Back in May, PG’s John Bohlinger headed to Nashville Municipal Auditorium to film a Rig Rundown with one of blues-rock’s hottest new commodities: Marcus King.
Ahead of their show at the Auditorium, Bohlinger spoke with King and bandmate Drew Smithers about the Marshall-Gibson connection that fuels their high-powered rock ’n’ roll. King’s father, Marvin, also makes a special cameo! Tune in for a steamy slice of Southern rock. Brought to you by D’Addario.
Kiesel Guitars has introduced the newest model in the company’s iconic line of custom-built instruments: the Antares now joins the lineup of Kiesel’s premium US-made instruments.
Today, iconic multi-GRAMMY® Award-winning band Alabama Shakes announce their long-awaited third studio album, I Must Be Dreaming, arriving August 28 via Island Records. Marking the band's first album in more than a decade, the announcement arrives alongside the announcement of the new single "I Feel Hope Coming," available everywhere Friday, July 10. Pre-order/pre-save the album HERE. Watch the album trailer HERE.
Dinosaur Jr. announce their new album, There Near, out August 28th via Jagjaguwar and release the lead single/video, “Several Got Away.” In conjunction, they announce a fall North American Tour. Of the “Several Got Away” video, the director Guy Kozak says, “I wanted to do something a little tongue-in-cheek with a kind of ‘backyard movie’ feel that could fit in nicely with the existing canon of dinosaur jr. music videos. The first bit of inspiration came from a great Henry Darger painting of kids being terrorized by two giant floating hands of fire. Then I got thinking about the rapture and it came together from there. The guys were really game for it all and I was honored that they let me chase them around a big field with my camera like a psycho. We were on a tight schedule with the turnaround so I had to learn a lot of VFX stuff over the course of weekend, but I like the way the effects all turned out.”
Long ago, in a distant music galaxy, high-gain electric guitar tones were recorded in a studio where a vicious maelstrom of electrified air particles smashed and collided with every square inch of surface in the live room. This was the room where the 100-watt amps were dimed for days with impunity. Outside the studio, recording your 100-watt head involved cringe-worthy negotiations with family, friends, neighbors, and the police. You either turned your amp up loud enough to make it behave like an amp, thereby irritating everyone within a three-house radius, or you turned it down to a modest “respectable street” volume, feeling the shame of knowing you sold out your tone for a roof over your head at the end of the day.