Duane Denison of the Jesus Lizard, EGC Chessie in hands, coaxing some nasty tones from his Hiwatt.
The Jesus Lizard’s sixth album, Blue, served as the band’s final statement from the frontlines of noisy rock for the next 26 years. By the time of their dissolution in 1999, they’d earned a reputation for extreme performances chock full of hard-hitting, machine-like grooves delivered by bassist David Wm. Sims and, at their conclusion, drummer Mac McNeilly, at times aided and at other times punctured by the frontline of guitarist Duane Denison’s incisive, dissonant riffing, and presided over by the cantankerous howl of vocalist David Yow. In the years since, performative, thrilling bands such as Pissed Jeans, METZ, and Idles have built upon the Lizard’s musical foundation.
Denison has kept himself plenty busy over the last couple decades, forming the avant-rock supergroup Tomahawk—with vocalist Mike Patton, bassist Trevor Dunn (both from Mr. Bungle), and drummer John Stanier of Helmet—and alongside various other projects including Th’ Legendary Shack Shakers and Hank Williams III. The Jesus Lizard eventually reunited, but until now have only celebrated their catalog, never releasing new jams.
The Jesus Lizard, from left: bassist David Wm. Sims, singer David Yow, drummer Mac McNeilly, and guitarist Duane Denison.
Photo by Joshua Black Wilkins
Back in 2018, Denison, hanging in a hotel room with Yow, played a riff on his unplugged electric guitar that caught the singer’s ear. That song, called “West Side,” will remain unreleased for now, but Denison explains: “He said, ‘Wow, that’s really good. What is that?’ And I said, ‘It’s just some new thing. Why don’t we do an album?’” From those unassuming beginnings, the Jesus Lizard’s creative juices started flowing.
So, how does a band—especially one who so indelibly captured the ineffable energy of live rock performance—prepare to get a new record together 26 years after their last? Back in their earlier days, the members all lived together in a band house, collectively tending to the creative fire when inspiration struck. All these years later, they reside in different cities, so their process requires sending files back and forth and only meeting up for occasional demo sessions over the course of “three or four years.”
“When the time comes to get more in performance mode, I have a practice space. I go there by myself and crank it up. I turn that amp up and turn the metronome up and play loud.” —Duane Denison
the Jesus Lizard "Alexis Feels Sick"
Distance creates an obstacle to striking while the proverbial iron is hot, but Denison has a method to keep things energized: “Practice loud.” The guitarist professes the importance of practice, in general, and especially with a metronome. “We keep very detailed records of what the beats per minute of these songs are,” he explains. “To me, the way to do it is to run it to a Bluetooth speaker and crank it, and then crank your amp. I play a little at home, but when the time comes to get more in performance mode, I have a practice space. I go there by myself and crank it up. I turn that amp up and turn the metronome up and play loud.”
It’s a proven solution. On Rack—recorded at Patrick Carney’s Audio Eagle studio with producer Paul Allen—the band sound as vigorous as ever, proving they’ve not only remained in step with their younger selves, but they may have surpassed it with faders cranked. “Duane’s approach, both as a guitarist and writer, has an angular and menacing fingerprint that is his own unique style,” explains Allen. “The conviction in his playing that he is known for from his recordings in the ’80s and ’90s is still 100-percent intact and still driving full throttle today.”
“I try to be really, really precise,” he says. “I think we all do when it comes to the basic tracks, especially the rhythm parts. The band has always been this machine-like thing.” Together, they build a tension with Yow’s careening voice. “The vocals tend to be all over the place—in and out of tune, in and out of time,” he points out. “You’ve got this very free thing moving around in the foreground, and then you’ve got this very precise, detailed band playing behind it. That’s why it works.”
Before Rack, the Jesus Lizard hadn’t released a new record since 1998’s Blue.
Denison’s guitar also serves as the foreground foil to Yow’s unhinged raving, as on “Alexis Feels Sick,” where they form a demented harmony, or on the midnight creep of “What If,” where his vibrato-laden melodies bolster the singer’s unsettled, maniacal display. As precise as his riffs might be, his playing doesn’t stay strictly on the grid. On the slow, skulking “Armistice Day,” his percussive chording goes off the rails, giving way to a solo that slices that groove like a chef’s knife through warm butter as he reorganizes rock ’n’ roll histrionics into his own cut-up vocabulary.
“During recording sessions, his first solo takes are usually what we decide to keep,” explains Allen. “Listen to Duane’s guitar solos on Jack White’s ‘Morning, Noon, and Night,’ Tomahawk’s ‘Fatback,’ and ‘Grind’ off Rack. There’s a common ‘contained chaos’ thread among them that sounds like a harmonic Rubik’s cube that could only be solved by Duane.”
“Duane’s approach, both as a guitarist and writer, has an angular and menacing fingerprint that is his own unique style.” —Rack producer Paul Allen
To encapsulate just the right amount of intensity, “I don’t over practice everything,” the guitarist says. Instead, once he’s created a part, “I set it aside and don’t wear it out.” On Rack, it’s obvious not a single kilowatt of musical energy was lost in the rehearsal process.
Denison issues his noisy masterclass with assertive, overdriven tones supporting his dissonant voicings like barbed wire on top of an electric fence. The occasional application of slapback delay adds a threatening aura to his exacting riffage. His tones were just as carefully crafted as the parts he plays, and he relied mostly on his signature Electrical Guitar Company Chessie for the sessions, though a Fender Uptown Strat also appears, as well as a Taylor T5Z, which he chose for its “cleaner, hyper-articulated sound” on “Swan the Dog.” Though he’s been spotted at recent Jesus Lizard shows with a brand-new Powers Electric—he points out he played a demo model and says, “I just couldn’t let go of it,” so he ordered his own—that wasn’t until tracking was complete.
Duane Denison's Gear
Denison wields his Powers Electric at the Blue Room in Nashville last June.
Photo by Doug Coombe
Guitars
- Electrical Guitar Company Chessie
- Fender Uptown Strat
- Taylor T5Z
- Gibson ES-135
- Powers Electric
Amps
- Hiwatt Little J
- Hiwatt 2x12 cab with Fane F75 speakers
- Fender Super-Sonic combo
- Early ’60s Fender Bassman
- Marshall 1987X Plexi Reissue
- Victory Super Sheriff head
- Blackstar HT Stage 60—2 combos in stereo with Celestion Neo Creamback speakers and Mullard tubes
Effects
- Line 6 Helix
- Mantic Flex Pro
- TC Electronic G-Force
- Menatone Red Snapper
Strings and Picks
- Stringjoy Orbiters .0105 and .011 sets
- Dunlop celluloid white medium
- Sun Studios yellow picks
He ran through various amps—Marshalls, a Fender Bassman, two Fender Super-Sonic combos, and a Hiwatt Little J—at Audio Eagle. Live, if he’s not on backline gear, you’ll catch him mostly using 60-watt Blackstar HT Stage 60s loaded with Celestion Neo Creambacks. And while some boxes were stomped, he got most of his effects from a Line 6 Helix. “All of those sounds [in the Helix] are modeled on analog sounds, and you can tweak them endlessly,” he explains. “It’s just so practical and easy.”
The tools have only changed slightly since the band’s earlier days, when he favored Travis Beans and Hiwatts. Though he’s started to prefer higher gain sounds, Allen points out that “his guitar sound has always had teeth with a slightly bright sheen, and still does.”
“Honestly, I don’t think my tone has changed much over the past 30-something years,” Denison says. “I tend to favor a brighter, sharper sound with articulation. Someone sent me a video I had never seen of myself playing in the ’80s. I had a band called Cargo Cult in Austin, Texas. What struck me about it is it didn’t sound terribly different than what I sound like right now as far as the guitar sound and the approach. I don’t know what that tells you—I’m consistent?”
YouTube It
The Jesus Lizard take off at Nashville’s Blue Room this past June with “Hide & Seek” from Rack.
Aguilar AG Preamp/Direct Box
Aguilar’s AG Preamp Pedal is a must-have for any bassist looking for a clean and transparent preamp to sculpt their sound. Revered for tight, fast response and tonal flexibility, the AG Preamp Pedal features a 4-band EQ, footswitchable "deep" and "bright " controls, headphone out, aux in, and balanced DI.
AmpMojo Sol Drive Responsive Tube Overdrive
The Sol Drive is a low-to-medium gain, responsive tube overdrive pedal. It uses a Tung-Sol 12AX7 pre-amp tube to bring a rich harmonic texture to your tone that only a real tube can. Real tube tone. Real tube feel.
Features:
• Genuine Tung-Sol 12ax7 vacuum tube
• Premium no-click foot switch
• True bypass relay circuit
• Top mounted input, output, dc jacks
• Tour-grade durability
• Built in U.S.A.
Electro-Harmonix Lizard King Octave Fuzz Effects Pedal Green
Make way for the new heir to the octave fuzz throne, the Lizard King from Electro-Harmonix. Directly inspired by the EHX x JHS collaboration released in 2023, the Lizard King takes the gnarly and responsive octave fuzz circuit from the Lizard Queen and optimizes it for bass and beyond. With updated tone controls and a new Blend knob, the bass’s fundamental tone and low-end is preserved while the top-end of the fuzz tone is shaped to fit or dominate any mix!
The EHX Lizard King is a fixed-gain fuzz that is dynamically responsive. Adjustments to your instruments volume affects the amount of fuzz. Lower instrument volumes create a clear, fuzzy overdrive, while full instrument volume sends the gain over the top for ripping riff and searing solo tones. The familiar VOLUME and OCTAVE knobs control overall output and octave blend volume respectively. New to the Lizard King, the BLEND knob sets the mix between your clean and fuzz tones to create the perfect balance of fuzz while retaining your bass’s attack and low-end. The TONE knob is a low pass filter that rolls off the highs, while the SUN/SHADOW switch further enhances the tone of the octave fuzz and clean tones. SUN boosts the octave fuzz with a more driving midrange, and the clean tone accessed by the BLEND knob has more treble and bass frequencies. When the switch is set to SHADOW, the clean tone is unchanged, and fuzz tone is tighter.
TrueTone 1 SPOT Pro CS11
Our most powerful 1 SPOT Pro yet! The 1 Spot Pro CS11 is the same size as the CS12, but with all new outputs and options. It doesn’t replace the CS12, but gives users more power and more available 9Vdc outputs. It also has “one more” output on the back, which allows users to connect the CS11 to Truetone’s new expansion boxes like the XP5 and XP8. It goes to 11… and so much more.
Zashabuti ZAMP
Vintage Tweed Tube Amp Reimagined in Gold Analog Stompbox
Zashabuti has announced the launch of the ZAMP, a groundbreaking amp-in-the-box pedal that delivers the cherished sound of 1950s Fender Tweed amplifiers.
For musicians seeking to capture the magic of rock’s golden era, the ZAMP brings legendary tones right to your pedalboard, offering an authentic playing experience that pays homage to the greats. With its innovative true analog tube emulator, the ZAMP meticulously recreates the entire tube chain and tone stack of these classic amplifiers with Jensen speaker emulation, offering musicians the best of both worlds – vintage tone with modern reliability.
Imagine dialing in the iconic sounds of The Eagles, The Rolling Stones, Steely Dan, Eric Clapton, and Neil Young—all without the high cost and maintenance of vintage gear. Designed as an all-in-one DI amp-in-a-box solution, the ZAMP eliminates the need to lug around a traditional amplifier. You’ll get the sounds of rock legends – everything from sweet cleans to exploding overdrive – for the same cost as a set of tubes.
The ZAMP’s versatility makes it an ideal tool for a variety of uses…
• As your main amp: Plug directly into a PA or DAW for full-bodied sound with Jensen speaker emulation.
• In front of your existing amp: Use it as an overdrive/distortion pedal to impart tweed grit and grind.
• Straight into your recording setup: Achieve studio-quality sound with ease—no need to mic an amp.
• 12dB clean boost: Enhance your tone with a powerful clean boost.
• Versatile instrument compatibility: Works beautifully with harmonica, violin, mandolin, keyboards, and even vocals.
• Tube preamp for recording: Use it as an insert or on your bus for added warmth.
• Clean DI box functionality: Can be used as a reliable direct input box for live or recording applications.
See the ZAMP demo video here: https://www.youtube.com/watch?v=xJp0jE6zzS8
Key ZAMP features include:
• True analog circuitry: Faithfully emulates two 12AX7 preamp tubes, one 12AX7 driver tube, and two 6V6 output tubes.
• Simple gain and output controls make it easy to dial in the perfect tone.
• At home, on stage, or in the studio, the ZAMP delivers cranked tube amp tones at any volume.
• No need to mic your cab: Just plug in and play into a PA or your DAW.
• Operates on a standard external 9-volt power supply or up to 40 hours with a single 9-volt battery.
The ZAMP pedal is available for a street price of $199 USD and can be purchased at zashabuti.com.
About Zashabuti:
With a team of experienced engineers and innovators from leading companies in the music industry, Zashabuti is dedicated to designing products with a deep respect for the classic sounds of the past, combined with the best of today’s technology. We strive to create products that inspire and elevate your musical journey.
Chase Bliss Pedalboard
Generation Loss MKII is a study of tape in all its forms.
We decided to start from scratch this time and really explore what tape is all about. Get into those crinkles that make it so magical. We took apart VCRs, we analyzed anything we could find with a tape in it, from camcorders to cassette decks.
All available for you to saturate, fail and flutter, until everything sits just right. And if you prefer the way it was before, you can do that too. In stereo.
Lossy captures the special kind of degradation that happens to digital audio when it’s shrunk, transferred, and compromised.
Streaming music on a 56k modem, an MP3 ripped from a CD-R, a viral video from 2007 played through a cellphone.
All the nasty and beautiful mistakes of heavily deconstructed digital audio in an easy-to-tweak real-time pedal.
MOOD MKII is a different kind of multi-effect. Its two channels are aware of each other and work together. One half samples and loops brief moments, the other is a collection of real-time spatial effects.
Twist any sound into a sprawling texture that you can freeze, loop and scatter across the stereo field, for instant gratification and endless exploration.
It’s a musical chemistry set. Transfer, combine, and get lost
Onward is a sampler controlled by your playing. It moves when you do, capturing the sounds you make to create rich musical landscapes.
You will find responsive accompaniment, synthetic reimaginings, and a whole heap of glitching dreamscapes.
It has two sides – one freeze for soft, smooth sounds, and one glitch for angular, repeating sounds. Combine them into one moving mega-effect, or split them apart for waves of depth and dimension.
DINGBAT SMALL is ideal for assembling a compact and lightweight board with 4 to 6 essential effects. Secured in its included tour-grade soft case, SMALL is compact enough to stow easily in the overhead compartment or beneath the forward seat of any aircraft. Installing Pedal Power® with the included mounting hardware is quick and easy using only a screwdriver. Hook-and-loop tape is provided to attach pedals, as well as zip ties and 4-way tie mounts to secure cabling underneath.
Zuma R300 is the highest horsepower, most technologically advanced low profile effects pedal power supply. You get clean, rock-steady power for your 9V, 12V and 18V effects pedals in a pedalboard friendly, expandable package, giving you room to grow. Zuma R300’s ultra-low profile design means that it can fit under just about any pedalboard.
Dual-stage topology, pre-regulated outputs, optically isolated feedback, and advanced multistage filtering result in a power supply that allows your pedals to achieve their highest possible dynamic range.
Chase Bliss Onward
Onward is a sampler controlled by your playing. It moves when you do, capturing the sounds you make to create rich musical landscapes.
You will find responsive accompaniment, synthetic reimaginings, and a whole heap of glitching dreamscapes.
It has two sides – one freeze for soft, smooth sounds, and one glitch for angular, repeating sounds. Combine them into one moving mega-effect, or split them apart for waves of depth and dimension.
LR Baggs Venue DI Acoustic Guitar Preamp / DI / EQ / Tuner Pedal
We created the Venue DI so you can travel light, set up fast, and sound incredible anywhere you plug in. The Venue DI gives you complete control by combining a full-isolation DI output, 5-band EQ with adjustable low & hi-mid bands, variable clean boost, and chromatic tuner all in one acoustic pedal. With its all-discrete signal path, hi-graded semiconductors, and exclusive use of audiophile grade film capacitors, the Venue DI is on par with the world’s elite preamps and provides a studio quality sound for the stage.
Keeley Mk3 Driver Andy Timmons Full Range Overdrive Pedal - Black
The Mk3 Driver – Andy Timmons Full Range Overdrive is an overdrive workstation that allows you to orchestrate everything from a clean boost to a treble supercharger, a chimey tube-amp overdrive to a square-wave, germanium fuzz generator and more. This pedal combines a three-control blues driver circuit with two switches for the voicing Drive and Tone characteristics. Robert and Andy developed these switches to give players a broad range of drive tones. The Drive toggle engages two germanium diodes for a smoother, slightly compressed drive. Switch to Andy’s clipping style for a brighter and more articulate attack. Every part of the circuit has been optimized for tone and the demanding needs of a recording and touring artist such as Andy Timmons. Simply adding the Mk3 Driver to your pedalboard will likely make your rig sound better. This pro sounding overdrive can be switched between true-bypass and buffered bypass at any time.
Karma Guitar Amplifiers Machine Shop
Everyone loves our MTN-10 and ODR-10 pedals – the most authentic and accurate clones of the Ibanez MT-10 and Nobels ODR-1 out there.
Many have discovered the magic in stacking them. Machine Shop goes beyond that.
After a year of development we are proud to present the Karma Machine Shop!
ODR & MTN circuits – Stacked (series) or Blended (parallel)
STACK mode – choose the order of the circuits
BLEND mode – circuits are mixed together for ultimate flexibility
Dry signal – mix in part of your clean sound (BLEND mode with either side bypassed)
HOLD FOR BOOST function with variable gain control
Pure analog audio signal path and true bypass
Programmable power-up
Wampler Ego 76 Compressor Pedal
The EGO 76 is Brian Wampler’s tribute to the iconic studio compressor
that has shaped the fabric of music for decades – the legendary 1176
Peak Limiter. This compressor pedal takes you on a journey into the soul
of timeless studio sounds. The EGO 76 transcends the conventional role
of a pedal compressor, moving beyond merely squishing your signal to
significantly enriching your tone.
Fueled by FET-based (field-effect transistor) technology, Wampler gave the
EGO 76 studio-like Attack and Release controls, a Parallel Clean Blend knob,
and a meticulously tuned Tone knob. Each carefully designed element
encapsulates the spirit of the iconic 1176 and brings a touch of that magic
to your pedalboard.
SoloDallas The Schaffer Replica: Storm
The Schaffer Replica Storm is an all-analog combination of Optical Limiter+Harmonic Clipping Circuit+EQ Expansion+Boost+Line Buffer derived from a 70s wireless unit AC/DC and others used as an effect. Over 50 pros use this unique device to achieve percussive attack, copious harmonics and singing sustain.