Buffalo Nichols believes in the power of acoustic country blues. He also believes it’s not a fossil, trapped in amber, but a living, breathing musical genre. Which is why he blends elements of the tradition—slide guitar, resonator, open tunings, themes of loss, redemption, and struggle—with loops, samples, drum machines, myriad effects, and modern-day narratives. His new album, The Fatalist, is the culmination of his art to date. Listening to its echoes of Skip James, John Hurt, Pink Floyd, and Dr. Dre is an even stranger experience when you know Nichols started his career in the thundering, downstroke-chiseled trenches of the Midwest metal scene.
When you watch this Rig Rundown, Nichols will explain, and play, it all—it's a fascinating story. And the gear! Get ready for a feast, full of the trad and the rad.
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Adirondack Rose
Those two woods dominate this Recording King RO-328, with its solid Adirondack spruce top, solid rosewood back and sides, rosewood fretboard, and herringbone purfling in classic rosette. In fact, this guitar would not look out of place in a photo from the early ’50s, and the brand itself has been available since the ’30s. Nichols keeps this 6-string tuned to open C# minor, a Skip James tuning, with a Seymour Duncan Mac Mic pickup. His preferred sting gauge is .016 to .056.
Sweet 'n' Elite
Nichols’ parlor guitar is a Recording King Tonewood Reserve Elite Single 0, with a spruce top, rosewood back and sides, a mahogany neck, and an ebony fretboard. Note the inlays and distinctive binding. It also has the Duncan pickup system. Nichols keeps this guitar tuned in standard with a medium string set (.013s).
Steel and Gold
This Gold Tone GRS Paul Beard metal-body Resonator puts a brushed aluminum cone and biscuits inside an all-steel body with a 19-fret maple neck. With a stock lipstick pickup, Nichols uses it as one of his essential electrics. He prefers it to the more traditional thick resonator body, for ease of performance and weight relief.
Get Behind the Mule
Nichols’ tunings include C#m, open F, and standard, tuned down a half-step. This guitar is a Mavis model, by Mule Resophonic Guitars—an open tuning classic. Dig that pickguard and the warm patina on the body. “It’s taken on a life of its own,” says Nichols. “Some people will show up at my gigs just to look at it.” The mini humbucker sounds sweet, with its basic volume control. The neck isn't too thick or too thin. "Kind of in the middle,” Nichols says. And it mostly gets played clean, or with a nice flavoring of delay.
Banjo
The banjo is one of the oldest African-American instruments, and this one is a Recording King, with a scooped fretboard and two pickups (a K&K and a Fishman) that he sometimes uses to split the signal. Without a resonating back, Nichols notes that it caters more to old-school music, with its bright, ringing tone.
Travelin' Amp
These days Nichols’ road amp of choice is a Fender Tone Master Super Reverb. He likes the compression he gets from its four 10" speakers, as well as its back-saving weight. He also points out that he uses so many effects that his guitars sound the same regardless of his amp choices.
The Board's Big Brain
Nichols jokingly describes his pedalboard as "very confusing,” but, running through his chain, he starts at a TC Electronic PolyTune to an Origin Effects Cali76 compressor—"and after that’s where it gets pretty weird.” But also onboard, for drive, are a Wampler Tumnus and Belle, and a Fuzzlord Octave Master (“for my Jimi Hendrix kind of tones”). To control various effects and chains, there’s a Boss GT-1000 Core. Those are involved in the guitar-to-amp signal, versus the acoustic.
But the “weird stuff,” as he puts it, starts with an Old Blood Noise Endeavors Signal Blender for switching between the acoustic, banjo, or amp. While the Fuzzlord can color everything, a cluster of his boxes are used to conjure pads and other ethereal sounds. These include the EHX Superego, a Fishman Aura, a Hologram Electronics Microcosm Granular Looper and Glitch Pedal (he calls it his red herring), an EHX Mel9 Tape Replay Machine, a TC Electronic Death Rax3, and a lot more. Listen while Nichols displays his entire array of delays in the Rundown. There’s an SPD-ONE Kick for stomping, and drum machines—an Akai Professional MPC Live II and an Elektron Analog Rytm MKII—too!
Shop Buffalo Nichols' Rig
Recording King RO-328
Recording King Tonewood Reserve Elite Single 0
Recording King RK-R20 Banjo
Fender Tone Master Super Reverb
TC Electronic PolyTune
Origin Effects Cali76 Compressor
Wampler Tumnus
Wampler Belle
Boss GT-1000 Core
EHX Superego
Fishman Aura
EHX Mel9 Tape Replay Machine
SPD-ONE Kick
Akai Professional MPC Live II
Elektron Analog Rytm MKII
Stern, seen here performing at Union Transfer in Philadelphia in late 2023, recorded all of the guitars direct on The Comeback Kid.
Without one, she says, “[the music] would be like a textural thing behind me,” and while that may not be a bad thing, that’s not her vibe. Her influences include the Who and Talking Heads, noise and post-punk bands like U.S. Maple and Erase Errata, and math-rock group Hella, whose sounds inspire her to take a different approach. “I want to remind myself about all the rock songs that I grew up listening to, and the riff is really key on all those songs.”Stern’s new album, The Comeback Kid, is a smorgasbord of blazing gems that stay true to her riff-centric ideals, and cut to the chase with clever and assertive phrasing. In a way, it may even be a nod to the Minutemen, with every song clocking in between two and three minutes, as Stern eschews the standard verse/chorus formula in favor of erratic arrangements that take you on exciting, albeit compact, sonic journeys.
The Comeback Kid is quirky, angular, and unsettling, but delivered with a coy sense of humor. Many of the songs, like the opening track “Plain Speak,” as well as “The Natural” and “Oh Are They,” are built around fast, high-end, multilayered, tapped guitar figures. Then “Forward,” the fifth song on the record, interrupts the brightness for something more sinister, sounding like a strange synthesis of Houses of the Holy-era Zeppelin and Talking Heads,with a touch of flange. There’s also an odd-metered spaghetti Western cover of Ennio Morricone’s “Il Girotondo Della Note,” which gets increasingly eccentric before ending abruptly one minute and 19 seconds in. “At this point, weird time signatures are just baked into me,” Stern elaborates. “A song will almost never be in 4/4, but I am not really trying to make it that way. I just come up with a phrase—I can always tell it’s not in four, but I don’t know exactly what it is.”
“A song will almost never be in 4/4, but I am not really trying to make it that way.”
Stern recorded all of the guitars and vocals at home using Pro Tools, and she finds coming up with vocal parts to be the most difficult. “[It’s] the hardest part for me,” she says. “I am very comfortable putting together interesting guitar parts, and I work really hard on each tiny part. An eight-second part could take all day, developing it and the intricacy of what it is going to be. That’s why I end up layering so many vocal tracks, because it’s just so hard for me to figure out the right melody. That’s also part of why I yell so much; my screaming style is because melody is my biggest challenge.”
The Comeback Kid marks Marnie Stern’s return to her solo career since her last album in 2013, and features only guitars and drums.
The path of least resistance in producing the guitar parts, she explains, was to record all of them direct. “I live in Manhattan and the neighbors would go bonkers,” she says about the possibility of cranking an amp in her cramped New York apartment. Stern’s pedal of choice is the Tech 21 SansAmp GT-2 tube amplifier emulator. (She runs that pedal, along with a Boss Digital Delay, through a Fender Deluxe Reverb when performing live.) Overall, her approach is decidedly barebones. She’s a loyal Fender Jazzmaster user as well, though she does have two of those. “I just love the Jazzmaster,” she says. “I have an older one, and then the past bunch of years I’ve been playing this American Pro Series that Fender came out with a couple of years ago. But that’s basically it.” That simplicity also applies to the album’s instrumentation. Aside from vocals, The Comeback Kid features nothing but guitars and drums, the latter of which was added later.
“I thought all those other styles were going to be sunk in there, but I guess because they weren’t mine, it didn’t stick.”
Thanks to the enlisting of Arcade Fire’s drummer Jeremy Gara, the drum parts for the album were a piece of cake. Stern sent Gara the tracks and trusted him to do the rest. “I mean, Jeremy’s an amazing drummer,” she says. “Arcade Fire is an amazing band. He knows what he’s doing. I didn’t give him anything. Not a thing.” For having gotten into the music without any direction, Gara’s drumming fits in perfectly with Stern’s frenetic, unflinchingly exuberant energy.
Marnie Stern's Gear
In her songwriting, Stern leans into odd time signatures mixed with layered vocals and tapping, and of course, the riff.
Photo by Frank White
Guitars
- ’80s Fender Jazzmaster
- Fender American Professional Series Jazzmaster
Amps
- Fender Deluxe Reverb
Effects
- Tech 21 SansAmp GT2
- Boss DD-8 Digital Delay
Strings & Picks
- D’Addario .010s
- Fender Medium picks
Once it had all coalesced, The Comeback Kid became Stern’s first album after she’d taken a long break from her solo career, a period which included an eight-year stint as the guitarist in the 8G Band, the Fred Armisen-led house band for Late Night with Seth Meyers. The 8G Band is unusual in that, instead of a cast of studio heavyweights, Stern’s co-conspirators included musicians pulled from the indie-rock world, such as Seth Jabour and Syd Butler from the art-punk band Les Savy Fav, Eli Janney from Girls Against Boys, and Armisen, who played with the Chicago-area punk band Trenchmouth.
“In the beginning, we would have a different drummer each week,” Stern says. “The drummer from Primus would be on and we’d learn a Primus song, or the drummer from the Pixies would be on so we’d learn a Pixies song, or Chad Smith from the Red Hot Chili Peppers was on so we learned a Chili Peppers song, and on and on and on. It was a lot of different drummers and styles, and I think that helped a lot—jumping into a different band and learning the song. It was a very quick turnaround. Plus, we wrote eight songs a day. We could have notes on stage, and we had in-ear monitors to hear a playback of the song before the commercial break. I had just been in my one world [before joining], so it was a really great experience.”
“If a part is interesting, I’ll put it in, even if it’s not commercially going to further my career. I just like what I like.”
Stern’s main axe is a Fender Jazzmaster, which she’s seen playing here in a performance back in 2013.
Today, Stern reflects on her time with the 8G Band with a mixed perspective. “It was great to do it for those eight years, and then it was great not to. It’s just that that whole thing is about [Seth Meyers]. It’s great to do that world. But it’s also nice to do something for yourself a little bit.”
Despite taking a long hiatus from her solo career—not writing new material, recording, touring, or even playing her old songs—and then coming back chock full of new styles, situations, and collaborators, Stern sounds right at home. The Comeback Kid comes across as if she simply picked up where she left off.
“I guess other people learn properly, but that’s just how I’ve always done it.”
“For those eight years, I barely played anything of my own,” Stern shares, “and then when I sat down to write, I couldn’t believe how quickly it just came back. I thought all those other styles were going to be sunk in there, but I guess because they weren’t mine, it didn’t stick.” Although, all that time on TV did affect her attitude. “I grew a bit more technically, in terms of how to do certain things, but I came back to, ‘I don’t give a fuck.’ If a part is interesting, I’ll put it in, even if it’s not commercially going to further my career. I just like what I like.”
Before recording The Comeback Kid, Stern spent eight years playing with the 8G Band on Late Night with Seth Meyers.
Part of what Stern came back to is her idiosyncratic approach to two-handed tapping. “I need to keep the pick for the next part,” she says, “so I hold it in my hand and use my middle finger at the same time to tap. With my left hand, a lot of the time I’ll use my pointer and my ring finger, but not my pinky. Isn’t that strange how you just do something? I guess other people learn properly, but that’s just how I’ve always done it.”
Tapping is all over The Comeback Kid, as heard on the anthemic-sounding “Working Memory,” which also includes somewhat contrapuntal figures from the different layers of guitar (plus dissonant stabs and a provocative solo, too). It’s also on the almost manic “Nested,” that seems to mellow near the end where she employs a more textural usage of the technique. But, tapping isn’t the only thing she does. She’s also got a mean picking hand, which you can hear in action especially when she’s leaning into upper-register tremolo parts on the album’s second single, “Believing Is Seeing.”
Tone inspires her, too, although once you start talking about tapping and tone, somehow she finds a way to bring that back to the riff. “Of course tone inspires me,” she says, “and for tapping, distortion inspires me. But I am really into focusing on the riff and trying to get that as full as possible.”
YouTube It
Stern’s only taken to the stage again recently, but this video from 2013 shows her exercising her spectacular chops and knack for bright, energetic, and uplifting fronting and songwriting.
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