peavey 5150

The new Corpse (left to right): guitarist Rob Barrett, bassist Alex Webster, vocalist George "Corpsegrinder" Fisher, guitarist Erik Rutan, and drummer Paul Mazurkiewicz.

Photo by Alex Morgan

For their 15th album, the death metal pioneers double-down on their trademark bone-crunch and add longtime producer Erik Rutan on guitar.

As extreme metal continues to splinter into infinite niche genres and thrash metal's heroes steadily mosh towards the pastures of classic rock, it's the right time to re-examine the legacy of the bands that initiated metal's big push towards the outer reaches of its sonic margins. Much of the guitar content on social media these days is comprised of young players shredding and djenting away on extended-scale guitars, and it's no exaggeration to say that none of that would exist without the influence of O.G. American death metal's bludgeoning chug and churn. And while they weren't the first on the scene, Cannibal Corpse is often considered the band that ultimately defined the subgenre's sound.

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Flexible filtering options and a vicious fuzz distinguish the Tool bass master’s signature fuzz-wah.

Great quality filters that sound good independently or combined. Retains low end through the filter spectrum. Ability to control wah and switch on fuzz simultaneously. Very solid construction.

Fairly heavy. A bit expensive.

$299

Dunlop JCT95 Justin Chancellor Cry Baby Wah
jimdunlop.com

4.5
4
4
4

Options for self-expression through pedals are almost endless these days. It’s almost hard to imagine a sonic void that can’t be filled by a single pedal or some combination of them. But when I told bass-playing colleagues about the new Dunlop Justin Chancellor Cry Baby—which combines wah and fuzz tuned specifically for bass—the reaction was universal curiosity and marvel. It seems Dunlop is scratching an itch bass players have been feeling for quite some time.

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"'If I fall and somehow my career ends on that particular day, then so be it," Joe Bonamassa says of his new hobby, bicycling. "If it's over, it's over. You've got to enjoy your life."

Photo by Steve Trager

For his stylistically diverse new album, the fiery guitar hero steps back from his gear obsession and focuses on a deep pool of influences and styles.

Twenty years ago, Joe Bonamassa was a struggling musician living in New York City. He survived on a diet of peanut butter and jelly sandwiches and ramen noodles that he procured from the corner bodega at Columbus Avenue and 83rd Street. Like many dreamers waiting for their day in the sun, Joe also played "Win for Life" every week. It was, in his words, "literally my ticket out of this hideous business." While the lottery tickets never brought in the millions, Joe's smokin' guitar playing on a quartet of albums from 2002 to 2006—So, It's Like That, Blues Deluxe, Had to Cry Today, and You & Me—did get the win, transforming Joe into a guitar megastar.

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