Ultimate Support Systems has introduced three new gig bags: available for acoustic guitar, electric guitar and electric bass, these new gig bags offer an updated balance of protection, comfort and practicality.
Built from water resistant materials that stand up to the rigors of travel and unexpected weather, each bag is made of 1680D luggage-grade ballistic nylon and features a 15mm padded interior as well as a dedicated neck support. The snug, structured fit prevents unwanted shifting during transport, protecting the guitar’s most vulnerable points from impact or pressure. The ergonomic design also helps distribute weight evenly for maximum comfort and portability.
Additionally, the backpack-style straps make it easy to carry the instrument while juggling other gear like pedals and cables. With two exterior storage pockets, musicians can also stash other accessories, like tuners, strings and sheet music — or any other last-minute stage essentials. There’s enough space to stay organized without adding bulk, striking the perfect balance between sleek and functional.
With streamlined dimensions to best accommodate each model, the new Gig Bags ensure a glove-like fit no matter what. Designed to fit most standard acoustics, the Acoustic Guitar Gig Bag has an interior length of 40.5 inches, a depth of five inches, upper bout of six inches and a lower bout of 15.5 inches. The Electric Guitar Gig Bag has a 38.75-inch interior length, 14.5-inch lower bout, six-inch upper bout and a sleek, two-inch deep profile, tailored to most standard electrics. Finally, the Electric Bass Gig Bag is built for larger-scale instruments, measuring 46.5 inches internally, 14.75 inches across the lower bout and six inches at the upper, while maintaining a slim, two-inch depth for a clean, secure fit.
“For many players, the road to the next gig can be filled with unpredictable conditions, such as sudden downpours, crowded subways and tight load-in spaces,” says Shawn Wells, Market Manager — Sound, ACT Entertainment. “We understand that a great performance starts long before the first note, which is why we are introducing these three new gig bags, designed for musicians living life on the go. From rehearsals and home studios to stages and sessions, Ultimate Support Systems’ new gig bags embody the brand’s long-standing commitment to helping artists perform with durability and comfort that is crafted for real-world use.”
Gibson today announces the release of the Mark Morton Les Paul™ Modern Quilt, a bold new signature model designed in collaboration with Mark Morton, the acclaimed guitarist and co-founder of Lamb of God. Known for his ferocious riffs, intricate solos, and genre-defining blend of metal, thrash, and blues influences, Morton has long been celebrated as one of the driving forces behind the new wave of American heavy metal. His new signature Les Paul captures that same fearless musical spirit—delivering precision, power, and uncompromising performance for players who demand the very best. The Mark Morton Les Paul Modern Quilt is available worldwide at Gibson Garage locations, via authorized Gibson Custom dealers, and on Gibson.com.
“I wanted something that stayed classic to the heritage and the history of the Les Paul, and something that looked heavy metal,” says Mark Morton. “The quilt top and the trans black satin finish felt dark and metal to me, but not over the top, it still feels like and looks like a Les Paul. Once we decided on the finish of the top, and the guitar, there’s are all of these different design elements to play with re picking out the hardware and plastics. We tried a bunch of different options, and we paid a lot of attention to how we were going to finalize those little details, and for me it’s a bullseye.
The 60s style knobs are a cool throwback to the John Sykes model that was done a long time ago. The way it is contoured at the heel allows me to reach the upper registers comfortably, and the ebony fretboard is really fast. This model has a slim taper neck which was very important for me, as it’s the most comfortable neck profile.”
Morton continues, “The pickups are unique to this guitar, it’s a brand new Gibson pickup and I worked closely with Jim DeCola (Master luthier at Gibson), and the Gibson Pickup Shop in designing them. They’re both ceramic-based pickups the neck pickup wise more conservative and terms of its output which allows me to flip to the neck position and play clean and roll back the volume and not hit the amp as hard and clean things up quite a bit. Switching to the bridge pick up it’s just a flame thrower, its super high output, and when you’re really swinging at these bridge pickups they give you all the gain you want they really hit hard and you can pull back to get more of a crunch sound.
We went back and forth on these pickups for quite a while trying different prototypes and models. It was a lot of fun developing them and hearing the subtle nuances and different changes. The great thing about it was I was touring a lot, so I’d take prototypes and put them in a guitar and try them onstage. I got to put them through the paces, in an actual work environment.
It’s an iconic guitar and an important piece of music history, and for me to be associated with the legacy of the Les Paul, is one of the greatest honors of my career. I am thrilled with the process of developing this guitar, and I am immensely thrilled with the outcome. These are great guitars, I am so proud to play them, and people are really going to like them.”
Crafted for comfort and expression, the Mark Morton Les Paul Modern Quilt features a AAA quilted maple top paired with a mahogany body utilizing Gibson’s Ultra Modern Weight Relief, offering exceptional resonance with reduced weight for long sets on stage or in the studio. Its mahogany neck with a SlimTaper™ profile and Modern Contoured Heel provides effortless upper-fret access, while the ebony fingerboard boasts a compound radius, 22 medium jumbo frets, and mother-of-pearl trapezoid inlays for a fast, elegant playing experience. Finished in Translucent Ebony Burst Satin, the guitar’s striking aesthetic is complemented by chrome hardware, Grover® Rotomatic® locking tuners, black rings with chrome trim, and a truss rod cover bearing Morton’s signature.
At the heart of the instrument are two exclusive Mark Morton signature humbucker™ pickups, handcrafted by the Gibson Pickup Shop to deliver the guitarist’s unmistakable tone. The rhythm pickup features moderate, Patent Applied For-style windings with a ceramic magnet for clarity and punch, while the lead pickup offers higher-output windings and a ceramic magnet for added presence and power. Both pickups are wired to individual volume and tone controls with Orange Drop® capacitors and a three-way selector switch, giving players a wide dynamic range and exceptional tonal precision.
Each guitar ships in a Modern hardshell case and includes a premium accessory kit, along with a set of Stringjoy® Mark Morton Artist Series Signature Electric Guitar Strings. The result is a signature model built for the intensity of the world’s biggest stages yet refined enough for the most demanding studio sessions.
The Mark Morton Les Paul Modern Quilt stands as a testament to Morton’s artistry and Gibson’s commitment to crafting instruments that inspire. Designed for players who push boundaries, it delivers the power, finesse, and unmistakable character worthy of one of metal’s most influential guitarists.
Lamb of God have announced Into Oblivion, their first full‑length album in four years, arriving March 13 via Epic Records alongside a new music video for the title track. The 10‑song record finds the band fully embracing their status as modern metal veterans—leaning into their roots, sharpening their signature groove, and expanding their sonic reach with a sense of creative freedom. The title track’s video, directed by Tom Flynn and Mike Watts, channels the band’s trademark aggression through psychologically charged lyrics and unrelenting intensity. Guitarist Mark Morton describes the album as a return to unpressured creativity, while vocalist Randy Blythe frames its themes around the accelerating breakdown of the social contract.
Watch the new video for the single “Into Oblivion” HERE.
Ahead of the announcement, Lamb of God previewed the album’s range with two blistering singles: “Sepsis,” a nod to the early 90s Richmond underground that shaped their beginnings, and “Parasocial Christ,” a three‑minute blast of classic Lamb of God energy. Produced and mixed by longtime collaborator Josh Wilbur, Into Oblivion was recorded across locations central to the band’s identity—drums in Richmond, guitars and bass at Morton’s home studio, and Blythe’s vocals at the storied Total Access Recording in Redondo Beach. The result is a record that feels both deliberate and untethered, reaffirming Lamb of God’s place at the forefront of heavy music.
GRAMMY® Award-nominated genre-defying songwriter, producer, podcast host, and guitarist extraordinaire Cory Wong released his new album, Lost In The Wonder, today.
Lost In The Wonder spotlights Wong’s remarkable gifts as a producer, writer, arranger, band leader, and master of modern pop craftsmanship, while of course never losing sight of his trademark guitar virtuosity. The album further affirms Wong’s enduring love of musical collaboration, boasting a truly eclectic range of guest artists, including Taylor Hanson, Devon Gilfillian, Cody Fry, Yam Haus, Louis Cato, Ellis, Elysia Biro, Theo Katzman, and Magic City Hippies.“There are lots of sides to me as an artist,” says Wong.
“A lot of people know me as a guitar guy, or even more specifically, ‘rhythm guitar guy’. That’s an accurate description, but it doesn’t tell the whole story. I see the guitar as just one of the avenues for my music and creativity. It’s been an absolute joy to develop and form a signature sound as a guitarist, but a huge part of my artistry is in my production/writing/arranging/band-leading. I’ve worked on and honed those skills just as much as my guitar playing, so I wanted to make an album that really showcased that side of my creative expression. Does that mean there’s less guitar on this album than on others? No! It’s actually quite the opposite. I feel like some of my best guitar work is done on this album. There’s everything from my classic rhythm guitar sound to multiple layers of orchestrally arranged guitar to blistering solos when the music calls for it.
“I think anyone who’s a great producer/writer/arranger also really likes to collaborate with other people because it gives you different colors and textures to ‘paint’ with. My aim is to showcase different sides of my artistry by putting several collaborators in front of the music and having me build the world that it lives in.”
Lost In The Wonder was heralded with the release of a series of memorable singles, including the hook-heavy and irresistibly catchy “Tongue Tied (Feat. Stephen Day).” This was followed by the crisp yet dreamy mid-tempo title track, the jazzy disco of "Blame It On The Moon," the 80s-esque anthem "One Way Road (Feat. Yam Haus)," the retro banger "Better Than This (Feat. Cody Fry)," and finally last week's masterful soul ballad collaboration with Theo Katzman, "Lisa Never Wanted To Be Famous (Feat. Theo Katzman)." An official music video for "Lisa Never Wanted To Be Famous (Feat. Theo Katzman) is streaming now on YouTube.
Ratboys (l-r): Dave Sagan, Julia Steiner, Marcus Nuccio, Sean Neumann
Miles Kalchik
Julia Steiner describes the song “Just Want You to Know the Truth” as the emotional centerpiece of Ratboys’ new record, Singin’ to an Empty Chair; it’s the “earth’s core of this little planet of songs,” she explains. The Chicago band’s upcoming sixth full-length, releasing on New West Records, took its name from a line in that song. Steiner, the band’s principal vocalist and one half of their twin-guitar configuration, wrote the phrase after literally doing what it suggests during a therapy session.
“It’s exactly what you would think,” Steiner explains. “It’s basically this exercise where you sit in a room with an empty chair and, a person who isn’t physically there, you imagine they’re sitting in the chair, and you speak aloud all of the thoughts and feelings that you might otherwise not feel empowered or ready to share. It can be a really radical thing to do in any context of loss.”
“Looking something in the face can actually be so rewarding and musically satisfying.”—Julia Steiner
When Steiner first tried it, it helped unlock something—a new perspective that revealed the mental and emotional keys of her band’s next work. “Maybe it sounds hippie,” she says with a shrug, “but it worked for me, and I have to imagine that it could be cool for other people to try, too.” Steiner always loved the gut-wrenching vulnerability of Sufjan Stevens; Singin’ to an Empty Chair became her chance to follow in his footsteps. Producer Chris Walla, who spent 17 years playing guitar in Death Cab for Cutie, encouraged “unflinching eye contact” with the things Steiner wanted to write about. “Looking something in the face can actually be so rewarding and musically satisfying,” she says. “Just full steam ahead, leaning into a feeling.”
Ratboys perform at Minneapolis venue Cloudland for The Current’s MicroShow concert series on November 18, 2025. Steiner is playing her Nepco electric, a unique V-shaped 6-string with Danelectro-inspired appointments, including a genuine Dano neck.
Juliet Farmer for Minnesota Public Radio
The songs on Singin’ to an Empty Chair were written across a years-long period; some had been around in demo form since before Ratboys’ previous record, The Window, was released. “We’ve all been keeping up with the story of these songs,” says guitarist Dave Sagan. “It’s kind of like an old group getting back together and picking up where it left off. I feel like that brought us a lot of comfort and joy.”
The music on Singin’ often radiates with those two qualities. Save for a few moments of pandemonium, Ratboys’ distinctly midwestern indie rock feels friendly and cozy, like a mug of tea in a snowstorm. There’s a kind of patience in the slow-building, cinematic opener “Open Up,” which does eventually bloom into fully saturated rock ’n’ roll, in the alt-country sway of “Penny in the Lake,” and especially on the eight-and-a-half-minute “Just Want You to Know the Truth.” But that calmness is upended by the headbanging slacker-rock chorus of “Know You Then,” and the crackling, hyper thrill of “Anywhere,” an ode to an anxious dog. One of the greatest gifts Ratboys have given us is a place where fans of Weezer, Pavement, the Replacements, and Lucinda Williams can hear all of those favorites in one place.
To prepare the record’s 11 songs, Sagan, Steiner, bassist Sean Neumann, and drummer Marcus Nuccio rented a cabin on 20 acres of land in Wisconsin. Perhaps inspired by Steiner’s journey toward honesty, the band embraced directness: If a section sounded like an epic rock part, they called it “the epic rock part.” Walla joined them at the Wisconsin hideaway for some tracking, with the rest mostly completed at the late Steve Albini’s Electrical Audio in Chicago.
“We’ve all been keeping up with the story of these songs. It’s kind of like an old group getting back together and picking up where it left off.”—Dave Sagan
Sagan recorded primarily through his Music Man 212-HD One Thirty, and Steiner used her beloved Fender Hot Rod DeVille. It was broken when she purchased it, and in the course of having it repaired, a friend made a mystery mod that lends extra dirt and attitude. But working at Electrical Audio gave them access to plenty of special gear, like a 1959 Fender Vibrolux (heard on “Burn It Down”), Bob Weston’s Traynor TS-50B, and a Samamp VAC 40 (which Steiner and Sagan call an “MVP guitar amp”). On the percussion side, Nuccio crafted a tambourine staff so he could shake five of them at the same time, and they sometimes tracked on crumpled-up tape for a warped feel.
Sagan plays his Fernandes Strat at Ratboys’ November 18 performance.
Juliet Farmer for Minnesota Public Radio
Steiner’s main guitar is her Nepco V-style, a Danelectro-inspired 6-string electric built by Ian Williams in Des Moines, Iowa. Williams sourced the necks from a Danelectro factory in Korea, used masonite for the body material, and handwound the lipstick-style pickups himself. Steiner and Sagan also used Albini’s Electric Guitar Company aluminum-neck guitar (“The tuning pegs were so smooth, I felt like I was at a spa,” Steiner recalls with a grin. “It was such a privilege to play that instrument”), and Sagan even played Albini’s 16-string “guitar from hell,” on which each string is tuned to the same note. It makes an appearance on the mid-album meltdown “Light Night Mountains All That.” “The guitar does one thing, but it’s really satisfying, and you can make some very, very scary noises,” Sagan says. Benson’s Storkn Boks pedal, paired with an analog and then a digital delay, also came in handy for the cacophony conjured in “Light Night.” Albini’s iconic Interfax Harmonic Percolator was in the mix, too.
Steiner and Sagan are fans of gear that’s both vintage and “player-grade.” Sagan’s primary instrument is a Japan-made Fernandes Strat copy—he was trying guitars at a store one day, and the Fernandes was the best one he picked up. Another highlight is his Lindert Locomotive T, purchased from Atomic Music in Baltimore. The T-style has tweed finishing on the body that looks like a speaker grille, and a distinct thumbs-up headstock. One gets the sense that Sagan and Steiner could grab any plank of wood off a wall and coax something out of it that would expand Ratboys’ vocabulary.
That ethic of openness to the off-kilter and potentially weird seems, at this point, to be foundational for Ratboys. Steiner captures it perfectly on “Just Want You to Know the Truth,” a song addressed to an unnamed, estranged relation: “It’s not that I don’t miss you or the way it used to be / It’s that I can’t live my life without sayin’ anything.”
One of the many things that Willie Nelson and his trusty Martin nylon-string, Trigger, have in common is their truly unmistakable voices. And Willie’s laid back, behind-the-beat phrasing applies to both. To break it all down, we called on Ray Benson of Asleep at the Wheel. The two have been friends for a long time, and in 2009 they released the swinging Willie and the Wheel together. Benson tells us about what it’s like to work with Willie, what it’s like to play Trigger, and when he finally got to put his signature on the latter.
