Tetrarch, from left: Ryan Lerner, Diamond Rowe, Josh Fore, and Ruben Limas.
In ancient Rome, a tetrarch was one of four joint governors in one of four divisions in a country or province. Tetrarchy, as opposed to monarchy, represents shared governance. If there is any question as to which contemporary band can rule the borders and expand the boundaries of nu metal 25 years after its initial peak, Georgia’s Tetrarch might just hold the answer. Their latest release, The Ugly Side of Me, forms a uniquely unified musical front from four individuals who honor nu metal’s foundations with colossal choruses and maniacal guitar riffs, while also infusing the source material with post-modern industrial aggression and a healthy dose of socially conscious lyrical honesty. The Ugly Side of Meis a creative tour de force that should affirm Tetrarch’s status as one of nu metal’s most potent contemporaries, particularly among the genre’s faithful constituents.
Tetrarch was formed in Atlanta in 2007 by lead guitarist Diamond Rowe and lead vocalist/guitarist Josh Fore. As of 2025, the band is rounded out by bassist Ryan “Doom” Lerner and drummer Ruben Limas. Rowe and Fore initially played traditional metalcore before making a notable shift towards a more melodic sound on their independently released 2017 debut, Freak. Blending elements of nu metal and thrash, along with their metalcore influences, they honed in on a distinct sonic amalgamation and style, combining their signature creepy sounding guitar motifs with bone-crushing rhythms, melodic vocal melodies, and sub hooks.Unstable, released in 2021, drew greater comparisons to nu-metal progenitors like Slipknot and Korn, further entrenching Tetrarch within the hierarchy of that lineage.
Tetrarch’s third album, The Ugly Side of Me, features massive, needle-sharp production co-helmed by renowned producer Dave Otero, along with Rowe and Fore, and boasts a deftly executed combination of unrelenting brutality and undeniable charisma. The ’90s-industrial-infused single “Live Not Fantasize” is a real banger, featuring intense electronic flourishes, fast riffs, and Rowe’s dynamic, tantalizing guitar solos. An anthemic second single, “Never Again (Parasite),” balances monstrous grooves and massive atmosphere with incisive lyrics about facing our own darkest criticisms. The hypnotizing, metallic “Anything Like Myself” opens the album, while “Best of Luck” highlights the rhythmically nuanced interplay between Lerner and Limas.
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Lead shredder Diamond Rowe takes the spotlight for a playalong to “Live Not Fantastize,” the first single off of Tetrarch’s new record.
Rowe and Fore have known each other since they were about 11 or 12, so it’s no surprise that they are musically so intimately compatible and completely in sync. “I feel like our playing styles melded into each other because we developed together,” explains Rowe. “We learned how to be in a band, how to play music, how to play shows, and how to play guitar together. When you’ve been playing and practicing with someone for so long, you just lock in, and our playing styles really complement each other. It was a natural progression.” Fore says that they would go to the library after school and instead of doing homework, they would play guitar. “We would print off books’ worth of guitar tabs and learn songs together,” he recalls. They’d also go to Guitar Center and “turn amps up way too loud and play for hours”–likely to the annoyance of the employees, he chuckles.
When it comes to their respective assignments within the band, Rowe plays more of the leads and single-note phrases while Fore, who is also the band’s frontman, plays more rhythm. “It’s very much rhythm and lead player roles,” affirms Rowe. “On choruses when Josh is playing big fat chords, I’ll play octaves or some melody lines, or on verses, if he’s playing some rhythm riff, I’ll do some weird creepy lead.” If it’s a riff-oriented rhythm part, they sometimes match up on those, but even then, Rowe often adds some kind of texture on top.
Fore and Rowe combine to create the band’s creative spark, and handle the bulk of the writing for new songs. For The Ugly Side of Me, they demoed material via their individual Pro Tools rigs and emailed files back and forth before jamming with the rest of the band. “Typically, it will start with me or Diamond coming up with a guitar riff,” explains Fore. “Sometimes one of us will come with a whole skeleton of a song and we’ll get in the room together and take it from there. Every song has its own way of coming together, but me and Diamond usually see it through.”
Tetrarch’s third album cements them as flagbearers of the new nu.
Diamond Rowe’s Gear
Guitars
- Jackson Signature Diamond Rowe Monarkh w/EverTune bridge
- Jackson American Series Soloist
Amps
- EVH 5150III EL34 100-watt head
- EVH 4x12
- EVH 5150III 50-watt head (for backup)
Effects
- Boss CH-1 Super Chorus
- Boss DD-7 Digital Delay
- Boss ES-8 Effects Switching System
- Boss RC-1 Loop Station
- Boss RV-6 Reverb
- DigiTech Whammy 5 Pitch Shift
- Dunlop KH95 Kirk Hammett Signature Cry Baby Wah
- Dunlop Volume (X) Mini
- Electro-Harmonix Small Stone Analog Phase Shifter
- Ibanez TS9 Tube Screamer
- ISP Decimator G String X Noise Reduction
- MXR Carbon Copy Analog Delay
- Strymon blueSky V2
- Two notes Torpedo C.A.B. M+
Strings & Picks
- Ernie Ball Beefy Slinky (.011–.054)
- Ernie Ball Skinny Top Beefy Bottom (.010–.054)
- Dunlop Jazz III black 1.38 mm
- Dunlop Jazz III black 1.35 mm
Josh Fore’s Gear
Guitars
- ESP E-II Eclipse
- ESP LTD EC-01FT
- ESP LTD AA-1 Alan Ashby Signature
- ESP LTD Eclipse
Amps
- EVH 5150III Stealth 100-watt head
- EVH 4x12
Effects
- Ibanez TS9 Tube Screamer
- ISP Decimator G String X Noise Reduction
Strings & Picks
- Ernie Ball Mammoth Slinky (.012–.062)
- InTuneGP GrippX 1.0 mm
For tracking, the guitarists mainly rely on plugins, “Mostly because of how easily you can change things on the fly,” explains Fore. For the new album, they leaned heavily on the Archetype: Gojira X by Neural DSP. The final product, what you hear on The Ugly Side of Me, was re-amped through the EVH 5150III. There’s no ego when they’re in the studio, so the decision of who plays which parts is simply a matter of who executes them the best. “Diamond will play some riffs, I will play some riffs,” says Fore. “We just swap the guitar back and forth. We’re like, ‘What’s the most efficient way? Who sounds better on this part?’ We just go with where the session takes us and try to get the best sounds and performances.”
The eerie signature sonic element that runs throughout all Tetrarch albums courtesy of Rowe’s inventive guitar-effects palette has helped establish the band’s identity. “When we first found it, Josh and I were playing around with POD Farm on the computer and it was just a sine wave chorus that nobody makes in a pedal,” recalls Rowe. “We were writing the song ‘Freak’ and looking for a weird sounding tone, and then it literally became a staple of our sound. For this album, we were like, ‘Alright, we’re not going to use that tone very much.’ We literally said that before making this record and yet here we are [laughter].”
As for their newfound status as the torchbearers of nu metal, Rowe says it’s not the label that matters most. “People could call us ‘progressive country metal,’ but what’s important is we’re writing the music that we really enjoy,” she attests. “Some of my favorite bands are Linkin Park, Slipknot, Disturbed, and Korn, but when I started playing guitar, Metallica was my all-time favorite band. And then, Zakk Wylde, Pantera, and Trivium—all of that was in there too, so I wouldn’t say nu metal was the only thing that I listened to, but it was a huge part of what I listened to.” Fore concludes with a similar sentiment: “People are going to perceive us how they’re going to perceive us. If they want to call us nu metal, then hell yeah, that sounds great.”
“I‘m so excited about this new venture with the Jackson family. This is a historic collaboration - as I am the first female in the history of Jackson with a signature guitar and the first female African American signature Jackson artist. I feel so honored to have now joined such an elite group of players that are a part of this club. Many who have inspired me along this journey to get here. It’s truly humbling.” says Diamond.
Diamond Rowe is the co-founder and lead guitarist for the metal/hard rock band Tetrarch. Since co-founding the band in high school, Tetrarch has become one of the most talked about up-and-coming bands in the world - with several press outlets such as Metal Hammer, Kerrang, Revolver, Guitar World and many others boldly naming Diamond Rowe the world’s next guitar hero. Tetrarch has connected with many fans while performing on some of the world's biggest stages garnering spots alongside several of the heavy music world’s biggest names such as Guns N’ Roses, Slipknot, Lamb of God, Disturbed, Avenged Sevenfold, Sevendust, Rob Zombie, Trivium, and many many others. The Jackson Pro Series Signature Diamond Rowe DR12MG EVTN6 is based on Jackson’s single-cut Monarkh platform and is a premium guitar designed for progressive metal players seeking precision and accuracy.
Crafted in partnership with Diamond, this model boasts a 25.5 “ scale, Monarkh-styled nyatoh body draped with a gorgeous poplar burl top, three-piece nyatoh set-neck with graphite reinforcement, and 12˝ radius bound ebony fingerboard with 24 jumbo frets. The black chrome-covered active EMG® 81/85 humbucking bridge and neck pickups, three-way toggle switch, single volume control, and tone control provide a range of tonal options. The Evertune® bridge ensures excellent tuning stability, while the Dark Rose finish with a new custom 3+3 color-matched Jackson headstock and black hardware looks simply stunning.
To showcase the Pro Plus Signature Diamond Rowe DR12MG EVTN6, Diamond shares her journey as a guitarist, delving into the inspiration behind her unique design specifications and the influential artists who shaped her sound within a captivating demo video. This video prominently features powerful performances of Tetrarch’s latest release, “Live Not Fantasize,” and “I’m Not Right” showcasing the DR12MG EVTN6’s unparalleled tonal versatility and performance capabilities.
MSRP $1699.99
For more information, please visit jacksonguitars.com.
Tetrarch's Diamond Rowe Unveils Her New Signature Pro Series DR12MG EVTN6 | Jackson Guitars - YouTube
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The Aristocrats’ Bryan Beller
Photo by Manuela HäuBler
Starting at top right, Bryan Beller’s board has a pair of Xotic EP Boosters to bring up the output of his two passive instruments to match his Lull bass. Next comes a Demeter COMP-1 Opto Compulator that’s always on, followed by a TC Electronic Hall of Fame Reverb, Boss CE-2B Bass Chorus, Boss DD-3 Digital Delay, and a TC Electronic Flashback Delay/Looper. Moving to the bottom left, there’s a Boss OC-2 Octave and an Xotic Bass BB Preamp (Beller’s main overdrive). The Darkglass Electronics Vintage Microtubes and MXR M109S Six Band EQ are used for a beefier, RAT-like sound. Then there’s an EHX Micro POG set to an octave up and an old DigiTech X-Series Bass Driver that pushes the BB Preamp and runs into the Dunlop 105Q Cry Baby Bass Wah pedal (white), giving vocal-like sweeps more definition. Beller also has a Dunlop DVP3 Volume (X) Volume and Expression pedal and a Boss TU-2 Chromatic Tuner. Beller has incorporated the Behringer FCB1010 MIDI controller into his rig so he can provide some “low-rent Geddy Lee” moments in the set via a Roland JV-1010 64-Voice Synth Module.
Beller has incorporated the Behringer FCB1010 MIDI controller into his rig so he can provide some “low-rent Geddy Lee” moments in the set via a Roland JV-1010 64-Voice Synth Module.
Using the Raven Labs MDB-1 Mixer/Direct Box/Buffer for his pedals and running the Roland JV-1010 into his amps allows Beller to employ both his bass and the synth module at the same time.
Rig Rundown: The Aristocrats' Guthrie Govan & Bryan Beller [2022]
Nitty Gritty Dirt Band’s Jeff and Jaime Hanna
Jeff Hanna
Jeff Hanna, who co-founded the Nitty Gritty Dirt Band in 1966, runs his acoustic guitars through a Fishman Aura Spectrum DI and a Boss TU-3 Chromatic Tuner. The electric side of his board includes another Boss TU-3, a Paul Cochrane Tim V3 Overdrive, a Keeley Katana Clean Boost, a J. Rockett GTO, a Keeley-modded Boss TR-2 Tremolo, and a Keeley Mag Echo.
Jaime Hanna
His son Jaime combines acoustic and electric pedals on one board. The acoustic side features a Fishman Aura Spectrum DI, Boss TU-3 Chromatic Tuner, and a Radial JDI direct box as a back-up. For electric, there’s an Ernie Ball volume pedal that feeds a TC Electronic tuner. The main out hits a Mesa/Boogie Stowaway Class-A Input Buffer, a Keeley Compressor, a Paul Cochrane Tim Overdrive, a J. Rockett Archer, an MXR Super Badass Distortion, a Boss GE-7 Equalizer modded by Nashville’s XTS, and a Line 6 M9 Stompbox Modeler Multi-Effects pedal. A Truetone 1 SPOT PRO CS12 provides the juice.
Rig Rundown: The Nitty Gritty Dirt Band’s Jeff and Jaime Hanna
Tetrarch’s Diamond Rowe
Photo by Amy Harris
Shredder Diamond Rowe keeps things succinct. Her stage setup features an always-on Ibanez TS9 Tube Screamer and a DigiTech Whammy for pure fun and note obliterating. A pair of utilitarian Boss stomps—an NS-2 Noise Suppressor and TU-3 Chromatic Tuner—keep her strings clean and accurate. There’s also a Voodoo Lab Pedal Power ISO-5 and Ground Control Pro MIDI Foot Controller.
In a separate rack, Rowe hides her “freak tone” patch. There lurks a Boss RV-6 Reverb, Boss DD-7 Digital Delay, Boss CE-5 Chorus Ensemble, and a MXR Uni-Vibe Chorus/Vibrato, plus a pair of tucked-away MXR Carbon Copy Analog Delays. The rack toys are fired by a Voodoo Lab Pedal Power 2 Plus.
Rig Rundown: Tetrarch's Diamond Rowe & Josh Fore
Marcus King
Roots powerhouse MarcusKing runs his guitar’s cable into a Dunlop Volume (X) 8. Then his signal hits a Dunlop Cry Baby Wah, an MXR Booster, an Ibanez TS9 Tube Screamer, a Tru-Fi Two Face Fuzz, MXR Micro Chorus, Dunlop Rotovibe Chorus/Vibrato, MXR Phase 100, Tru-Fi Ultra Tremolo, Dunlop Echoplex Delay, MXR Reverb, and a Radial Shotgun signal splitter and buffer. Juice? That’s via a Voodoo Lab Pedal Power 3 Plus.
Marcus King's Pedalboard
Foo Fighters’ Chris Shiflett
The mega-rockers’ Chris Shiflett starts his pedalboard with an EHX Micro POG, followed by a JHS Muffuletta, an MXR Flanger and EVH Phase 90, an EHX Holy Grail reverb, a Strymon Deco, and a Klon KTR. The next row sports 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 Wah. Utilitarian boxes include a Lehle Little Dual II Amp Switcher, a Palmer PLI-05 Line Isolation Box, a Boss FS-5L Foot Switch (to toggle between clean and dirty on his Friedman Brown Eye), and a TC Electronic PolyTune.
Chris Shiflett's Pedalboard
Mammoth WVH's Wolf Van Halen
Wolf Van Halen brought every EVH pedal (aside from the 5150 Overdrive) for his band’s 2022 tour. The Dunlop EVH95 Cry Baby Wah gets a workout for the solo of “You’ll Be the One.” The MXR EVH 5150 Chorus and the MXR EVH Phase 90 have become interchangeable for him. The MXR EVH117 Flanger gets sprinkled in, and for the solo on “Distance,” he always uses the Boss DD-3 Digital Delay and the EarthQuaker Devices Afterneath. An acoustic DI and tuner consume the rest of the real estate.
Wolf Van Halen's Pedalboard
Full Rig Rundown: https://bit.ly/MammothWVHRRSubscribe to PG's Channel: https://bit.ly/SubscribePGYouTubeMammoth WVH's leader details and demos the series of ...Mammoth WVH’s Ronnie Ficarro
Ronnie Ficarro
Ronnie Ficarro’s bass stomp station hosts a trio of EVH-inspired pedals: an MXR EVH 5150 Chorus, a MXR EVH 5150 Overdrive, and the MXR EVH Phase 90—plus an EHX Pitch Fork for approximating the low B roar that Wolf recorded on the song “Epiphany.” The nondescript silver box is a channel switcher for his Fender Super Bassman, and a Peterson StroboStomp HD does the tuning.
Rig Rundown: Mammoth WVH
El Ten Eleven’s Kristian Dunn
As half of this bass and drums duo, Kristian Dunn used to use three pedalboards, crouching down and manipulating settings all night. Today, he depends primarily on a Line 6 M9 Stompbox Modeler, although it’s two Boomerang III Phrase Samplers that make an El Ten Eleven show happen. In line, they’re separated by the DigiTech Bass Whammy. Dunn routes his signal this way so he can use the Whammy to shift octaves or keys on entire loops in Phrase Sampler one. The second Phrase Sampler, after the Whammy, allows him to pitch-shift specific loops without impacting the whole song or other loops. The Strymon TimeLine conjures precise repeats and specific delay settings not in the M9. The EHX Superego Synth Engine is a secret weapon, for reverse-sound passages. When he holds down the freeze function and plays the next note, it’s not audible until he releases the switch, and then the ongoing audible note blends into the second note. Cool, right? The remaining two pedals are a Nu-X NFB-2 Lacerate FET Boost and a Marshall GV-2 Guv’nor Plus. His tuner: a Boss TU-3 Chromatic. A Custom Audio Electronics RS-T MIDI Foot Controller makes Dunn’s scene changes easier, talking with the M9 and Strymon to alleviate some tap dancing.
Rig Rundown: El Ten Eleven's Kristian Dunn
Shinedown’s Zach Myers
For the Shinedown guitarist, everything starts at the Fractal Audio Axe-Fx IIIs—a main and a backup. There are four channels of Shure UR4D+ wireless units (three for electric and one for acoustic). An AES digital out runs to an Antelope Audio Trinity Master Clock and Antelope Audio 10MX Rubidium Atomic Clock. This helps fatten the fully stereo, digital rig by converting it to analog. After that, IRs off the Axe-Fx (left and right) channel into a pair of Neve DIs that then feed a Fryette G-2502-S Two/Fifty/Two Stereo Power Amplifier. (There’s another for backup.) And finally, parallel signals go to two ISO cabs and two Universal Audio OX Amp Top Box reactive load boxes. Altogether, there are eight channels of guitar.
While tech Drew Foppe handles the racks, Zach still has some control at his toes via a Dunlop MC404 CAE Wah, DigiTech Whammy 5, Ernie Ball 40th Anniversary Volume Pedal, and the Fractal Audio FC-6 Foot Controller. A Voodoo Lab Pedal Power 2 Plus gives life to these pedals.
Rig Rundown: Shinedown's Zach Myers & Eric Bass [2022]
Shinedown's Eric Bass
Eric Bass’ Prestige basses hit the Shure UR4D+ wireless units (similar to Myers, he has three channels for electric and a channel for acoustic), then a Neve DI, and then a Radial JX44 signal manager that feeds into an Ampeg SVT-7 Pro for clean tone (with an extra for backup).
His onstage pedalboard includes a Dunlop 105Q Cry Baby Bass Wah, a DigiTech Bass Whammy, and an MXR M299 Carbon Copy Mini Analog Delay. The ‘Gas’ switch engages a Mojotone Deacon, and a Radial SGI-44 1-channel Studio Guitar Interface connects with his rackmount JX44, while a Boss TU-3W Waza Craft Chromatic Tuner and Voodoo Lab Pedal Power 2 Plus complete the lineup.
Hannah Wicklund
Photo by John VandeMergel
Blueser Hannah Wicklund’s pedalboard is stacked for bruising. Once the signal gets past her MXR Talk Box and Dunlop JC95 Jerry Cantrell Signature Cry Baby, it hits the channel switch for her Orange head. That stays in overdrive mode for about 75 percent of her set, which she says gives her sound its grizzly-bear lows. Next up is a classic—a Boss BD-2 Blues Driver. But this one has a Keeley mod that opens up the low end and keeps mids and highs better defined. The BD-2 gets some atmospheric help via a Dunlop EP103 Echoplex Delay, and the J. Rockett Archer also pairs with the BD-2. There’s an MXR Micro Flanger and an EHX Nano POG, a T. Rex Room-Mate Tube Reverb (on a hall setting), and a Peterson StroboStomp HD, plus an MXR Carbon Copy and a Keeley Rotten Apple OpAmp Fuzz.
Rig Rundown: Hannah Wicklund
Code Orange’s Reba Meyers
Reba Meyers’ tone starts with her signature ESP LTD RM-600 guitar and her 5150 head, but from there her sound is processed via a Fractal Audio Axe-Fx III run through the effects loop of her amp and used to coordinate channel switching. Meyers notes that for some songs she uses it only as a gate, while for others she adds in precise modulation, delay, reverbs, and “noise.” The rest of the rack features a Two-Notes Torpedo Captor X that she uses for cab sims and sending a pure, direct signal to FOH so they can mix that with the SM57 mic on the 4x12s. A Shure GLXD4 Wireless unit keeps her untethered and a RJM Mini Amp Gizmo uses MIDI to switch the amp via the Axe-Fx III.
Her actual board has two always-on pedals: the ISP Decimator II Noise Reduction and the Ibanez TS9 Tube Screamer. They’re joined by a Moog MF Ring Mod, a Boss PS-6 Harmonist, an AMT Electronics WH-1 Japanese Girl Optical Wah, and an Universal Audio Astra Modulation Machine. Everything is controlled by the RJM Mastermind PBC/10.
Reba Meyers' Pedalboard [Code Orange]
Joe Bonamassa
For his 2022 tour, Joe Bonamassa kept his pedalboard stocked with a Way Huge Smalls Overrated Special Overdrive, a Tone Mechanics/Racksystems Loop Box, a Tone Mechanics/Racksystems Splitter, a Fulltone Supa-Trem, a Hughes & Kettner Rotosphere, a Boss DD-2 Digital Delay, an MXR Micro Flanger, an Ibanez TS808 Tube Screamer, an EHX Micro POG, a Dunlop Joe Bonamassa Fuzz Face, a Lehle A/B/C Switcher, a Dunlop Joe Bonamassa Signature Cry Baby Wah in Pelham blue, and an on/off/fast/slow dual switch for his Mesa/Boogie Revolver rotating speaker cabinet. Juice came from a Voodoo Lab Pedal Power 2 Plus.
Joe Bonamassa's "Boomer" Pedalboard
Exodus’ Gary Holt
Thrash-metallurgist Gary Holt trusts most of his switching to his tech, Steve Brogdon, who triggers everything with a rack-mounted Voodoo Lab GCX Guitar Audio Switcher that coordinates with a Voodoo Lab Ground Control Pro MIDI Foot Controller. The pedals in Brogdon’s care include a Boss SD-1 Super Overdrive, Pro Tone Pedals Gary Holt Signature Mid Boost, Maxon OD-9, MXR Bass Octave Deluxe, Maxon FL-9 Flanger, TC Electronic Corona Chorus, Boss NS-2 Noise Suppressor, and a Darta Effects Bonded by Delay. A BBE Supa-Charger provides juice.
Holt still stomps these boxes himself: a Does It Doom Doomsaw, Mooer Tender Octaver, Mooer Green Mile, and a Dunlop JC95SE Jerry Cantrell Special Edition Crybaby Wah. A Shure GLXD16 Digital Wireless Guitar Pedal System lets him rock untethered.
Rig Rundown: Exodus' Gary Holt [2022]
Dinosaur Jr.’s J Mascis
For at least 10-plus years, J Mascis has used a Bob Bradshaw-built Custom Audio Electronics switcher as his mission control. His longtime stomps include a Tone Bender MkI/Rangemaster-clone combo pedal made by Built to Spill’s Jim Roth (bottom right corner), Mascis’ first EHX Ram’s Head Big Muff Pi (top right), a vintage EHX Deluxe Electric Mistress, an MC-FX clone of a Univox Super Fuzz (lower right, blue box), a pair of ZVEX pedals—a Double Rock (two Box of Rock stomps in one) and a Lo-Fi Loop Junky (both bottom left), a Tube Works Real Tube Overdrive, a Moog Minifooger MF Delay, and a Boss TU-3S Tuner. His recently added pedals are a Homebrew Electronics Germania 44 Treble Booster (lower right), a JAM Pedals RetroVibe MkII, an Xotic SL Drive, a Suhr Jack Rabbit Tremolo, a Dr. Scientist Frazz Dazzler fuzz, an EHX Oceans 11, and a Dunlop Jimi Hendrix ’69 Psych Series Uni-Vibe Chorus/Vibrato. Everything receives juice from an MXR MC403 Power System or an MXR M237 DC Brick.
