"A 1992 red electric guitar with mahogany neck, maple top, and diamond shaped pearl inlay on the fingerboard. No serial number. Played by Slash this guitar while recording the track ""Loving the Alien."" on the Velvet Revolver recording the album ""Contraband."""
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.