In the Tropical Gothclub with Dean Fertita
With the encouragement of his pal Jack White, Queens of the Stone Age and Dead Weather multi-instrumentalist Dean Fertita pulls together a decade of material for the psych-pop extravaganza Tropical Gothclub.
For multi-instrumentalist and A-list side musician Dean Fertita, a sophomore solo release has been a long time coming. The anticipated Tropical Gothclub, released in late 2022, is his first record since his 2009 debut, Hello=Fire. Fertita can’t help but nod to the lapse of time between then and now. “The song ‘Double Blind,’ I wrote that for my daughter before her first birthday,” he says about the album’s dreamy, Flaming Lips-like second single. “She just turned 11, and that’s the oldest song of the bunch.”
In that interim, the guitarist has had a lot to keep him busy. Since the mid ’00s, he’s been a part of a number of ongoing projects: He plays guitar and keys in Queens of the Stone Age, has been a touring member of the Raconteurs—whose lineup includes Fertita’s high school friend, multi-instrumentalist Brendan Benson—and formed the Dead Weather with the Kills’ vocalist Alison Mosshart and Jack White. Between touring, writing, and recording with these groups, Fertita also manages to squeeze in session work with artists such as Karen O and Iggy Pop.
Where There is Water
That sheer volume of work is a full-time creative effort. It’s a constant cycle, and for Fertita, the genesis of “what’s next” usually emerges just as another undertaking is winding down. But then came March 2020, and—like everyone else—he found himself in a pandemic break with time to focus on his solo projects again.
“In early 2020, we just finished the Raconteurs run,” Fertita says. “I didn’t know what was going on for the next few months for work, but I knew that in the not-so-distant future, we were planning on getting back together for Queens [of the Stone Age]. Alison Mosshart and I were talking about how we were both home for a while. We both had a few songs, and we started sending demos back and forth to each other. That got the wheels turning for me. A month later, we were locked down. But I was already in this mode of working through songs and arrangements and things that might work if we did a Dead Weather record.”
“The entire record was making sense of 10 years of fragmented ideas.”
“We were operating under the illusion [that the lockdown wouldn’t last very long],” Fertita laughs. “We decided to go through our ideas so we could be sharp and ready to go. I just kept recording my ideas. There was nothing else going on. I also had so many fragments of songs that had been laying around for years. In my mind, I was putting them in these different aisles: ‘This one would go good in Queens, and this one would work over here.…’ I just kept working, and at the end of that process I had a record’s worth of material and nowhere that it was immediately going to go. Jack encouraged me just to release it as it is, even though that was not even something I was considering at the time.”
Intentional or not, that collection of bits and bobs became Tropical Gothclub. In a sense, it sounds like what you’d expect from an artist immersed in the Third Man and Queens of the Stone Age universes—a heaping mass of abrasive, pedal-generated fuzz tones—except that Fertita, with his decades of experience, pushes that to another level entirely. Barnburners like “No Wonder,” with its intricate harmonized leads, and the call-and-response-heavy “Death Rattle” ooze enough of a guitar-orchestra vibe that they could almost be outtakes from Physical Graffiti. Others, like “Needles,” “Wheels Within Wheels,” and “Uniform Looks,” combine strong hooks, propulsive energy, and a seemingly endless variety of tones. The album also features more trippy moments—tempered with the occasional acoustic track—on songs like “Where There Is Water” and “Double Blind.”
Dean Fertita radiates the hazy surrealism of Tropical Gothclub.
Photo by Angelina Castillo
Fertita recorded much of Tropical Gothclub in a small A-frame house he built in his backyard, reassembling sections taken from lengthier jam sessions and working with snippets collected over the years. “The entire record was making sense of 10 years of fragmented ideas,” he says. “Sometimes, it was a 15-minute jam that I did with a drummer that we would arrange and figure out what it was. Some things I revisited and tightened up because they were recorded on GarageBand and then put into a Logic session.”
At some point in the process, Fertita brought Detroit-area engineer Dave Feeny (The White Stripes, Josh Ritter, Mule) on board to help sort through the clutter. “I’ve known Dave for a very long time,” he says. “I did another record in a similar way with him, which means he totally understands the various degrees of ‘done’ of the things that are sent to him. He just knew what I was going for and we could talk quickly. He was able to move it at a quick enough speed that it would be interesting. I’d get it back in a day and think, ‘I can do this now. I can play bass to this song now that we have a drum arrangement figured out’—or whatever it was.”
“This record—Tropical Gothclub—became a culmination of all my split personalities.”
Fertita is a connoisseur of tones, and he’s sensitive to subtle tweaks and changes. Different instruments, situations, and especially pedals affect his playing and approach. “Pedals always instantly change a frame of reference for me,” he says. “Sometimes you’ll hear a sound, and you’ll write to that sound immediately. I am always looking for character, and maybe even the weird thing that you’re not supposed to use—something that’s just going to be interesting sounding and different from the get-go.”
Working with so many different musicians inspires and triggers different chemical impulses as well. He points out that in QOTSA, “there are these two incredible guitar players,” and adds, “In Dead Weather, Jack predominantly plays drums, but we do play a lot of guitar together as well, and the stuff that he plays on those records is insane.”
Dean Fertita’s Gear
Fertita and his matching Gretsch White Falcon.
Photo by Andreas Neumann
- Troy Van Leeuwen Fender Jazzmaster
- Goya Rangemaster
- Echopark Esperanto Z (Custom 9-string)
- Gretsch White Falcon
- No-name “magnetic” amplifier
- Fender Deluxe Reverb
- Supro Reissue Amp
- Silvertone Amp
Strings & Picks
- Ernie Ball .010s
- Fender Mediums
- Binson Echorec 2 T7E
- Death By Audio Deep Animation Envelope Filter
- Death By Audio Supersonic Fuzz Gun
- Dunlop Fuzz Face Distortion
- EarthQuaker Devices Park Fuzz Sound
- Eventide H9 Max Harmonizer
- Fulltone Tube Tape Echo
- Gamechanger Audio Third Man Records Plasma Coil Distortion
- Ibanez AW7 Tone-Lok Autowah
- Mu-Tron Bi-Phase
- MXR Poly Blue Octave Pedal
- Old Blood Noise Reflector Chorus
- Third Man Records Bumble Buzz octave fuzz
- UREI Universal Audio Cooper Time Cube
- Way Huge Atreides Analog Weirding Module
Each band and project that Fertita participates in informs what he’s put into his solo music. “There’s no shortage of insane inspiration to try and fit in and complement what’s going on [in the album] already,” he says. “This record—Tropical Gothclub—became a culmination of all my split personalities. One idea I struggled with after making this record was: Shouldn’t I have made a stronger effort to make it totally different from the other things that I do, to show a completely different side? But there are different sides to my personality that get drawn out more, depending on the project that I am in. You probably can hear examples of how I would play if I were playing with Queens on this album.”
Fertita is not only flexible and productive as a guitarist and songwriter, he’s also a keyboardist, and that multi-instrumentalism helped connect some dots in his professional live.
“In Dead Weather, Jack predominantly plays drums, but we do play a lot of guitar together as well, and the stuff that he plays on those records is insane.”
“In 2005,” he explains, “I was on tour with Brendon Benson, and the first thing we did was an acoustic run in the U.K. As we were rehearsing, we thought it might be more interesting to break it up and have some songs on guitar and others on keys. I started to relearn them at that point.”
He had taken piano lessons as a child but put it aside as a teen. “I was stumbling through it but doing that led to the Raconteurs [Editor’s note: He plays both guitar and keys in that band when they’re on the road]. Our front-of-house engineer for that first tour was this guy Hutch, who had been with Queens since the beginning. He introduced me to the Queens guys, and 14 years later I am still doing that, too.”
As a multi-instrumentalist, Dean Fertita is an in-demand touring musician. He plays both guitar and keys for the Raconteurs on the road.
Photo by Andreas Neumann
What was it like to suddenly go pro on a less-familiar instrument? Did he get the jitters, or suffer from impostor syndrome? “I could keep up,” he laughs. “I was still holding my breath a little bit, but I felt like I could do what I had to do in that scenario. I wasn’t pushing boundaries. I was playing at the edge of my abilities most days.”
Fertita mostly reserves his limit-pushing for his work as a guitarist and songwriter. And one thing left to do is to play “Double Blind” for his daughter. “I have not played it for her yet,” he says. “I don’t want to embarrass her. She is aware that it exists, and I think she’ll listen to it alone. Maybe she’ll never tell me she’s heard it.”
The Dead Weather "I Feel Love" - Live on The Late Show
Rig Rundown: Olivia Jean
The Third Man Records songstress shows off the lovely Fender and Gretsch "girls" that are her go-tos for eerie garage-rock and psych-pop tones.
While Olivia Jean used a Fender Player Jaguar for recording most of 2019’s Night Owl, this lovely, pink-sparkle Fender Parallel Universe Volume II Maverick Dorado will do the road work when touring returns. The gifted reissue features a custom paint job—mirroring the Night Owl cover—was done by Fender’s Jay Nelson and the build was overseen by Chip Ellis at the Fender Custom Shop. And she calls this beauty the “Holly Grail.” (The original run of the Fender Electric XII-esque oddball was limited to 1969 and it was then referred as the Fender Custom.)
She plays in standard tuning, uses Ernie Ball Regular Slinkys (.010–.046) on all her guitars, and plucks with Dunlop Nylon 1mm picks.
Talk about weird, here’s the Maverick Dorado headstock that shadows the Electric XII silhouette sporting just six tuners.
“Betty” is a Gretsch G6128T-GH George Harrison Signature Duo Jet Electric that was a gift from Jack White. He gave her and bassist Ruby Rogers (Thunder Jet Bass) matching instruments before the band toured in support of 2011’s The Black Belles. She asserts it has a beefier, bassy sound than the Maverick Dorado.
This Fender Hot Rod DeVille 2x12 has been a staple in her touring rig for years.
Olivia is singing and playing throughout the set, so tap dancing on her pedalboard isn’t an option. However, her simplistic stomp station serves up plenty of flavorings. Her two always-on pedals are the Electro-Harmonix Holy Grail and MXR Sugar Drive. The Third Man Bumble Fuzz (a gift from White) stings for soloing and is accompanied with the Boss NS-2 Noise Suppressor for lowing the buzz. The pair of tools she has on the board is the TC Helicon Mic Mechanic (allowing her to control reverb levels on her vocals) and TC Electronic Wiretap (for recording ideas/riffs). Everything is powered by the T-Rex Fuel Tank Classic and her guitars are kept in check with a Korg Pitchblack Chromatic Tuner.
Watch a Newly Released White Stripes Performance
The performance was filmed in 2005 and is now available in its entirety along with extra footage.
Photo by Pieter van Hattem
Nashville, TN (February 17, 2021) -- Third Man Records and Columbia Records are continuing to commemorate the release of The White Stripes Greatest Hits with today's long-awaited premiere of a legendary live performance from Sky Arts' From The Basement. The session – which includes Greatest Hits song “Blue Orchid"– was recorded live in November 2005 at London's famed Maida Vale Studios with From The Basement co-creator/producer Nigel Godrich (Radiohead, Beck) and GRAMMY Award-winning video director Sophie Muller (The Raconteurs, The Dead Weather, The Kills, Gwen Stefani & No Doubt). Originally broadcast in 2007 as part of the series' pilot episode, today marks the first time the entire performance has been made available in full, along with exclusive, never-before-seen B-roll from the session.
“The dream of From The Basement is to capture great performances with the most direct and beautiful coverage possible," says Nigel Godrich, “both sonically and visually. We were so fortunate early on to have the support of Jack and Meg who instinctively understood the concept of the show and so came to be part of it. As a result we have this amazing snapshot of their fantastic energy and style. It's an intimate and direct performance, something magic, powerful and special. A day I will not forget."
“Everything fell into place very quickly," says Sophie Muller, “and because of Meg and Jack's ease and natural chemistry with each other I could just shoot what I saw. Whatever it was between them made it very simple, but so so special and it was an honor to be there. I just love this electrifying performance."
“It was beautifully filmed and the sound quality makes a performance on a regular TV show sound like a wax cylinder recording," adds Jack White. “No host. Thank God."
The first-ever official anthology of recordings from the iconic rock duo, Jack and Meg White, The White Stripes Greatest Hits is now available digitally and on vinyl (2xLP black vinyl) and CD around the world; vinyl and CD will be available in the United Kingdom and Ireland on February 26.
For more information:
Third Man Records