Dethklok (left to right): Skwisgaar Skwigelf, William Murderface, Nathan Explosion, Toki Wartooth, Pickles.
“I think some people saw me carrying guitars back and forth and crowbarred my studio door, so my main A-league guitars were kaput,” Small recalls somberly. After the robbery, he moved everything out and went undercover. “I went into the modern world of direct recording,” he explains. “It pushed the record into a different place than my normal ‘safety gear’ would’ve.” In the theater world, one might raise their hands above their heads and exclaim gleefully, “unexpected results!”—the inevitable and, often, positive outcomes of unintended actions.
Metalocalypse: Dethklok | Gardener of Vengeance (Lyric Video) | Adult Swim
If anyone knows a thing or two about unexpected results (and theatrics), it’s Brendon Small. Having cultivated a career that he refers to as “whatever it is that I do for a living,” Small somehow managed to marry a Berklee College of Music guitar education with Emerson College comedy-writing classes to create a wildly unique career path for himself. Born in 1975, Small first gained widespread recognition as the creator, writer, and co-producer of the animated television series Home Movies, which aired from 1999 to 2004. The show followed the humorous exploits of a young boy named Brendon, his friends, and their amateur filmmaking endeavors. Small’s most notable achievement, however, came with the creation of Adult Swim’s animated cult classic Metalocalypse. It was the medium through which he finally, successfully, combined his songwriting and comedy-writing talents.
Premiering in 2006 and running for four seasons, Metalocalypse depicted the fictional band Dethklok embarking upon absurdly dark adventures as the self-proclaimed “heaviest metal band ever created.” Metalocalypse blended humor, satire, and heavy metal culture with sharp musical performances and scores, creating a unique and, ultimately, beloved experience for metalheads and animation fans alike. Small created and produced the series, provided the voices for several main characters, and composed most of the music featured in the show, including the tracks performed by Dethklok. In August, nearly a decade since the cliffhanger ending of The Doomstar Requiem – A Klok Opera in 2013, Metalocalypse finally returned with a full-length animated movie. Written and directed by Small, Metalocalypse: Army of the Doomstar brings Nathan Explosion (vocals), Skwisgaar Skwigelf (lead guitar), Toki Wartooth (rhythm guitar), William Murderface (bass), and Pickles (drums) back together for another action-packed journey.
Brendon Small's Gear
Dethklok creator Brendon Small resurrected the animated band this year after a decade-long hiatus.
Guitars
- Epiphone Brendon Small GhostHorse Explorer
- Fender Jazz Bass
- Gibson Explorer
- Gibson Snow Falcon Flying V
- Ibanez JS240PS with Sustainiac mod
- Ibanez Tom Quayle Signature TQM1
Amps & Effects
- Neural DSP Quad Cortex Quad-Core Digital Effects Modeler
Strings & Picks
- Dunlop DEN09544 Electric Nickel .095–.044
- Dunlop Ultex 1.14mm
Released in conjunction with the movie, Dethalbum IV is a bludgeoning aural assault that showcases Small’s knack for combining glossy production with “some of the ugliest sounds” he could conjure. “There’s this melding of the putrid and the beautiful that I’m trying to smash together,” he attests. Songs like “Aortic Desecration,” “Gardner of Vengeance,” and “Poisoned by Food” may be lyrically silly and satirical—even gross—but the music is serious business, on par with Mastodon, Lamb of God, and other like-minded metal bands who combine cunning songcraft with stunning instrumental proficiency. Riff-heavy, melodic, and merciless, Dethalbum IV is an expertly crafted record where death growls are overtaken by soaring melodies and vice versa, guitar histrionics are undergirded by monstrous grooves courtesy of drummer Gene Hoglan, and the production aesthetic, perhaps largely due to Small’s unintended switch to direct recording, is easily Dethklok’s slickest yet.
Simply put, Dethalbum IV is a fierce musical statement that deftly combines hook-laden melodicism with fist-pumping metal. “There was a point where I was listening to this record, and I’m standing back and going, ‘This is much more aggressive and much heavier than a Dethklok record normally,’” Small explains. “[Producer] Ulrich Wild really landed the bird with this one, getting it to that aggressive and modern place, which is somewhere between Cannibal Corpse and Def Leppard’s Hysteria.” Small calls this amalgamation of influences “stuff that hits your DNA” when you’re a kid. “The impressionable parts stay with you,” he admits.
“Doing a Dethklok show is like storming the beach at Normandy during a laser tag battle.”
Despite being Dethklok’s de facto studio guitarist, what really sets Small apart from many other contemporary shredders is that he considers himself a writer first and foremost. “Ever since I had a guitar, I was always trying to write music on it,” he says. “Even when I couldn’t play it, I would just start to write ideas or lines or a riff on the lower strings.” Composition first, and then form-fit around it, he likes to say. “I like to come up with stuff, either in the script form or with some kind of instrument hanging around, from keyboard to guitar to spoons—whatever I can do.”
Even though he ultimately gravitated towards traditional recording techniques (like a mic in front of a speaker cab), Small admits that having digital options early on made his guitar and comedy-writing career possible. “I don’t think I could have made music unless I had that Line 6 POD in the very beginning,” he admits. “I’m a writer who happens to play guitar, and I have to find a way to mangle these sounds into something that makes sense. I’ve got to get the sounds down in the big notepad that is the Pro Tools session.”
Though his return to direct recording was a matter of necessity, it was influential to the overall sound of Dethalbum IV, and Small asserts that he tried to let the music unfold naturally. “At some point, I look at the record and go, ‘Whatever this is, I can’t stop it from being what it needs to be,’” he says. “There’s something in the pineal gland that’s driving it from the astral plane pushing it forward.” Ultimately, he attests, the Dethklok characters start to take over in his mind: “Nathan Explosion is making decisions, and Skwisgaar wants more notes, and I’m like, ‘Okay, I’ll see if I can make it work because I’m not as good as that guy,’ so I have to really work it.”
After thieves plundered his home studio, Small decided to record Dethalbum IV without any amps—a homecoming of sorts for the early Line 6 POD user.
Speaking of Skwigelf, Small cites one big difference between Dethalbum IV and previous Dethklok records. “Now Skwisgaar has a whammy bar and 24 frets,” he chuckles. “There are dive-bombs on this record that I never did before, but I wanted to be able to do what Jeff Beck did, get a little bit more expressive—go from the fixed bridge to the whammy. I’ve had guitars with it, but I just wanted to finally put them on the record. There’s just a little bit more goose in it.”
“I think if you’ve decided to jump onto the carnival train that is your own creative life, you have to bob, weave, fail, and succeed all in a matter of 20 minutes every single day.”
Small’s cross-section of music and comedy began during his time at Boston’s Berklee College of Music in his junior year. “I started having forward thoughts of my impending doom, like, ‘I’m going to graduate, and what the hell am I going to do with this guitar? I love it, I hate it. What am I going to do?’” he recalls. He was also having a hard time corralling the school’s curriculum into a solid identity for his own guitar playing. “I’m in a jazz chord lab figuring out what Joe Pass used to do. Then, I’m thinking about Danny Gatton in my country lab, and then I have advanced concepts of prog-rock where I’m learning about Gentle Giant, and then I’m in traditional harmony trying to mimic an étude or learn how to write a chorale, or voice leading, or figured bass, or any of that cool stuff, and I’m having some kind of musical identity crisis and fearing the end of school and the real world.”
Instead of going the weekend-warrior route via gigs posted on a corkboard at Berklee, Small pursued internships at two different jingle houses in New York. One was David Horowitz Music Associates, and the other was Michael Levine Music. “Michael Levine wrote the Kit Kat theme: ‘Give me a break, give me a break…,’” Small sings. He soon realized that his roommate Jed, from Emerson College, had what he deemed a much cooler internship with Conan O’Brien.
For real-life concert appearances, Small brings Dethklok to life alongside an all-star band that includes Mike Keneally (guitar), Nili Brosh (guitar), Bryan Beller and Pete Griffin (bass), and Gene Hoglan (drums).
Small’s fly-on-the-wall experience tagging along with Jed at the late-night talk show prompted him to draw up a plan for his future. “I went back to Berklee in my final year, and I started taking writing classes along with Emerson [students],” he explains. His assignments included writing a spec script and a sample episode of a TV show, and demonstrating he could write character, story, jokes, and tone. “I saw that it’s like a good piece of music,” he says. “You’ve got an A theme, a B theme, and maybe a C theme, and how do they all intertwine into this final pocket at the very end?” Conceptually and structurally, it made sense for Small: “It was like the études I was studying. There was something baroque about it that I understood.”
These combined college experiences ultimately led Small to start thinking about the intersections of songwriting, screenwriting, and acting, and how that combination might be a viable career path for him. “If you can make sense of your guitar enough to score music, I think ultimately that’s a battle of you versus yourself,” he says. “Once you prove that you can take this foreign object [a guitar] and make it a part of you, you can do that with anything. You just have to learn where the knobs are, where the frets are, how to bend notes, and how to find your rhythm. Everything’s a storyline, from a piece of music to a piece of media. Whatever it is, there’s a beginning, a middle, and end. Ultimately, it did me well to think of them as similar things.”
“Everything’s a storyline, from a piece of music to a piece of media. Whatever it is, there’s a beginning, a middle, and end. Ultimately, it did me well to think of them as similar things.”
To bring Dethklok to life for this year’s Babyklok Tour alongside Babymetal, Small enlisted heavyweights Mike Keneally (guitar), Nili Brosh (guitar), Bryan Beller and Pete Griffin (bass), and Hoglan (drums). While preparing to hit the road, Small was focused on the aspects of live performance that the concert experience demands of him. “Doing a Dethklok show is like storming the beach at Normandy during a laser-tag battle,” he chuckles. “There’s lights and craziness and fog and haze, and you’re like, ‘Where am I?’ There’s a lot of muscle memory and position memory that has to be there. I have to think about the lyrics, the vocalizing, and if all I can see is the low E string, and I’m on the high E string, I have to trust that my hand remembers where it needs to be.”
Circling back to “whatever it is I do for a living,” Small offers the following wisdom for those interested in pursuing an artistic life: “I think if you’ve decided to jump onto the carnival train that is your own creative life, you have to bob, weave, fail, and succeed all in a matter of 20 minutes every single day,” he says. “How do you stand back and try to conceptualize and solve a problem? I think that’s what makes it fun, and treacherous, and terrifying, and filled with failure, and a little bit of success.”
YouTube It
Dethklok shreds a live performance of "Thunderhorse" for the Adult Swim Festival Block Party, combining thrilling Metalocalypse-style animation with furious technical performances.
When Chris Shiflett left No Use for a Name and joined the Foo Fighters in 1999, he almost had no gear. The band was rehearsing to support their third album, There Is Nothing Left to Lose, and leader Dave Grohl was doing an inventory check on their newest member.
“Dave asked me how many guitars I had, and I said, ‘Well, I have two, but one has a broken headstock,’” recalls Shiflett. “Dave chuckled and said, ‘We gotta get you a few more guitars.’”
The duo ventured down to Sunset Boulevard hitting all the guitar shops and Grohl gifted Shifty a pair of Gibsons (that we’ll meet later). (This story is even more proof that Grohl is one of the coolest rock stars ever.)
“I had been going to some of those Sunset stores since I was a teenager, and they’re never nice to you because they know you’re not buying anything. So, when I went in there with Dave Grohl and his AmEx card, it was a real moment for me. Here I am joining my dream band, and he’s like, get whatever you want … and he really meant it!”
Shiflett’s gear germination didn’t stop there. “When I joined the band, I didn’t have any pedals. And now my bandmates constantly make fun of me for the size of my pedalboard—it’s ridiculously big and there are a lot of pedals on it—but my view has always been, ‘as long as I don’t have to carry it around, bring them all [laughs].’”
But they all serve a purpose and allow Chris to stand out in a three-guitar band. “I do love that my role in Foos over the years has become the color guy with all these pedals.”
His growth as an artist doesn’t stop there. Shiflett’s put out punk albums in Jackson United and for nearly 25 years, he sparked endless good times in the best punk-rock cover band (Me First and the Gimme Gimmes). In 2010, he shifted his creative outlet to busting out alt-country twangers and Bakersfield barroom bruisers as Chris Shiflett & the Dead Peasants, and then, later, solo. Since 2013, he’s been hosting a podcast (Walking The Floor with Chris Shiflett) that’s featured conversations with Wolfgang Van Halen, Mike Campbell, Greta Van Fleet, Billy Strings, and recent Rig Rundown subject Marcus King. Where does the dude find the time?!
Following Foo Fighters' recent Taylor Hawkins Tribute Concert at L.A.’s Kia Forum to honor their dearly departed drummer, Shiflett carved out some precious time and invited PG’s Chris Kies to the Foo’s HQ, Studio 606. The laidback conversation covered his essential live guitars (including a not-so-golden ’57 Les Paul and a few gracious gifts from Grohl), some custom Friedmans, and a pair of unusual AC30 stacks that only he and Sir Paul have … and all his pedals that sting, sparkle, shimmer, and sizzle.
Brought to you by D’Addario XS Coated Strings.
All That Glitters Is Not Gold
This 1957 Gibson Les Paul started out its long life as a goldtop. Shiflett believes that the rest of the instrument is true to the day it left Kalamazoo. He says in the Rundown that he bargained with himself to sell about 20 guitars on a Reverb shop with the idea of parlaying that scratch for one or two “magic guitars.” They tallied up his credit and started dusting off their most-valuable coffers. He was drawn to this one for its sound and character as a player-grade holy grail Les Paul—with its stripped finish and broken headstock. He originally thought it’d be a studio piece, but fellow Foo Pat Smear told him he had to bust it out for tours … which he now has for years. This one stays in standard tuning and takes D’Addario NYXLs (.010–.046).
Pawsome Picks
Shiflett uses lighter-gauged Dunlop Tortex picks that feature the band’s logo on one side and his husky Lucky on the other.
Meet the Cleaver
Ten years ago, Shiflett was honored with a MIM Fender Telecaster Deluxe signature. A few years later, Chris revisited the Tele Deluxe design with Fender’s Masterbilt team and devised this devilish T. They dubbed it “Cleaver, because it positively slashes through the mix,” he says. Specs include a 2-piece alder body, quartersawn maple neck, 21 medium jumbo frets on a rosewood ’board, a large ’70s-style headstock, Schaller tuners, and the Hattori Hanzō-sharp blade of this beauty is a custom pair of Lindy Fralin P-90 Soapbar pickups that are noiseless and slightly overwound.
Ace Gift from Grohl
This Les Paul Custom (Shiflett thinks it’s from 1989–1991) was one of the guitars Grohl bought him back in 1999. It’s seen a lot of pickup combinations, but it currently has a Seymour Duncan JB (bridge) and a ’59 (neck). Shiflett’s a big Kiss fan, so he threw on the Ace Frehley sticker. He’s put a lot of miles on this stallion, and he says that it gallops and grooves best while in drop-D for songs like “Monkey Wrench” and “Everlong.”
The Cheapest Way to a Signature Guitar is…
getting a custom truss rod cover made and slapping it on the headstock, as seen here.
C’s Flying V
This 2002 Gibson Flying V was the first axe Shiflett ordered fresh from a guitar company. He got it just before touring in support of 2002’s One by One (the first Foo’s album he contributed to). In the Rundown, he shared his thoughts on the body shape: “As impractical as they are to play sitting down, god, they’re amazing to play standing up!” The V currently has a set of Fralin Pure P.A.F. humbuckers that are “really musical and clear.”
Dave Does It Again
This prized Gibson Explorer was the first guitar he was gifted from Grohl, ahead of his first tour in the Foo Fighters. It’s all stock except for a Seymour Duncan JB subbed into the bridge position.
Can’t You Hear Me Rocking?
When you play in an arena-filling, three-guitar rock band, you need to bring it. Shiflett toggles between the custom, two-channel Friedman Brown Eye 100W head and the Vox AC30 head. For the heavier, distorted songs, he goes with the Friedman, while the Vox is used for softer songs like “Aurora.” Both 4x12 stacks have a backup head. Shiflett claims in the Rundown that his Vox rep stated that only he and Sir Paul have AC30 4x12 stacks. Now that’s some splendid company to share!
Friedman Firepower
Here’s a closeup of the settings Shiflett’s dialed in for the Brown Eye.
Vox’s Vocals
And here’s the recipe for Shiflett’s AC30 jangle and chime.
Chris Shiflett’s Pedalboard
His current pedal playground is home to all sorts of tone toys. Starting in the top left he has an Electro-Harmonix Micro POG, a JHS Muffuletta, a pair of MXRs (Flanger and EVH Phase 90), an EHX Holy Grail reverb, a Strymon Deco, and a Klon KTR. The next row starts with a Boss CE-2W Waza Craft Chorus, a couple of Strymon TimeLines (one for each amp), and down below is a trio of Xotics—an EP Booster, SP Compressor, and an XW-1. Utilitarian boxes include a Lehle Little Dual amp switcher, Palmer PLI-05 Dual Channel Line Isolation Box, Boss FS-5L footswitch (to toggle between clean and dirty on the Friedman), and a TC Electronic PolyTune that keeps all his guitars singing on key.
Amyl and the Sniffers are pragmatic. They rock fast and write and record even faster. Legend has it they knocked out their debut EP, 2016’s Giddy Up, from start to finish in just 12 hours in the band’s shared home. And their Australian Recording Industry Award-winning (Best Rock Album) self-titled full-length debut is a sweltering, swaggering, scallywag’s set of 11 songs that clock in at 30 minutes. During Australia’s Covid shelter-in mandate, the frenzied foursome locked themselves in their home once again to pen 13 rambunctious-yet-buffed jams that combine blazers with slow burns. Regardless of tempo, danger lurks in their every note and word. With the disregard of Iggy, the venom of Lemmy, and power of Angus, their live performances are tornadic events. Lead singer Amy Taylor is the charismatic lightning, while guitarist Declan Martens, bassist Gus Romer, and drummer Bryce Wilson are the locomotive thunder.
Hours before Amyl and the Sniffers’ headlining set at Nashville’s Brooklyn Bowl, Martens invited PG’s Chris Kies stage right to chronicle his Hemi-like setup. In this episode, we meet his paired live instruments from Gibson, unwrap the story behind his “Excalibur” pedal, and understand Martens’ MO to work smarter, not harder.
Brought to you byD’Addario dBud Earplugs.
Exploring the Explorer
For nearly every show with Amyl and the Sniffers, Declan Martens played a raggedy Strat that was loaded with a Seymour Duncan Hot Rails in the bridge. And on top of that, it’s been featured on all their recordings. That changed in April 2022 when Gibson approached Martens to test drive some of their models. He landed on a daring pair with roots in 1958 that includes this Gibson Explorer in antique natural. It has all-mahogany construction with a rosewood fretboard. The stock Burstbucker 2 (neck) and Burstbucker 3 (bridge) pickups are in place, but the neck humbucker has been disconnected so he can use the selector as a kill switch.
A V for D That’s in Slot B
The second gift from Gibson was this brand-new Flying V that employs the same recipe as the Explorer, with a mahogany body and neck in antique natural, a rosewood fretboard, and Burstbuckers 2 and 3. Martens notes in the Rundown that the Explorer has been seeing more stage time and the V has been reserved for backup duties, but admits that could change at any point.
He once went with coated Elixir strings for their longevity, but he’s been trialing .010–.046 sets from the D’Addario NYXL and Ernie Ball Paradigm families. Martens did mention that he played .010–.052s on the Strat, but found that Gibson’s compact scale length allowed him to reduce to standard .10s. They typically stay in half-step-down tuning, but do venture into drop C# for “Capital.”
M & M
That’s Martens and Marshall. He prefers plugging into JMPs for his love of ’70s rock and punk, but for this U.S. run he’s backlining with a pair of modern JCM800s. Each head is set to stun and firing through a deuce of Marshall 4x12s (1960AVs on top and 1960BVs on bottom) that are carrying Marshall G12 Vintage by Celestion speakers. Martens remarks that he’d ideally run the heads into Marshall 1960AX and BX 4x12s, because they come with 25W Celestion G12M-25 Greenbacks that are more “AC/DC than Guns N' Roses.”
Love At First Sight
Before the band’s first international performance, at The Great Escape festival in Brighton, UK, Martens told their tour manager he needed to find a volume boost/gain pedal. As luck would have it, at the end of the street they were staying on sat a pawnshop. In one of its window displays rested this nondescript home-build. A spontaneously serendipitous spark hit Martens and he purchased the stomp. He plugged it into his rig and was floored: “It wasn’t just something that I liked. I was like ‘holy shit, I love this.’”
Declan says he’s deduced from tinkering that this is a hybrid clone combo that sits between a MXR Distortion+ and DOD Overdrive Preamp 250. He describes it as being a “high midrange boost with hectic gain.” He claims it’s the secret sauce for the studio and values it too much to tour with. However, he did have it in a small case for this run and is tempted to put it into action because he’s missing it.
Declan Marten’s Pedalboard
Declan doesn’t need much to party—proven with this baby board that holds a MXR Carbon Copy Mini, an always-on Electro-Harmonix Soul Food, and a clone (built by Open Ear Audio) of his beloved booster/gain gooser. The TC Electronic PolyTune 2 Noir keeps his Gibbys in check and is actually third in line behind the clone and Soul Food. Everything hits the front of the amp, as he doesn’t use effects loops to keep his tech time at a minimum.
