mind while he was writing the album.
José González's Gear
José González plays live at the 9:30 Club in Washington D.C. in 2015. González uses Fishman pickups in his nylon-strings and places duct tape over the soundholes to help control guitar tones when playing in large rooms.
Photo by Matt Condon
Guitars
- Esteve 9C/B with Fishman Prefix Pro Blend pickup
- Córdoba Rodriguez
Amp
- Schertler Jam (wood)
Effects
- Boss OC-3 Super Octave
Strings
- D'Addario Pro-Arté Silverplated Wound, Nylon Core EJ46 sets
No matter the language, González's lyrics consistently match the nature of his music in their poetry and philosophical style. That's something that happens to have been influenced by Laura's birth as well. "Becoming a father and having parents that are getting older puts me in the middle of life position where I realize that I'm older than what my father or mother were when they had me," González expresses. "I think more about death than usual—not because I have to, but it just comes with the territory. The existential lyrics are more acute now than they used to be, in a good way, because I'm comfortable with the finite nature of reality."
Varied Voices
Before he got into guitar, González played the recorder and explored a Casio synth as a child. Then, around the age of 13 or 14, he and his friends discovered their passion for music. He began playing bass in a hardcore punk band called Back Against the Wall, and, at the same time, discovered his affinity for the nylon-string guitar. "I always felt like it sounded better to my ears than steel-string or electric guitar," he says. His dad, who used to sing in an Argentinian folk band, would ask González to learn songs by the Beatles and bossa nova artists like João Gilberto to accompany him.
By the time he began to record his debut, he was committed to the instrument. "I felt like everyone else was playing steel-string guitars and they were really into Americana, and I had my Latin-American roots," he says. "Also, the '60s, '70s folk singers from Sweden … all of them had Spanish guitars and there was something nostalgic for me with that sound—the lack of treble and sort of earthy sound."
"I write the guitar slightly above my skill level. I need my time to rehearse quite a lot."
The mindful, sedate colors of González's music are not so unlike those of English singer/songwriter Nick Drake—an artist González has often been compared to. González actually hadn't heard of the songwriter before his first album, up until one of the last songs he wrote for it—"Stay in the Shade"—which he says is essentially a "Nick Drake rip-off." His preference for very old strings is another thing he's borrowed from Drake.
Otherwise, González's influences tend to fall mostly outside of the realm of Western music, stretching globally to include the leader of the Nueva Trova movement, Cuban guitarist Silvio Rodríguez; the Argentinian singer Mercedes Sosa; Brazilian composers Caetano Veloso and João Gilberto; and jazz singer Monica Zetterlund and jazz pianist Jan Johansson, both Swedes. On Local Valley, says González, you can also hear the influence of West African guitarist Ali Farka Touré, the Tuareg band Tinariwen, and Tuareg singer/songwriter Bombino. "Valle Local" and "Head On," from the album, happen to be inspired by a jam session with Bombino, says González. He adds to the list Ghanian high-life, dance-oriented music from Congo, Afrobeat from Nigeria, and raga Bhoopali.
González's recording strategy included making field recordings of the birds around his home, and those appear on several of Local Valley's tracks, including "Visions" and "Lasso In."
Then—and we're still talking about influences—there's economics. "From the second album and on, I started to let myself be inspired by books and not only write about internal feelings, but more about an extroverted view on the world," he elaborates. "I try to push myself into not falling into cliches in terms of ideologies, but really try to understand difficult subjects, including economics. I've been reading [books by economists] Joseph Stiglitz, Mariana Mazzucato, and Angus Deaton." The song "Head On" mentions rent seekers and value extractors, concepts that González says have negative connotations on both the right and left. He says it was his ambition to write a song that was angry without being irritating to listeners of either political leaning.
Aural Analysis
González is not what you'd call a prolific songwriter, and that's something he's perfectly comfortable with. He likes to take his time, to the point where, when working on The Secret Life of Walter Mitty, his gradual approach caused Stiller to adapt from his original idea of having González write the entire soundtrack to instead inviting in another composer, Teddy Shapiro, to complete the score. (González is featured six times on the soundtrack: four times as a solo performer and twice with Junip.)
Particularly with his solo music, González says, "I write the guitar slightly above my skill level. I need my time to rehearse quite a lot, and that's one of the main reasons why I'm slow. I set the bar a bit higher than my skills." He crafts his guitar parts somewhat analytically—something he relates to his experience of having pursued a PhD in biochemistry before he devoted himself to his music. "I do a lot of trial and error before I have my final product."
González performs on the Bigfoot Stage at the 2015 Sasquatch! Festival in George, Washington. He was accompanied by a percussionist for a set mostly of songs from his first solo album.
Photo by Debi Del Grande
"I have my different tunings and that allows me to not think in terms in chords, but to think in bass lines and arpeggios," he continues. "Nick Drake has been a big inspiration in terms of tuning and using the thumb to do the bass, and having arpeggios to do the body of the song. Then I always think about the highest note as an extra melody. That's how I try to make the song as dense as possible with only one guitar." González uses a variety of alternate tunings. On "El Invento," the tuning is in drop D. On "Visions," it's D–A–D–A–B–E. Other tunings on the album include E–A–D–A–B–E and B–A–D–A–B–E. He also has a proclivity to avoid the third—"either major or minor." Although, "Nowadays, I'm more okay with major chords—but I'm still avoiding minor."
Over the years, González has simplified his songwriting process. He says he used to follow a set of rules, inspired by Danish film directors Lars von Trier and Thomas Vinterberg, who set limits and edicts for how they could make films with their director-centric "Dogme 95 Manifesto," created in 1995. Two of González's primary rules are not writing verse-chorus-type songs, in favor of more linear writing, and avoiding using "me" or "I" in the lyrics.
But if the gentle, organic progression of his career says anything about González, it's that he's eased up quite a bit on himself since he started out. "Since then, I've been okay to not have any rules," he says. "Nowadays, I'm just happy to make things up."
José González at Michelberger Hotel - Jim Beam Welcome Session #3
José González is well in form as he performs "Valle Local" from his new album, showcasing his expert fingerpicking on nylon-string guitar while accompanying his softly sung vocal.
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Lutefish, the real-time music collaboration device and platform, is excited to announce a suite of new features designed to simplify setup, streamline collaboration, and offer more flexible subscription options for Lutefish Stream users. These latest updates, Audio Presets, Automatic Session Recall, Improved Scheduling with Contact Visibility, and a new Yearly Subscription Plan, are all about making it easier than ever for musicians to jam together, no matter where they’re based.
Save Time and Stay in the Flow with Audio Presets & Session Recall
Musicians can now save and reuse their exact audio settings, reducing setup time and ensuring every session sounds exactly as they want.
- Automatic Session Recall: When users leave a session, their current audio levels are automatically saved and restored when they rejoin.
- User-Defined Audio Presets: Each user can create and name up to five custom presets, like “Band Practice,” “Studio Mic Setup,” or “Quick Jam,” making it effortless to jump back in with the perfect sound.
“These tools are all about saving time and hassle,” said Patrick Finn, Business Manager at Lutefish. “Musicians want to make music, not spend time rebalancing levels every session. With presets and recall, we’re giving them time back and helping them sound their best, every time.”
Smarter Scheduling and Contact Visibility
The latest update to Lutefish also made it easier to find collaborators and book sessions. Users can now:- View all their contacts at a glance when scheduling a session.
- Instantly identify which contacts own a Lutefish Stream device—so they will always know who’s ready to jam.
Go Yearly and Save 20%
Lutefish now offers a Yearly Subscription Plan, providing users with the same great access as the monthly plan at a 20% discount.
This option is now available within the Lutefish app and web platform, and current monthly users are eligible for a discount with an upgrade to a yearly subscription.
Lutefish’s mission has always been to empower musicians to connect and collaborate without boundaries. With these new updates, Lutefish Stream continues to break down barriers—whether you’re jamming with a friend across town or collaborating with a bandmate 500 miles away.
For more information and to start jamming today, visitlutefish.com.
The veteran Florida-born metalcore outfit proves that you don’t need humbuckers to pull off high gain.
Last August, metalcore giants Poison the Well gave the world a gift: They announced they were working on their first studio album in 15 years. They unleashed the first taste, single “Trembling Level,” back in January, and set off on a spring North American tour during which they played their debut record, The Opposite of December… A Season of Separation, in full every night.
PG’s Perry Bean caught up with guitarists Ryan Primack and Vadim Taver, and bassist Noah Harmon, ahead of the band’s show at Nashville’s Brooklyn Bowl for this new Rig Rundown.
Brought to you by D’Addario.Not-So-Quiet As a Mouse
Primack started his playing career on Telecasters, then switched to Les Pauls, but when his prized LPs were stolen, he jumped back to Teles, and now owns nine of them.
His No. 1 is this white one (left). Seymour Duncan made him a JB Model pickup in a single-coil size for the bridge position, while the neck is a Seymour Duncan Quarter Pound Staggered. He ripped out all the electronics, added a Gibson-style toggle switch, flipped the control plate orientation thanks to an obsession with Danny Gatton, and included just one steel knob to control tone. Primack also installed string trees with foam to control extra noise.
This one has Ernie Ball Papa Het’s Hardwired strings, .011–.050.
Here, Kitty, Kitty
Primack runs both a PRS Archon and a Bad Cat Lynx at the same time, covering both 6L6 and EL34 territories. The Lynx goes into a Friedman 4x12 cab that’s been rebadged in honor of its nickname, “Donkey,” while the Archon, which is like a “refined 5150,” runs through an Orange 4x12.
Ryan Primack’s Pedalboard
Primack’s board sports a Saturnworks True Bypass Multi Looper, plus two Saturnworks boost pedals. The rest includes a Boss TU-3w, DOD Bifet Boost 410, Caroline Electronics Hawaiian Pizza, Fortin ZUUL +, MXR Phase 100, JHS Series 3 Tremolo, Boss DM-2w, DOD Rubberneck, MXR Carbon Copy Deluxe, Walrus Slo, and SolidGoldFX Surf Rider III.
Taver’s Teles
Vadim Taver’s go-to is this cherryburst Fender Telecaster, which he scored in the early 2000s and has been upgraded to Seymour Duncan pickups on Primack’s recommendation. His white Balaguer T-style has been treated to the same upgrade. The Balaguer is tuned to drop C, and the Fender stays in D standard. Both have D’Addario strings, with a slightly heavier gauge on the Balaguer.
Dual-Channel Chugger
Taver loves his 2-channel Orange Rockerverb 100s, one of which lives in a case made right in Nashville.
Vadim Taver’s Pedalboard
Taver’s board includes an MXR Joshua, MXR Carbon Copy Deluxe, Empress Tremolo, Walrus ARP-87, Old Blood Noise Endeavors Reflector, MXR Phase 90, Boss CE-2w, and Sonic Research Turbo Tuner ST-200, all powered by a Voodoo Lab Pedal Power 2 Plus.
Big Duff
Harmon’s favorite these days is this Fender Duff McKagan Deluxe Precision Bass, which he’s outfitted with a Leo Quan Badass bridge. His backup is a Mexico-made Fender Classic Series ’70s Jazz Bass. This one also sports Primack-picked pickups.
Rental Rockers
Harmon rented this Orange AD200B MK III head, which runs through a 1x15 cab on top and a 4x10 on the bottom.
Noah Harmon’s Pedalboard
Harmon’s board carries a Boss TU-2, Boss ODB-3, MXR Dyna Comp, Darkglass Electronics Vintage Ultra, and a Voodoo Lab Pedal Power 2 Plus. His signal from the Vintage Ultra runs right to the front-of-house, and Harmon estimates that that signal accounts for about half of what people hear on any given night.
Kiesel Guitars has introduced their newest solid body electric guitar: the Kyber.
With its modern performance specs and competitive pricing, the Kyber is Kiesel's most forward-thinking design yet, engineered for comfort, quick playing, and precision with every note.
Introducing the Kiesel Kyber Guitar
- Engineered with a lightweight body to reduce fatigue during long performances without sacrificing tone. Six-string Kybers, configured with the standard woods and a fixed bridge, weigh in at 6 pounds or under on average
- Unique shape made for ergonomic comfort in any playing position and enhanced classical position
- The Kyber features Kiesel's most extreme arm contour and a uniquely shaped body that enhances classical position support while still excelling in standard position.
- The new minimalist yet aggressive headstock pairs perfectly with the body's sleek lines, giving the Kyber a balanced, modern silhouette.
- Hidden strap buttons mounted on rear for excellent balance while giving a clean, ultra-modern look to the front
- Lower horn cutaway design for maximum access to the upper frets
- Sculpted neck heel for seamless playing
- Available in 6 or 7 strings, fixed or tremolo in both standard and multiscale configurations Choose between fixed bridges, tremolos, or multiscale configurations for your perfect setup.
Pricing for the Kyber starts at $1599 and will vary depending on options and features. Learn more about Kiesel’s new Kyber model at kieselguitars.com
The Sunset is a fully analog, zero latency bass amplifier simulator. It features a ¼” input, XLR and ¼” outputs, gain and volume controls and extensive equalization. It’s intended to replace your bass amp both live and in the studio.
If you need a full sounding amp simulator with a lot of EQ, the Sunset is for you. It features a five band equalizer with Treble, Bass, Parametric Midrange (with frequency and level controls), Resonance (for ultra lows), and Presence (for ultra highs). All are carefully tuned for bass guitar. But don’t let that hold you back if you’re a keyboard player. Pianos and synthesizers sound great with the Sunset!
The Sunset includes Gain and master Volume controls which allow you to add compression and classic tube amp growl. It has both ¼” phone and balanced XLR outputs - which lets you use it as a high quality active direct box. Finally, the Sunset features zero latency all analog circuitry – important for the instrument most responsible for the band’s groove.
Introducing the Sunset Bass Amp Simulator
- Zero Latency bass amp simulator.
- Go direct into the PA or DAW.
- Five Band EQ:
- Treble and Bass controls.
- Parametric midrange with level and frequency controls.
- Presence control for extreme highs.
- Resonance control for extreme lows.
- Gain control to add compression and harmonics.
- Master Volume.
- XLR and 1/4" outputs.
- Full bypass.
- 9VDC, 200mA.
Artwork by Aaron Cheney
MAP price: $210 USD ($299 CAD).