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Sleater-Kinney was founded by Tucker and Brownstein in 1994 and was active until a hiatus in 2006, later reuniting in 2014.

Photo by Chris Hornbecker

In the writing of their latest full-length, Little Rope, guitarists Carrie Brownstein and Corin Tucker persisted through unexpected hardship, and imbued their sage punk approach with refreshed depth.

“There is a comfort to it, in the choreography,” Carrie Brownstein tells me on a call. She’s talking about playing guitar, as she explains how, in the making of Sleater-Kinney’s new album Little Rope, she focused more on her connection with the instrument than on her other role as vocalist in the band. “I know what to do with my hands and with my body on guitar. It also is such an act of love to play. Sometimes it’s frustrating, sometimes it’s meaningless, and you’re just playing sort of in the same way you would meditate or just chew gum. But it felt almost prayer-like, or, like I said, like love to just play.

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Calling all pedal lovers! You could win one of SIXTEEN (and counting!) pedals in this year's I Love Pedals giveaway. Come back daily for more entries, giving you dozens of chances to win! Giveaway ends March 1, 2024.

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Grover’s Sta-Tite tuning machine, with a retro butter-bean button and 18:1 gear ratio.

Curious about upgrading your tuners? It’s not as simple as you might think.

Throughout the years, tuning machines for guitars have seen various styles and iterations. From the original open-back tuners, to the introduction of stamped-metal covers, and eventually the transition to sealed, grease-filled tuners, the designs of these machines have continuously evolved. Over the course of decades of playing, three cherished guitars have been my faithful companions: a 1956 Stratocaster, a 1957 P bass, and a 1957 Martin D-18. These instruments still bear their original tuners, which have proven to be reliable and functional to this day. With proper maintenance, these vintage tuners continue to serve their purpose, and there is no reason to replace them with modern alternatives.

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Bandleader and multi-instrumentalist Amalie Bruun played guitar, as well as several other instruments, on her first three albums under the Myrkur name. This time, she handed the 6-strings to Will Hayes.

Photo by Gobinder Jhitta

Black metal multi-instrumentalist Amalie Bruun invites guitarist Will Hayes in on her latest, Spine, to flesh out her dark, surreal arrangements with his holistic, discerning approach.

Too many album covers have little to do with the music inside. That’s not the case with Spine, the latest release from Myrkur, the performance moniker of Danish singer-songwriter/multi-instrumentalist Amalie Bruun. On the cover, a metallic fossil of some mythical creature lies on top of a mossy forest floor. It could be the remnants of the alien from Predator, or one of the “Great Old Ones” that H.P. Lovecraft wrote of that preceded humanity by millennia on Earth. The surreal juxtaposition of these elements encapsulates Myrkur’s ethereal style, which mixes such disparate influences as Scandinavian metal and Celtic ambient.

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When it comes to power supplies, don’t underestimate their importance—an unreliable, low-quality one can lead to serious pedal malfunctions.

Let’s begin this article with my personal experience as a pedal builder and a novice musician. One day, a customer messaged me, sounding a bit frustrated. “I received the pedal, but it won’t light up. Did it get damaged during shipping?” they said. I promptly began troubleshooting.

I started with clarifying the signal source, checking if the installation of the input and output jacks was correct, and, finally, inquiring about the power supply being used. To my surprise, he replied, “I’m using a laptop power adapter. Shouldn’t that work just fine? My laptop is in good shape with it. Have I made a mistake? By the way, this is my first pedal ever.”

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