The New Jersey guitar anti-hero loosens up and embraces the moment on Till I Burn Up, the latest album by his alter-ego, Delicate Steve.
Steve Marion might not be a particularly well-known figure amongst the mainstream of guitar music cognoscenti (yet, at least), but thereās a distinct possibility youāve heard his playing before. Marion releases his own guitar-focused instrumental albums under the moniker Delicate Steve, but has worn a wide variety of hats over the years, working as a session guitarist, producer, and songwriter with a cavalcade of hip, adventurous, and downright legendary artists since initially gaining notoriety for his intriguing guitarwork within New York Cityās ever-eclectic music scene.
Marionās first two albums as Delicate Steve (2011ās Wondervisions and 2012ās Positive Force) were released on David Byrneās wildly diverse Luaka Bop label, and those offerings earmarked the New Jersey-bred guitarist as a standout in a scene that really embraced musicians who reveled in abnormal styles or framed their work in off-kilter ways, but came from a technically proficient place. In many ways, Brooklynās music scene in the mid-aughts mirrored the freewheeling, intellectual, and anti-establishment spirit of Manhattanās ā80s No Wave movementāwhich famously influenced Sonic Youthābut with a much less sonically combative attitude.
Watch the animated official video for āTill I Burn Up,ā the title track from Delicate Steveās latest album.
So, what exactly is it about Delicate Steveās music and Steve Marionās guitar playing thatās not only allowed him to build one of the most impressive and varied resumes of anyone working today, but also garner legitimately strong reviewsāand remember, these are instrumental guitar recordsāfrom famously cutthroat outlets like Pitchfork? Steve Marionās approach to the guitar shirks almost all of the clichĆ©s guitarists typically love about the instrument.
The latest Delicate Steve album, Till I Burn Up,is a perfect point of entry for those uninitiated to the cult of Steve. On his new LP, Marion has embraced what he describes as his āunhingedā side and found the confidence to allow Delicate Steveāformerly his sole creative outletāto become a space for truly unfiltered self-expression. Itās undoubtedly a rock ānā roll album, but one that swings with the swagger of contemporary pop hits, the square-wave intrigue of classic prog, and the bubbly ambiance of ā70s African rarities. There are moody moments (āGhost,ā āWe Ride on Black Wingsā), but the record doesnāt take itself too seriously. Taking influence from albums that had flopped upon release, but would go on to become well-respected and influential (like Dr. Johnās Gris-Gris and some of Iggy Popās weirdest work), Till I Burn Up seems like a raging party attended by each of Marionās many musical personalitiesānone of which rely too much on classic guitar tropes, but remarkably never come off like theyāre trying particularly hard to be futuristic.
Part of that trick is that for many years now, Marionās key influence has been the work of soul singers rather than other guitarists, and heās worked hard to posture his guitar as a kind of second voice. Additionally, while Marion is an extremely capable player, he avoids histrionic flash altogether, which lends his music an air of playfulness and means thereās never a moment on Till I Burn Up that sounds like itās got something to prove.
Whether adopting the timbre of a synth or copping the vibe of a distorted and auto-tuned pop vocal, Marionās guitar is always about conveying a vibe and a melody, and his slide guitar in particularāwhich is worlds away from anything one might describe as bluesyāhas a distinctly human quality, but is very much its own thing, much like how George Harrison created his own inimitable vocabulary as a bottleneck player.
Premier Guitar spoke with Marion as he was knee deep in a tour to promote Till I Burn Up. The jovial anti-guitar hero from Jersey opened up about his new record, his background and philosophy as a player, his motivation when it comes to Delicate Steve, and even shared the tale of his recording session with Paul Simon.
As someone who has played on and produced many records by other artists, whatās your motivation when it comes to the instrumental guitar stuff, particularly on Till I Burn Up?
I feel happy with where I am in my career and I say āyesā to working on almost anything, if it seems even remotely interesting, because I like to work. Everything thatās happened for me so far has been through friends or friends-of-friends, so it doesnāt necessarily feel like Iām exactly in-demand so much. I feel content with that, but it doesnāt feel like my playing is the thing everyone needs on their track.
Until a couple of years ago, my whole identity as a musician was just a guy making instrumental guitar records. The only way I could export my creativity was into Delicate Steve, but having more outlets has made this a creative place where I can actually be a bit more unhinged. Thatās a recent development, and the first three studio albums, when Delicate Steve was really my only outlet, the music was maybe a little less playful because of that.
On his new album, Till I Burn Up, Marion played just one guitarāa ā66 Gibson Melody Maker SG equipped with PAF humbuckers.
Till I Burn Up is a bit looser than your past albums and has a fuzzy layer around the edges in a fun way.
I was really paying attention to artists I like, like Iggy Pop or Dr. Johnāartists I was casually getting back into at the time. Dr. Johnās debut album [Gris-Gris] was a critical and commercial failure when it came out, but itās now on Rolling Stoneās 500 Greatest Albums of All Time list. Itās kind of funny how that works. Looking at that phenomenon, how weirder records are initially received versus how theyāre remembered gave me some inspiration to be more free in my own music.
Iām one of the only āindieā artist making instrumental guitar records thatās even sort of on the radar, so it does take a lot of work to get people to pay attention to it. Until this last record, I was trying hard to produce something that was really accessible, but this is the first record where Iāve embraced feeling like my music doesnāt really fit in. Thereās not a lot out there that excites me in a way I want to be a part of, so this record is where I finally said āfuck itā and decided to pave my own path.
I hear that come through in some of the more aggressive, synth-like fuzz tones you used on songs like āFreedomā and out-there moments like the kitschy space boogie of āRubberneck.ā
Itās so boring to see artists continually put out what theyāre expected to put out and pander to this really tiny indie worldāwhich I guess Iām a part ofāand not push themselves creatively. Iām being really negative right now, but it just seems like everyone is trying to fit into whatever box theyāre already in, whether theyāre a punk-rock person or an indie or electronic musician.
I definitely want to push the box Iām supposed to be in. I like to play with elements of experimental music because itās not really expected of me or of instrumental guitar records. Everyone thinks my guitars sound like synths, but I was thinking more along the lines of Kanye Westās vocals, where itās a distorted and Auto-Tuned room mic, like on My Beautiful Dark Twisted Fantasy. My inspiration was trying to channel a reverent second take on that.
Thatās unexpected, but youāve done a session for a Kanye West record, right?
Kanye sampled one of my songs. I know a producer brought it in, Boogz Da Beast from Chicago, who is one of Kanyeās old friends and apparently a big Delicate Steve fan. Thereās only a little snippet of the track out and while I havenāt heard the whole song yet, my old record label says itās really cool and Kanye actually sings my guitar part. Thatās something Iāll always be proud of! I think Kanye West is a creative genius and heās a big influence on me, so knowing that he was inspired to turn something from my music into a song ... well, thatās just so cool to me.
As a guitarist, Marion is inspired more by singers than other 6-stringers. āMostly soul singers like Nina Simone, Michael Jackson, Stevie Wonder, Sam Cooke, and Otis Redding,ā he says. āWhen those singers hit one or two notes in interesting waysāwhere they put those notes rhythmically against everything else in the songāitās so anti-guitar wankery to me and so much more compelling than a lot of what guitarists do.ā Photo by Debi Del Grande
Your guitar influences are pretty hard to pinpoint from the music you make. Who do you look to for inspiration these days?
I grew up admiring many guitar players, but I became more fascinated with singers. Thatās really where my Delicate Steve guitar style took shape. Mostly soul singers like Nina Simone, Michael Jackson, Stevie Wonder, Sam Cooke, and Otis Redding. Their vibratos, melodic sensibilities, and dynamics informed where Iām coming from. When those singers hit one or two notes in interesting waysāwhere they put those notes rhythmically against everything else in the songāitās so anti-guitar-wankery to me and so much more compelling than a lot of what guitarists do.
It seems like many guitarists who do well are carbon copies of other guys from the past. I donāt think that originality is truly celebrated, especially in 2019. I can mimic Jimmy Pageās playing pretty easily because I grew up loving it, but I would never want to do that, because itās already been done.
Youāve produced many albums for other musicians over the years. How has your experience as a producer, especially recently, changed your approach to Delicate Steve and guitar in general?
Producing and arranging has always been where Iāve come from. I donāt think thatās changed much recently, but Iām getting the opportunity to do that work more, and itās something Iām really interested in. I like to approach my guitar playing more as a producer than an instrumentalist, and it has been really fun to work on records like the Amen Dunes album with Damon McMahon, who I really admire. We made that record at Electric Lady. Working in this studio thatās known for all of these incredible classic records, but using it to push those sounds forward is really what both Damon and I are all about. When we made Freedom, we were thinking about Tom Petty, someone who we respect and who inspires us, but that record doesnāt sound anything like his music.
Walk us through the songwriting process for a Delicate Steve song.
Thereās no standard way, really. I try to keep inspired in the moment and follow that inspiration to the end. For instance, āWay Too Longā happened exactly as itās laid out and unfolds on the record. I made that drum beat first, then came up with the chords, and then came up with the guitar partāthe same way they enter the song.
The last song on the record, āDream,ā was a first-take pass of the chords. Thereās a weird chord that accidentally slips from a major to a minor, but I left it in the song because it sounded really cool and I could never think of thatāit just happened in the moment. The overall thing thatās present on every song is spontaneity, and thatās important to me. Itās all about getting out of your own head, whatever way that needs to happen, and you have to be okay with little mistakes when youāre trying to capture some magic in the moment.
Your music is very playful in a refreshing way. Instrumental guitar music can take itself very seriously.
On my first album, I had a revelation about playfulness or the idea that something is only serious when itās in a minor key. Before that point, I was like this serious guy who wanted to make serious music that touches and changes the world. Everything was in a minor key and the heaviest sounding thing possible. Once I snapped out of that on my first album, it opened up the world to me and allowed me to have more fun and still take what I do seriously.
You play a lot of slide guitar in a unique style that sounds divorced from blues or country music. Where did that side of your playing develop?
The reason I picked up a slide in the first place was Duane Allman, and that was a big influence initially. Then Derek Trucks was the bridge for me to start thinking about how the slide guitar can mimic singers, because here was a guitarist I liked who sounded like a soul singer. His slide style shaped my own process in general and the idea that I too could be influenced by singers. Those are the two big influences that guided me to pick up a slide.
Guitars
1966 Gibson Melody Maker SG with PAF humbuckers
Gibson Joe Bonamassa Flying V
Amps
1968 Fender Deluxe Reverb (previously owned by Robbie Robertson) modified to use the reverb send as an extra gain stage.
Effects
Vintage Ibanez SD-9 Sonic Distortion
ZVEX Fuzz Factory
Vintage green box Big Muff
Earthbound Audio Supercollider fuzz
Valeton Coral Mod multi-effects
Strings and Picks
Ernie Ball Super Slinky (.009-.042)
Either a U.S. quarter or Herco Flex 75 Heavy held upside-down for scrape effect
I love the fuzz tones you get on the new albumāespecially on āFreedomā or that very compressed fuzz on āWay Too Long.ā How did you cop those sounds in the studio?
Itās all pretty much the same chain, which consists of the first three pedals the studio owner, D. James Goodwin, pulled off a shelf that held a sea of incredible wacky, crazy, rare vintage fuzzes, overdrives, and distortions. One was an Ibanez SD-9 Sonic Distortion, which looks like a Tube Screamer from the ā80s, but is more of a distortion than an overdrive and sounds kind of thin. After the SD-9, I ran into a Big Muff, and then into a ZVEX Fuzz Factory. We split the signal into one of Robbie Robertsonās personal Fender Deluxe Reverbs that was at the studio [The Isokon] in Woodstock, New York. We close-miked the amp and also used a room mic. We pulled a DI signal off of the last pedal, as well.
The sound of the whole record is pretty much various combinations of those three drive pedals captured through those two mics and a DI, and I didnāt really do any post-production tweaking or EQ on it. I also used an MXR Analog Delay and this $50 pedal called a Valeton Coral Mod that has like 20 different effects in it. I used that for some envelope filters and modulation.
The guitar I played on the whole record was sold to me by my friend, a guitarist named Ofir Ganon, who is the only guitar snob-gear guy whose opinion I care about at all. Ofir sold me a ā66 Gibson Melody Maker SG, which had PAFs in it. The whole album is that guitar.
Everything was running through this really cool 1972 MCI board. Iād tweak some levels going in for each song, and once I got a blend for those levelsāwithout touching settings on pedals or micsāIād record the tune. Andrew Maury, who mixed the record, would then take my blend and put it down to one channel and mess with it there a bit, if he needed to.
Youāve done some recording with Paul Simon. What was that experience like?
I donāt know quite how to describe the experience to someone that might see it through the lens of āOh! Itās Paul Simon!ā I really just tried to see him as this guy that really had it together and was able to work on music at a level thatās higher than anybody I normally work with. Thatās what I thrive on and want to have happen all the time. I want to get as deep into a song, or a part, or my own head, as I did with Paul Simon.
I was in the control room with him and my amp was in the other room. I knew he wanted slide guitar on the song, which he told me was in the key of D. He played me the track once and then muted the vocal and pushed record. I started playing along and then realized he was actually singing the vocal into my ear, maybe a foot away from me! He was pitch-perfect.
The take finished and I didnāt think Iād done anything worth keeping, but we basically used 80 percent of my first take on the track because Paulās genius is getting the complete subconscious out of somebody, and then also having the precision to edit it right. There was a part of me that was sad because I wanted to really get into it and I felt I hadnāt given the song anything yet, but when I heard it back, I was really blown away.
Most often, what limits us is our own mind and how we interpret things, so if you can find a way to escape that or have someone whoās able to guide you or get that out of youāin this case, it was Paul Simonācool things happen. What Paul coaxed out of me was cooler than anything I would have come up with after 20 takes.
Watch Steve Marion rip through a set of Delicate Steve tunes live in Los Angeles.
Amen Dunes onstage in Brooklyn with Steve Marion on lead guitar.
Mooer's Ocean Machine II is designed to bring superior delay and reverb algorithms, nine distinct delay types, nine hi-fidelity reverb types, tap tempo functionality, a new and improved looper, customizable effect chains, MIDI connectivity, expression pedal support, and durable construction.
Similarly to the original, the Ocean Machine II offers two independent delay modules, each with nine different delay types of up to two seconds, including household names such as digital, tape, and echo delays, as well as more abstract options, such as galaxy, crystal, and rainbow. A high-fidelity reverb module complements these delays with nine reverb types, as well as a shimmer effect. Each delay and reverb effect can also be āfrozen,ā creating static ambient drones, an effect that sounds particularly impressive considering the pedalās DSP upgrades.
While the original Ocean Machineās looping capabilities provided just 44 seconds of loop storage, the new addition features an impressive 120 seconds. To experiment with this feature, along with OceanMachine IIās other sonic capabilities, users can use an intuitive LCD screen along with 12 knobs (four for each delay and reverb module) to easily adjust parameters within the deviceās āPlay Mode.ā Three footswitches are also provided to facilitate independent effect toggling, tap tempo control, looper interfacing, and a preset selector.
Once the guitarist has crafted an interesting effect chain, they can save their work as a preset and enter āPatch Mode,ā in which they can toggle between saved settings with each of the three footswitches. In total, the Ocean Machine II provides eight preset storage banks, each of which supports up to threepresets, resulting in a total of 24 save slots.
The pedalās versatility is further enhanced by its programmable parallel and serial effect chain hybrid, a signature element of Devin Townsendās tone creation. This feature allows users to customize the order of effects, providing endless creative possibilities. Further programming options can be accessed through the LED screen, which impressively includes synchronizable MIDI connectivity, a feature that was absent in the original Ocean Machine.
In addition to MIDI, the pedal supports various external control systems, including expression pedal input through a TRS cable. Furthermore, the pedal is compatible with MOOER's F4 wireless footswitch, allowing for extended capabilities for mapping presets and other features. A USB-C port is also available for firmware updates, ensuring that the pedal remains up-to-date with the latest features and improvements.
Considering the experimental nature of Devin Townsendās performances, MOOER has also gone above and beyond to facilitate the seamless integration of Ocean Machine II into any audio setup. The device features full stereo inputs and outputs, as well as adjustable global EQ settings, letting users tailor their sound to suit different environments. Guitarists can also customize their effect chains to be used with true bypass or DSP (buffered) bypass, depending on their preferences and specific use cases.
Overall, Ocean Machine II brings higher-quality delay and reverb algorithms, augmented looping support, and various updated connections to Devin Townsendās original device. As per MOOERās typical standard, the pedal is engineered to withstand the rigors of touring and frequent use, allowing guitars to bring their special creations and atmospheric drones to the stage.
Key Features
- Improved DSP algorithms for superior delay and reverb quality
- Nine distinct delay types that support up to 2 seconds of delay time: digital, analog, tape, echo,liquid, rainbow, crystal, low-bit, and fuzzy delays
- Nine hi-fidelity reverb types: room, hall, plate, distorted reverb, flanger reverb, filter reverb,reverse, spring, and modulated reverb
- Freeze feedback feature, supported for both delay and reverb effects
- Tap tempo footswitch functionality
- New and improved looper supporting up to 120 seconds of recording time, along withoverdubbing capabilities, half-speed, and reverse effects.
- Customizable order of effects in parallel or series chains
- Flexible bypass options supporting both true bypass and DSP bypass
- Large LCD screen, controllable through twelve easy-to-use physical knobs for real-time parameter adjustments.
- Adjustable Global EQ Settings
- Full stereo inputs and outputs
- Synchronizable and mappable MIDI In and Thru support
- USB-C port for firmware updates
- External expression pedal support via TRS cable
- Support for the MOOER F4 wireless footswitch (sold separately)
- Designed for durability and reliability in both studio and live environments.
The Ocean Machine will be available from official MOOER dealers and distributors worldwide on September 10, 2024.
For more information, please visit mooeraudio.com.
MOOER Ocean Machine II Official Demo Video - YouTube
Some of us love drum machines and synths, and others donāt, but we all love Billy.
Billy Gibbons is an undisputable guitar force whose feel, tone, and all-around vibe make him the highest level of hero. But thatās not to say he hasnāt made some odd choices in his career, like when ZZ Top re-recorded parts of their classic albums for CD release. And fans will argue which era of the bandās career is best. Some of us love drum machines and synths and others donāt, but we all love Billy.
This episode is sponsored by Magnatone
An '80s-era cult favorite is back.
Originally released in the 1980s, the Victory has long been a cult favorite among guitarists for its distinctive double cutaway design and excellent upper-fret access. These new models feature flexible electronics, enhanced body contours, improved weight and balance, and an Explorer headstock shape.
A Cult Classic Made Modern
The new Victory features refined body contours, improved weight and balance, and an updated headstock shape based on the popular Gibson Explorer.
Effortless Playing
With a fast-playing SlimTaper neck profile and ebony fretboard with a compound radius, the Victory delivers low action without fret buzz everywhere on the fretboard.
Flexible Electronics
The two 80s Tribute humbucker pickups are wired to push/pull master volume and tone controls for coil splitting and inner/outer coil selection when the coils are split.
For more information, please visit gibson.com.
Gibson Victory Figured Top Electric Guitar - Iguana Burst
Victory Figured Top Iguana BurstThe SDE-3 fuses the vintage digital character of the legendary Roland SDE-3000 rackmount delay into a pedalboard-friendly stompbox with a host of modern features.
Released in 1983, the Roland SDE-3000 rackmount delay was a staple for pro players of the era and remains revered for its rich analog/digital hybrid sound and distinctive modulation. BOSS reimagined this retro classic in 2023 with the acclaimed SDE-3000D and SDE-3000EVH, two wide-format pedals with stereo sound, advanced features, and expanded connectivity. The SDE-3 brings the authentic SDE-3000 vibe to a streamlined BOSS compact, enhanced with innovative creative tools for every musical style. The SDE-3 delivers evocative delay sounds that drip with warmth and musicality. The efficient panel provides the primary controls of its vintage benchmarkāincluding delay time, feedback, and independent rate and depth knobs for the modulationāplus additional knobs for expanded sonic potential.
A wide range of tones are available, from basic mono delays and ā80s-style mod/delay combos to moody textures for ambient, chill, and lo-fi music. Along with reproducing the SDE-3000's original mono sound, the SDE-3 includes a powerful Offset knob to create interesting tones with two simultaneous delays. With one simple control, the user can instantly add a second delay to the primary delay. This provides a wealth of mono and stereo colors not available with other delay pedals, including unique doubled sounds and timed dual delays with tap tempo control. The versatile SDE-3 provides output configurations to suit any stage or studio scenario.
Two stereo modes include discrete left/right delays and a panning option for ultra-wide sounds that move across the stereo field. Dry and effect-only signals can be sent to two amps for wet/dry setups, and the direct sound can be muted for studio mixing and parallel effect rigs. The SDE-3 offers numerous control options to enhance live and studio performances. Tap tempo mode is available with a press and hold of the pedal switch, while the TRS MIDI input can be used to sync the delay time with clock signals from DAWs, pedals, and drum machines. Optional external footswitches provide on-demand access to tap tempo and a hold function for on-the-fly looping. Alternately, an expression pedal can be used to control the Level, Feedback, and Time knobs for delay mix adjustment, wild pitch effects, and dramatic self-oscillation.
The new BOSS SDE-3 Dual Delay Pedal will be available for purchase at authorized U.S. BOSS retailers in October for $219.99. To learn more, visit www.boss.info.