![Rig Rundown: God Is an Astronaut [2021]](https://www.premierguitar.com/media-library/rig-rundown-god-is-an-astronaut-2021.jpg?id=25890371&width=1245&height=700&quality=85&coordinates=0%2C0%2C0%2C0)
“A lot of the earlier material—The End of the Beginning through All Is Violent, All Is Bright—definitely suits this guitar,” suggests God Is an Astronaut founder Torsten Kinsella when introducing his Fender Deluxe Strat HSS. It has the stock Twin Head Vintage humbucker still complimenting the pair of Vintage Noiseless Strat pickups. The bridge is blocked to help intonation since the band uses several tunings.
If you recall our 2016 Rundown, Torsten Kinsella was exclusively using a 1968 Gibson ES-345. This Stephen Stern-built, red-sparkle Gretsch Custom Shop Penguin has replaced the 345 and typically lives in drop-A tuning. It features TV Jones Filter’Tron pickups and to keep tension up, he employs a custom set of Optima 24K Gold Strings (.060-.044.-.032-.020-.014-.011). For lighter-tuned guitars, he will swap out the .060 for a slimmer .056 or .058.
Here’s Torsten Kinsella’s second custom-built Gretsch Penguin that has a set of TV Jones Classics (bridge and neck) and a TV Jones Magna’Tron in the middle. The only thing he’s changed on this green machine is putting in the wooden bridge that’s more harmonious to his ears.
Torsten Kinsella’s 1961 National Glenwood is a studio tool that never sees the road because it’s a vintage piece and was once owned by The Who’s John Entwistle. Kinsella had his tech put in a truss rod to make the guitar more playable and Curtis Novak re-wound the bridge pickup.
Here is Torsten Kinsella’s Fender American Original ’60s Jazzmaster that’s been upgraded with a Staytrem tremolo (constricting the arm movement so its intentional) and Staytrem bridge with Mustang-style saddles.
Torsten Kinsella’s stomp stations deserve their own zip code. As he states in the Rundown, the Axe-Fx II was crucial when flying around the globe and wanting a consistent sound, but with COVID-19 shutting down touring for over a year now, the band rekindled their love for amps and pedals. And coming out on the other side of the transformation, Kinsella asserts that the traditional gear setup better captures their full sound and dynamic range.
Starting with the left-side Pedaltrain Classic PRO pedalboard you have a couple Strymons (Mobius and BigSky), a custom Moose Electronics HM23 distortion (based on the classic HM-2 circuit), Chase Bliss Mood, Secret Audio Red Secret DI, Red Panda Particle, ChiralityAudio Splinter Drive, a pair of Boss pedals (MT-2 Metal Zone and DD-500 Digital Delay), two large-box black-Russian Electro-Harmonix Big Muffs, Friedman BE-OD Deluxe Overdrive Limited (clockworks design was exclusive to Thomann), Recovery Effects Bad Comrade, Meris Hedra (“special weapon for Ghost Tapes #10”), Boss DS-1 Distortion (with Keeley mod), Dr. Scientist The Elements, and a Chase Bliss Brothers. Bottom center rests a Meris Preset Switch that allows Torsten to quickly access up to four different sounds on the Hedra. And off both boards in the middle sits a Moose Electronics Nomad (inspired by the Foxx Tone Machine).
The right-side Pedaltrain Classic board starts with two utilitarian (but vital) Empress boxes—Buffer+ and Compressor—followed by a DigiTech Whammy (set to chords), and two more EHX Big Muffs. And keeping everything in check is a TC Electronic PolyTune3 and harnessing dynamics is the Ernie Ball VPJR Tuner.
Torsten Kinsella now uses an Orange AD30 and matching 2x12 cab.
And on top of the AD30 sits a pair of Two Notes tools—a Torpedo C.A.B. M Speaker Simulator/DI and a Torpedo Captor Loadbox/Attenuator/DI. Also there is a LNDR Line Driver MIDI Range Extender and a T-Rex Fuel Tank Chameleon.
Like Torsten, Jamie Dean rocked a single guitar (1985 Yamaha SA800) into an Axe-Fx II in our last Rundown. Above you see he’s gone offset with a Fender American Vintage ’65 Jazzmaster reissue. He’s subbed in a Mastery bridge and a Staytrem tremolo, while the rest of the guitar is original.
Seen here is a Fender American Professional I Jazzmaster that has been modded with Curtis Novak JM-Fat (bridge) & JM-V pickups and locking tuners.
Jamie Dean spends most time on six strings, but above is a 1980s Fender Bullet Bass (with a capo on the 13th fret) for “All Is Violent, All Is Bright” and “Fireflies and Empty Skies.”
An impressive Pedaltrain Terra 42 board in his own right, Jamie Dean has plenty of colors to paint with thanks to a lineup of pedals that includes a Strymon BigSky, Moose Electronics Elk Head (based on a ’70s Violet Ram’s Head Big Muff with additional mids control), Boss MT-2 Metal Zone (instantaneous feedback), Stomp Under Foot Pumpkin Pi, Recovery Effects Bad Comrade, Empress Buffer+, Strymon TimeLine, Ernie Ball VPJR Tuner, three EHX Big Muffs, Friedman BE-OD Deluxe, Meris Hedra, Empress Compressor, Boss DS-1 Distortion (with Keeley mod), Red Panda Particle, and a ChiralityAudio Splinter Drive. He also has a Meris Preset Switch (for the Hedra) and a TC Electronic PolyTune3.
Throughout the Rundown, we were hearing Jamie use a 2000s Orange AD30 into a 2x12 cab that was mic’d with a SM57.
Mainly for monitoring purposes, Jamie Dean also uses pair of Two Notes tone tools—a Torpedo C.A.B. M Speaker Simulator/DI and a Torpedo Captor Loadbox/Attenuator/DI.
Back in 2016, Niels Kinsella visited Nashville with a Fender American Vintage ’63 P Bass, but now he’s aiming for an upper-range low-end tone, so he landed on a short-scale Fender Justin Meldal-Johnsen Mustang Bass that is completely stock. He goes with custom set of Optima Unique Chrome Strings (.115–.080–.060–.045) and is typically tuned D-A-D-G.
Niels Kinsella’s signal flow out of the bass hits the Boss TU-3W Waza Craft Chromatic Tuner, then hitting the Noble Preamp, Boss HM-2 Heavy Metal, ChiralityAudio Black Swan Bass Distortion/Fuzz, and the Darkglass Electronics Microtubes X Ultra preamp. Everything calls a Pedaltrain Classic JR home.
Five years ago, he used the Noble Preamp as a DI that went out to FOH, but now Niels Kinsella is going big and bad with the Ampeg Heritage Series SVT-CL 300-watt tube head pumping into a matching Ampeg Heritage Series SVT-410HLF.
Even. More. Pedals.
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While creating her new solo record, Kim Deal was drawn to exploring the idea of failure.
Deal isn’t smiling on the cover of Nobody Loves You More, her new album, but the art bears some similarities: Deal is floating on a platform in an expanse of gentle, dark blue waves, accompanied only by a few pastel-colored amps, her guitar, a stool, and a flamingo. It’s an unmistakably lonely image, but for Deal, failure doesn’t mean loneliness. It’s not even necessarily a bad thing.
“I mean, at least something magnificent was tried, you know?” says Deal. “At least there was something to fail. That’s an endearing thing. I think there’s a sweetness to seeing somebody get their ass kicked, because they were in it. It warms my heart to see that, just people getting out there. Maybe it gives me the courage and confidence to try something. It’s okay if I get my butt kicked. At least you’re trying something.”
“I think there’s a sweetness to seeing somebody get their fucking ass kicked, because they were fucking in it.”
Nobody Loves You More feels at least a little like Van Ader’s journey: an artistic project so long in the making and so precious to its creator that they’re willing to break from all conventions and face the abject terror of being judged by the world. That might seem like nothing new for Deal, who’s played music professionally for over 35 years, first with Pixies, then with the Breeders. But this LP marks her first proper solo album under her own name—a thought that mortified her for a long time. (“I like rock bands,” she says.) Even when she recorded and released what could be called “solo” music, she released it under a pseudonym. Initially, it was to be Tammy and the Amps. “I still was so uncomfortable, so I created Tammy and the Amps,” explains Deal. “I’m Tammy, who are my band? It’s the amplifiers downstairs in my basement. But the Tammy thing sort of got on my nerves so I just dropped it, so it was called the Amps.” She also assembled a band around that concept and released Pacer under the Amps’ name in 1995.
The cover art for Nobody Loves You More echoes the doomed last voyage of Dutch artist Bas Jan Ader.
This new record hums with the soft-loud energetic alchemy that defines much of Deal’s previous works. The opening title track is a slow, romantic strummer with string arrangements, while “Coast” is faintly ska-indebted with horns and a ragged Blondie chord progression. “Crystal Breath” gets weirder, with distorted drums, synthy bass, and a detuned, spidery guitar lead. “Disobedience” and “Big Ben Beat” continue the darker and heavier trajectories with fuzzy stompers interspersed with ambient, affective interlude tracks like “Bats in the Afternoon Sky.” It’s a patient, sensitive, and unmistakably scrappy record.
Some of the songs on Nobody Loves You More are as up-close and personal as solo records get. One in particular that’s drawn attention is “Are You Mine?,” a sleepy-eyed, lullaby ballad. At first listen, it could be taken for a love song. (In fact, Deal encourages this interpretation.) But it’s a song about her mother, for whom Deal cared in her home while she died from Alzheimer’s. The song title comes from a gut-wrenching moment.
“I was in the house, she doesn’t know my name,” explains Deal. “She’s still walking, she can form words, but she doesn’t know what a daughter is or anything. She passes me in the hallway, stops, grabs my arm and says, ‘Are you mine?’ She doesn’t know my name, she doesn’t know who I am, but there was a connection. I knew she was asking if I was her baby. I said, ‘Yeah, mama, I’m yours.’ I’m sure five seconds later, she forgot that conversation even happened. It was just a flicker, but it was so sweet. To have her not see me in so long, and then for one brief second, be recognized in some capacity…. She was such a sweet lady.”
Deal’s mother wasn’t the only loss that went into this collection of songs. Her father passed, too, after a prolonged illness. “My dad was this big bravado sort of personality and watching them get extinguished a little bit every day… I don’t know,” she says. “They both died at home. I’m very proud of that.” But writing “Are You Mine?” wasn’t painful for Deal; she says it was a comforting experience writing the gentle arpeggio on her Candelas nylon-string acoustic.
Deal assembled the bulk of Nobody Loves You More in her Dayton, Ohio, basement, recording with Pro Tools and a particularly pleasing Electrodyne microphone preamp. (Some of the songs date back more than a decade—versions of “Are You Mine?” and “Wish I Was” were initially recorded in 2011 and released as part of a series of 7" singles.) Deal recorded a good part of the record’s drums, bass, and guitar from home, but other contributions came in fits and spurts over the years, from old faces and new. Her Breeders bandmates, including Mando Lopez, Jim MacPherson, Britt Walford, and sister Kelley Deal, all pitched in, as did Fay Milton and Ayse Hassan from British post-punk band Savages, and the Raconteurs’ Jack Lawrence.
Kim Deal cared for her parents in their Dayton, Ohio, home until their passing, an experience that colors the music on her new solo record.
Photo by Steve Gullick
Kim Deal's Gear
Guitars
- '90s Fender Stratocaster
- '70s goldtop Gibson Les Paul
- Candelas nylon-string acoustic
Amps
- Marshall JCM900
- 4x12 cabinet
- Kalamazoo combo
Strings & Picks
- .011-gauge strings
- Dunlop Tortex Standard .60 mm
One day, ex-Red Hot Chili Peppers guitarist Josh Klinghoffer stopped by the studio to see what Deal was working on. He listened to “Wish I Was,” and scrambled together a lead idea. Deal kept the part and expanded it over time, leading to Klinghoffer’s writing credit on the record.
Deal used her trademark red ’90s Fender Stratocaster HSS along with a ’70s goldtop Gibson Les Paul for most of the electric work, pumped through either her long-time Marshall JCM900 or a tiny vintage Kalamazoo combo. Deal has never been a gearhead—at one point on our video call, she uses a tooth flosser as a pick to demonstrate some parts on her Candelas. “Kelley is a pedal person,” she says. “I’m not doing leads. I’m just doing a rhythm that needs to sound good.”
“I don’t think I’m taking it very well still, actually, or I’m a sociopath because I don’t even talk about [Steve Albini] in the past tense.”Over the years, Deal’s sonic thumbprint has been tied up in the work of her good friend and frequent collaborator Steve Albini, the producer, engineer, and musician who died unexpectedly in May 2024. (Deal quips, “Steve’s the lead character in my own life.”) Albini and Deal began working together in 1988, on Pixies’ debut LP Surfer Rosa. Their friendship continued over decades—Deal even performed at Albini’s wedding in Hawaii, for which he gifted her a ukulele—and the final sessions for Nobody Loves You More were under Albini’s watch. His parting hasn’t been easy.
“I got a text: ‘Call me,’” remembers Deal. It was a mutual friend, telling Deal that Albini had passed. “He told me and I just said, ‘You’re absolutely wrong. That didn’t happen.’ I don’t think I’m taking it very well still, actually. I don’t even talk about him in the past tense. I say, ‘What he likes to do is this.’ I never think, ‘What Steve used to like to do.’ My head never goes there. I wanted to record a song that wasn’t working and I said, ‘I need to do it from top to bottom at Albini’s.’ That’s not going to happen.”
YouTube
Along with Rob Bochnik and Spencer Tweedy, Kim Deal plays two tracks from Nobody Loves You More for a holiday fundraiser in November 2024 in Chicago.