
From left to right: drummer Leo Didkovsky, guitarist Mario Miron, guitarist/vocalist Haela Ravenna Hunt-Hendrix, and bassist Tia Vincent-Clark.
The black metal band’s latest release speaks loudly with frontwoman Haela Ravenna Hunt-Hendrix’s theological philosophies and classical influence.
Most musicians hate labeling themselves with a genre. But Liturgy vocalist, guitarist, and mastermind Haela Ravenna Hunt-Hendrix is different. She knows exactly what her music sounds like, and why.
“A lot of people don’t like the idea of naming what they do, but I love it,” she says with a laugh. “[Liturgy is] a cross between extreme metal; avant-garde, minimalist, classical music; 19th-century Romantic classical music; and American screamo-inflected metalcore.” Her quick response and detailed description are typical of Hunt-Hendrix’s musical personality. Everything she does comes from a crystallized vision, years of music education, and a passion for the theological and philosophical purpose that she believes animates the greater zoetic universe.
Conceived around the concept of Christianity’s kingdom of heaven, Liturgy’s latest release, 93696—named after a numerological representation of heaven, or a new eon for civilization—and its companion EP, As the Blood of God Bursts the Veins of Time, embrace the entirety of the band’s catalog and push it even further into the cosmos. With each release, Hunt-Hendrix has searched for new inspiration, new sounds, and a new approach. In the past, that included everything from electronic trap-style layers to a wide range of world and orchestral instruments. Based on her earlier musical education, Hunt-Hendrix took a more classical approach to 93696, and while that may have turned off a few black metal purists, she knew what she was doing—and chose to double down on it.
Djennaration
“With this one, I felt happy with the language of the band and wanted to make something really, really epic using that language,” she explains. “It feels like a synthesis of a lot of things that we’ve done before. It’s by far the most ambitious record we’ve ever done. It’s longer, and more complex.” Every instrument, whether in the gigantic “Djennaration” or the instrumental, organ-driven “Angel of Individuation,” plays a key role in a bed of twisting, layered melodies and deep harmonic complexity. This is especially evident in the bass work, where alternate chord inversions and counterpoint are more common than driving root notes.
“[93696] feels like a synthesis of a lot of things that we’ve done before. It’s by far the most ambitious record we’ve ever done.”
“That’s pretty unusual on electric bass,” she admits. “It’s in that classical tradition of writing music. The bass has a role while the higher voices come together doing different things. Then it all coalesces into unity.”
Speaking on the evolution of her musical influences, she elaborates, “I played piano from a very young age and was really into classical music. But, in high school, black metal was this fascinating, faraway thing. I was listening to a lot of the classic second-wave Norwegian stuff. Emperor and Darkthrone were my favorite bands, and I was intentionally emulating them.”
Haela Ravenna Hunt-Hendrix's Gear
From a young age, Hunt-Hendrix was interested in classical music, but in high school, she got into listening to black metal bands like Emperor and Darkthrone.
Photo by Alexander Perelli
Guitars
- Reverend Descent Baritone (standard or drop-D tuning)
Amps
- Sovtek Mig 100
- Orange TH30 combo (studio only)
- Ampeg 4x12 cabinet
Strings & Picks
- Ernie Ball .009s
- Dunlop Tortex .5 mm
After graduating, Hunt-Hendrix attended the prestigious Columbia University, where black metal took a backseat to her philosophy and classical composition studies. Her plan was to make a future in the classical arts. That didn’t last long. “There was a time when I thought I might be a composer and write music in the classical tradition. I studied classical composition and was really into minimalism and Romanticism. I was reading scores and studying them and then trying to write [my own]. But I got swept up in the punk and metal scenes and wanted to, instead, take those techniques and put them into rock music.”
When Hunt-Hendrix says “rock music,” again, think “black metal.” And her alchemy of the genre, as well as classical composition and philosophical studies, would soon manifest in Liturgy’s 2009 debut LP Renihilation, released when the band was just a solo project. Full of blast beats, dissonance, and throat-shredding vocals, there was no question where Hunt-Hendrix cut her teeth. But, even on her early releases, Liturgy went far beyond the aggression and atmosphere of black metal’s forebears. Throughout their catalog, each savage and unrelenting instrument together weaves a whole much larger than their individual parts.
“I studied classical composition and was really into minimalism and Romanticism…. But I got swept up in the punk and metal scenes and wanted to, instead, take those techniques and put them into rock music.”
This, Hunt-Hendrix says, is where the classical influence comes in. “Learning to write music in Western notation and think about it in terms of themes, variations, sonatas, or a fugue has been a big influence on the way that I write Liturgy’s music. I’m combining classical music and metal. Not to overlay symphonic stuff onto metal, but to use the structural tools of symphonic music with metal instruments.”
Hunt-Hendrix composes Liturgy’s songs using DAWs and notation software, then shares them with her bandmates for them to learn.
Photo by Mike Boyd
For all of the classical influence, Hunt-Hendrix’s black-metal-approved wall of distortion gives each Liturgy release its trademark sound. Much of that comes down to her relentless speed-picking technique that transforms single-note lines into what sounds like a demonic orchestra. “I noticed, [when you’re] picking really fast and have a distorted sound, it kind of sounds similar to violins in a string orchestra,” she says. “So that became my main thing. That’s pretty much what I am almost always doing in Liturgy songs. To me, that’s the string orchestra aspect. It’s in the range of a violin or a soprano singer.”
And when she says “always,” she really means it. When Hunt-Hendrix is playing, her picking hand is flying the whole time. With multiple songs clocking in at over 10 minutes, it makes you wonder how she makes it look so easy. “At this point, it’s not hard at all,” she said. “I barely notice. It’s like the way drummers who play really fast double-kick learn to do it so gently that they can do it forever. But it’s a big problem if I don't have the right picks!”
Her playing style—and picks—have been constants throughout Liturgy’s career. But they may be the only ones. Since her first release, Hunt-Hendrix has expanded the band (now including guitarist Mario Miron, bassist Tia Vincent-Clark, and drummer Leo Didkovsky) to record and perform as a quartet. Hunt-Hendrix’s compositions are ever-evolving the sound of the band and the genre.
“I noticed, [when you’re] picking really fast and have a distorted sound, it kind of sounds similar to violins in a string orchestra.”
But with so much of that aforementioned, variegated musical background swirling around her exacting vision, writing 93696 demanded a different approach than a group of people plugging in and jamming. Instead, she again pulled from her classical training, composing each part individually with the help of technology.
“I wrote most of the music using Logic and Ableton, and used Sibelius for notation software,” says Hunt-Hendrix. “Then it’s different with different songs. I'll either make a demo using a drum machine and recording guitar into my computer, or I’ll make the demo using an organ sound that sounds like the guitars will sound. But there’s a lot of revision and a lot of listening back!
“Then I’ll either give the demo to my bandmates or give them music to read. And we were working through this album during the height of Covid, so a lot of our rehearsals were actually on Zoom in the early part of the year.”
Then there’s all of the other instrumentation throughout the record. Everything from harp to ocarina to glockenspiel to vibraphone play their part on 93696. And, while some artists may whip these auxiliary sounds up with virtual instrument plugins, Hunt-Hendrix wanted to keep a raw, human element.
Hunt-Hendrix’s picking hand almost never stops moving in Liturgy’s live performances. In her rapidfire, distorted guitar lines, she hears orchestral strings.
Photo by Mike Boyd
“It’s mostly all done live,” she reveals. “I have a lot of friends and acquaintances in New York who are in the avant-garde classical scene, or jazz scene, or something like that. So I just called people up. I wrote out the music, gave it to them, and then they came to the studio and played it.”
That human element extended to every element of the album’s recording process, giving it a surprisingly gritty, punk vibe. The secret, according to Hunt-Hendrix, is that “It’s mostly all recorded live.” Aside from the additional instrumentation and occasional electronic elements, the band tracked nearly every tremolo-picked guitar line, chordal bass passage, and exceedingly complex drum performance together and in the same room. “And we tracked the whole record to the tape,” she added.
Furthering Liturgy’s no-nonsense approach is both guitarists’ simple selection of gear. Miron relies on his trusty ESP LTD MH-200 into an MXR Fullbore Metal pedal and Quilter ToneBlock 200 amp head. But Hunt-Hendrix takes a uniquely pragmatic approach to her gear, dictated by her equally singular technique.
“Bringing in the old material has this quality of your life flashing before your eyes…. It adds a purpose to the sense of culmination, or heaven, if you like.”
“So, now, I actually play a baritone guitar, a Reverend Descent. I’m almost always playing at the very top of the neck above the 12th fret,” she explains. “All the chord changes and everything are up there. Since I’m playing at the top of the neck all the time, there’s more space between the frets for my fingers. I string it with normal, .009-gauge guitar strings, and it’s tuned like a standard guitar or drop D."Next in line is her beloved Sovtek Mig 100 amplifier, complemented in the studio with an unlikely combo. “I don’t use any pedals at all,” she explains. “I run my guitar straight into my Mig 100. I like it because it distorts a lot, but it’s not a super crunchy distortion like you hear in a lot of metal. The notes ring out and breathe. And, on a recording, I like to contrast it with my Orange TH30 combo. It’s very small and not good for using live. But if you mic it in the studio, it sounds huge."
This raw, DIY character helps make 93696 a wonderfully challenging listen with endless intrigue. The aggression and themes that propel the 15-minute title track are somehow matched by the mandolin and choir-driven space and beauty of “Immortal Life II.” And, speaking of songs on the album ending in “II,” these are references to Liturgy songs from previous releases. As new compositions inspired by her earlier work, they perfectly sum up Hunt-Hendrix’s vision for the entire record.
“For some reason, while we were working on this record, I began listening to older Liturgy songs. I was fascinated by the potential to go back and take material from those songs and work them out in totally new ways. Bringing in the old material has this quality of your life flashing before your eyes. It’s like surveying Liturgy’s whole career before, or at, the end. It adds a purpose to the sense of culmination, or heaven, if you like.
“I’m not saying that this is the band’s last album. I want to keep making more music that sounds like this. But, and maybe it’s more of a time we live in, it feels like this is the last couple of years that humanity will exist. That may or may not be true, but this is an album for that time. In that sense, it’s the final album [laughs].”YouTube It
Liturgy delivers a thrashing wall of sound in a performance of “Glory Bronze” from their 2011 album Aesthetica at First Unitarian Church, a fitting venue, given the band’s theological influence.
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Brent Mason is, of course, on of the most recorded guitarists in history, who helped define the sound of most ’90s country superstars. So, whether you know it or not, you’ve likely heard Mason’s playing.
Professional transcriber Levi Clay has done the deepest of dives into Brent Mason’s hotshot licks. At one point, he undertook the massive project of transcribing and sharing one of Mason’s solos every day for 85 or so days. Mason is, of course, on of the most recorded guitarists in history, who helped define the sound of most ’90s country superstars. So, whether you know it or not, you’ve likely heard Mason’s playing. Levi shares the insight he gleaned from digging deep, and he tells us what it was like when they shared a stage last year. Plus, Levi plays us some great examples of Mason’s playing.
PRS Guitars today launched five new three-pickup, 22-fret models across the S2 and SE series. The S2 Series release includes the S2 Special Semi-Hollow and S2 Studio, while the SE Series welcomes the SE Special Semi-Hollow, SE Studio, and SE Studio Standard.
“The distinctive pickup configurations of these five guitars deliver a versatile tonal platform, whether you’re exploring subtle textures or pushing the envelope. The deep dive into our Narrowfield technology is obvious with this launch. With both the S2 models made in our Maryland factory and the SE models made in Indonesia, our goal has been to create guitars that will inspire you and spark creativity, all at an exceptional value,” said PRS Guitars COO, Jack Higginbotham.
S2 Special Semi-Hollow
The PRS S2 Special Semi-Hollow features a pair of 58/15 LT humbuckers in the bass and treble positions and a PRS Narrowfield in the middle. A 5-way blade switch and two mini-toggles allow players to tap the humbuckers, creating twelve distinct pickup combinations for sonic exploration. The carved maple top and mahogany back encompass a semi-hollow body that adds a natural airiness and depth to the guitar’s tone while enhancing sustain.
S2 Studio
The PRS S2 Studio delivers a wide range of sonic possibilities through its distinctive single-single-hum configuration. Featuring two proprietary PRS Narrowfield pickups in the bass and middle positions and a 58/15 LT humbucker in the treble position, the S2 Studio offers a palette of sounds from single-coil clarity to vocal humbucker tones. This model also has a 5-way blade switch and push/pull tone control.
SE Special Semi-Hollow
The PRS SE Special Semi-Hollow is designed with the versatility of a hum/“single”/hum setup, bringing PRS’s Narrowfield DD pickup design to the SE Series in a classic maple-top guitar. The semi-hollow construction also enhances sustain and resonance, while the f-hole adds a classic aesthetic. The coil-tap switching system unlocks a wide range of tones through a pair of 58/15 LT “S” pickups in the bass and treble positions and a PRS Narrowfield DD “S” in the middle.
SE Studio
The PRS SE Studio’s “single”/”single”/hum pickup configuration provides a wide range of tonal options. This combination of PRS Narrowfield DD “S” bass and middle pickups with a PRS 58/15 LT “S” treble humbucker offers humbucking warmth, single-coil sparkle, and everything in between. The 5-way blade switch and push/pull tone control further enhance its versatility.
SE Studio Standard
The only bolt-on neck in this release group, the PRS SE Studio Standard brings the tone, playability, and versatility of the Studio model to the SE Series and into an all-mahogany design with a vintage-style pickguard aesthetic. At the heart of the SE Studio Standard is its versatile trio of pickups: an 58/15 LT “S” humbucker in the treble position with two Narrowfield DD “S” pickups in the middle and bass positions. The 5-way blade switch and push/pull tone control allow for an array of pickup configurations.
PRS Guitars continues its schedule of launching new products each month in 2025. Stay tuned to see new gear and 40th Anniversary limited-edition guitars throughout the year.
For the first time ever, two guitar greats, John 5 and Richie Kotzen will be heading out on the road this year. The tour will launch October 16 and run through November, hitting markets across the U.S.
Find the full tour itinerary right plus a link for tickets & VIP, including additional dates featuring John 5 only. Reserved seating tickets will go on sale Friday May 16 though a fan presale will begin today at noon local time and fans are strongly encouraged to buy early to get the best seats.
Meet and Greets for both artists will be available. For John 5 please go to: https://john5store.com/collections/vip.
Today, John 5 also announces more details of his anticipated new album. Called The Ghost, it will be released October 10 and is led by the new track “Fiend,” featuring Kenny Aronoff.
John 5 continues running public tours this month for his Knights In Satan’s Service Museum of KISS Memorabilia in Los Angeles, California. Guided tours are open to the public for one month only (with a possible expansion). Current dates available are May 12-16, May 19-23 and May 27-30. Each will be led by John 5 himself who will provide tons of rich detail and answer any questions. Secure your place HERE.
JOHN 5 continues to tour with Mötley Crüe including an upcoming residency in Las Vegas in 2025.RICHIE KOTZEN &
JOHN 5 FALL 2025 TOUR
October 16 El Cajon, CA @ Magnolia
October 17 Riverside, CA @ Fox Performing Arts
October 18 Roseville, CA @ Goldfield Trading Post
October 19 San Jose, CA @ The Ritz
October 21 Phoenix, AZ @ Celebrity Theatre
October 22 Albuquerque, NM @ KiMo Theatre
October 24 Dallas, TX @ Granada Theater
October 25 Leander, TX @ The Haute Spot
October 27 New Orleans, LA @ House of Blues
October 28 Memphis, TN @ Minglewood Hall
October 29 Nashville, TN @ Fogg Street Lawn Club
October 30 Atlanta, GA @ Variety Playhouse
October 31 Orlando, FL @ House of Blues
November 1 Fort Lauderdale, FL @ Culture Room
November 2 Clearwater, FL @ Capitol Theatre
November 4 Richmond, VA @ The National
November 5 Leesburg, VA @ Tally Ho Theater
November 6 Patchogue, NY @ Patchogue Theatre
November 11 Glenside, PA @ Keswick Theatre
November 12 Derry, NH @ Tupelo Music Hall
November 13 Foxborough, MA @ Six String Grill & Stage
November 14 Stroudsburg, PA @ Sherman Theater
November 15 Lorain, OH @ Lorain Palace Theatre
November 16 Columbus, OH @ The King Of Clubs
November 17 Warrendale, PA @ Jergels
November 19 Wyandotte, MI @ District 142
November 20 Flint, MI @ The Machine Shop
November 21 Fort Wayne, IN @ Piere’s
November 22 St. Charles, IL @ Arcada Theatre
November 23 Belvidere, IL @ Apollo Theatre
November 25 Denver, CO @ Oriental Theater
November 29 Pioneertown, CA @ Pappy & Harriet's*
*John 5 only
AEROSMITH guitarist and songwriter JOE PERRY is set to return to the road for a series of August performances with THE JOE PERRY PROJECT. The 8-date run kicks off August 13 in Tampa, FL and wraps August 23 in Port Chester, New York, with an August 19 performance in PERRY’s Boston hometown (see the itinerary below). For the North American trek—which marks the first solo shows for PERRY this year—the legendary guitarist will be joined by his Aerosmith bandmates Brad Whitford (guitar) and Buck Johnson (keys), along with The Black Crowes’ Chris Robinson (vocals), and Stone Temple Pilots’ Robert DeLeo (bass), and Eric Kretz (drums).
“Well…it’s time to let the music do the talkin again,” PERRY says. “I’m really excited about the JPP line up this year!!!! Most of these guys played with me at The Roxy in L.A. at the debut event for my latest solo album [Sweetzerland Manifesto] in January 2018. They’re all busy as hell but thankfully they’re able to carve out some time for this run. And I’m not only lucky enough to have Brad Whitford onstage with me but Chris Robinson of The Black Crowes! [who sang ‘Fortunate One’ on Sweetzerland Manifesto MKII], Robert DeLeo and Eric Kretz from STP!!! and Buck Johnson who plays keys and sings with Aerosmith, the Hollywood Vampires, and is also a solo artist in his own right.”
For the shows, the Rock and Roll Hall of Fame inductee says “the set list is gonna include my fav JPP cuts, STP, Black Crowes, and with Brad we’ll be hitting the Aero hits and some deep cuts and then ya never know!!!! Gonna be a BLAST, and if you’ve ever been to one of my shows you know the words GARAGE BAND on STEROIDS come to mind! See you there!!!!”
DATE | LOCATION | VENUE |
Wednesday, August 13 | Tampa, FL | Seminole Hard Rock - Tampa |
Thursday, August 14 | Hollywood, FL | Seminole Hard Rock - Hollywood |
Saturday, August 16 | Toronto, ON | HISTORY |
Sunday, August 17 | Muskoka, ON | Kee to Bala |
Tuesday, August 19 | Boston, MA | Wang Theatre |
Wednesday, August 20 | Hampton Beach, NH | Hampton Beach Casino Ballroom |
Friday, August 22 | Mashantucket, CT | The Premier Theater at Foxwoods Resort Casino |
Saturday, August 23 | Port Chester, NY | Capitol Theatre |