Music Guitar Instrument

Girugamesh - Gravitation

2014-11-08T17:45:00.000+07:00

Shortly after their European tour and the release of the compilation LIVE BEST, girugamesh were back in the studio to record the brand new mini-album gravitation.

The first song Go ahead starts with a slow intro-like arrangement with a light electronic framework and Satoshi's calm voice. Then, Nii slowly adds some rather tranquil guitar chords, but the song quickly develops into a hard rock tune. There are also digital elements, kept mostly in the background, only breaking through at breaks between verses. Growls and shouts interrupt the melody at will during the verses, but let up for the catchy chorus. The track's pace changes constantly; calm sections mix freely with rocking guitar riffs, electronic effects and Satoshi's sometimes clear, sometimes violent vocals. It’s as if girugamesh wanted to present the full range of its abilities into just one song.

After Go ahead's smooth outro, title track gravitation opens with Ryo's vigorous drumming, accompanied by a clear rock arrangement. Then, the appearance of Satoshi's voice takes the song up a gear, mixing strong shouts with clean vocals in typical girugamesh fashion. Ryo drives the song forward constantly, with Nii and Shuu providing a solid and rocking framework, while Satoshi's voice still has room to shine. He uses much of his range, reaching high notes, then shouting with a powerful vibe. All in all, gravitation is a typically melodious girugamesh song that will be absolutely great for lives - perfect for dancing, singing and jumping along to. It also resembles some of the band’s older works, because of the limited space given to the digital elements in the song.

Third track Not Found quickly became my favorite on this mini-album. Clearly in the style of Monster, the song starts out powerful, then eases off a bit, picking up the pace once more during the first verse and bridge. Eventually, it breaks into powerful shouts that lead into a catchy chorus, making the listener want to shout along. Distinctive guitar riffs interact with electronic tunes, while clear vocals do battle with deep shouts. Halfway through, the song seems to develop into a more aggressive piece, but suddenly takes off in a whole different direction. For a few seconds, Satoshi's voice and the keyboards are all that can be heard, before the catchy chorus drops back in. Not Found is definitely an interesting listen.

reflection begins powerfully with guitars, followed by a short rap intermixed with deep growls. The song then proceeds in a more melodic direction, only disrupted by short shouts here and there. Changing the tempo yet again after the chorus, girugamesh make sure the listener won’t get bored. This song is a perfect snapshot of the band's present style and abilities, blending a hard rock base with electronic tunes that’ve become a prominent feature of their recent work. The general feeling of reflection is vigorous and somewhat dark, but not to the point of depressive, and is sure to have fans head-banging at lives.

Speaking of head-banging at concerts, Vortex seems to be the perfect choice for this. Again its a powerful track again, sweeping the listener away with aggressive guitars and drums right from the start, using more shouts than all the previous songs. Satoshi also sings in a more distinctive way throughout, making sure to keep it dynamic all the time. But for a very short pause around the midway point, when the aggressive melody make way for a calm interlude, the listener is allowed no time to pause for breath. Surely, this powerful metal tune will be another great choice for lives to make girugamesh's fans go wild.

In conclusion, this release is most distinctive by its changes in style and pace. Even if played on a loop for a long period, it doesn’t get boring. With every run-through, the listener is able to discover more and more details in the five songs, all of them boasting a rich variety of sounds. Picking up where 2013‘s Monster left off, gravitation is a great record that shows girugamesh continuing to perfect their current favorite style.

gravitation was released on September 24th.

Ayumi Hamasaki Announces Winter Ballad Trilogy

2014-11-07T17:23:00.000+07:00

Ayumi Hamasaki has revealed that she is recording a winter ballad trilogy.

The singer updated her social media accounts over the weekend with news about an upcoming music release. The singer is currently in Los Angeles recording new music for an upcoming winter ballad trilogy.

"Ayu has just started recording her Winter Ballad trilogy in LA today. The songwriters are: Tetsuya Komuro, Kunio Tago and Tetsuya Yukumi! What an amazing team!," a post on her Facebook page stated.

The 3 writers have all worked with Hamasaki in the past. Tago is credited with songs such as "Days" and "Together when...". Yukumi has worked on singles such as "JEWEL" and "GREEN". Kamuro has worked with Ayu on songs such as "Love song" and "crossroad".

There are currently no details regarding Hamasaki's new music project. Information such as titles, release dates and even the format of the upcoming music has not been released.

VAMPS new album "BLOODSUCKERS"

2014-11-06T22:30:00.000+07:00

VAMPS brings new album "Bloodsuckers" on October 29, 2014!
It includes a Japanese version of "Vampire's Love," 8 new songs, and more for 13 tracks total and features SHM-CD format. Furthermore, comes with a A2-sized poster in a limited quantity.

Type A comes with a bonus Blu-ray disc while type B includes a T-Shirt featuring illustration by Rockin' Jelly Bean, a towel, a sticker sheet, and a can badge. Be sure to check out!

VAMPS – Bloodsuckers

Artist : VAMPS
Album : Bloodsuckers
Genre : Rock
Release Date : 2014-10-29
Language : Japanese

Tracklist :

01. Reincarnation.mp3
02. Zero.mp3
03. LIPS.mp3
04. Ahead.mp3
05. Evil.mp3
06. Ghost.mp3
07. Vampire’s Love (Japanese Version).mp3
08. Damned.mp3
09. Get Away (Japanese Version).mp3
10. Replay.mp3
11. Bloodsuckers.mp3
12. The Jolly Roger.mp3
13. Inside Myself.mp3

get this album (Regular, Limited A and Limited B Edition).

IN FLAMES New album review "Siren Charms"

2014-11-06T22:00:00.000+07:00

Let's be fair towards IN FLAMES for once. As far back as 1999 and 'Ordinary Story' the shadows of the sound that they would eventually develop had already appeared. What followed was a decade and a half long escape from the band's melodic death metal roots. Like most of the fans of their older releases, I have come to terms a long time ago with the fact that pleasing my taste isn't any kind of priority for IN FLAMES any more. They have even flat out stated it in interviews.

Now, with 'Siren Charms' the band strips away the last remains of its former self and throws them on the ground. Instead of the never ending train of guitar harmonies that marked even their later offerings, IN FLAMES now offer only melancholic, and often keyboard-driven mid tempo songs. Björn Gelotte's once furious riffs erupt out of that base from time to time – but in a restrained manner that makes them almost unrecognisable.

However, it is not necessarily a bad thing that IN FLAMES are trying to reinvent their sound as a post-metal reflection of their former selves. Restraint actually helps them on the new ground they are breaking. And 'Siren Charms' at least offers some catchier and more memorable songs than its predecessor, 'Sounds of a Playground Fading' (2011).

Tracks like the title one, 'With Eyes Wide Open' and 'Rusted Nail' finally crown the band's alternative and almost pop-sounding experiments with the choruses and melodies that they need to stick in your head. The emotional gradation towards the solo in 'Dead Eyes' is dramatic enough to grab your attention, while the addition of female vocals in 'When the World Explodes' really does make the song stand out. (Compared to those, the aggressive riffs in album's most metal moment – 'Everything's Gone' – sound out of context.)

This whole concept for a more polished and accessible sound doesn't really work, though. IN FLAMES sound like they want to grow up and evolve musically, but can't. A big reason for that are Anders Fridén's vocal moans that anchor the band's sound in a fog of semi-melancholy, semi-anger that isn't quite both. IN FLAMES seem unable to get out of it, no matter what kind of songs they write. With a better singer this album could have been something big. Now it is just one big nothing.

BOSS GT-100 Guitar Multi Effect Processor Review

2014-11-06T18:26:00.000+07:00

OVERVIEW
The long-awaited follow up to the BOSS GT-100 has arrived.
one of the best historical Guitar's Effect - Boss GT-10

Meet the new BOSS effects flagship, the BOSS GT-100. The GT-100 Amp/Effects Processor boasts next-generation amp modeling that re-creates vintage amps and provides new COSM tones that soar into the future with the dynamics, tone and feel you’d expect from a boutique unit. User interface is improved by a dual-LCD system, while EZ Tone has been enhanced with newly designed Amp Customize and OD/DS Customize features. The GT-100 is a powerhouse processor that spans from classic to futuristic in a friendly, rugged and roadworthy unit.

Advanced COSM Amps: beyond vintage
With its next-generation COSM processor, the BOSS GT-100 offers all-new sonic capabilities. Recreating the meticulous details of vintage amps and how they behave, the GT-100 excels in not only cloning classic amps, but provides a new world of unimagined tones as well. The Amp Customize function lets you mutate classic amps beyond reality.

Easy to use
get Boss GT-100 here

The GT-100’s unique dual-LCD and eight-knob user interface provides fast access and intuitive control. There are no menus to navigate. The tone-customizing functionality has been improved as well. All patches, amps, and overdrive/distortions can be created from scratch or customized with the graphical Tone Grid.

New A/B Channel Divide

Another new feature onboard the GT-100 Amp Effects Processor is the versatile A/B Channel Divide. Assign different amps and effects to each channel, divide the signal by dynamics and frequency, with each channel capable of driving its own effects and amps settings. Assign smooth, mild lead tones to the mid-to-high pitches, for example, and heavy, cutting tones to the lower notes.

New tonal possibilities with the Accel pedal
A new dimension of expression is available with the Accel pedal, which enables control of multiple parameters simultaneously, as well as time-variant effects such as Feedbacker, S-Bend and Twist. Experiment with creative combinations of parameters, interacting in real time with the pedal.

FEATURES

Advanced COSM amps that model vintage amp tones and delivers never-before-heard tones
Improved EZ Tone with graphical Tone Grid for constructing new patches
AMP Customize and OD/DS Customize lets you easily create original amps and overdrive/distortion by customizing their behavior
Newly developed ACCEL pedal for simultaneous control of multiple parameters
2 LCD displays (132 x 64 dots, backlit LCD)
MIDI connectors (in, out)
44 effects
Program memories: 400 (200 user + 200 preset)

Start exploring new corners of the sound universe, get yours today.

SPECIFICATIONS

GT-100 Guitar Multi-Effects Pedal
Type: Multi-FX
Instrument input: 1/4-inch phone type
Aux in stereo: stereo miniature phone type
AMP control jack: 1/4” phone type
SUB jack output: 1/4" TRS phone type
EXT loop jacks (send/return): 1/4" phone type
3”H x 21”W x 11”D
11lb.
Power supply: DC 9V

Periphery, Juggernaut The Movie: Guitar Update

2014-11-06T16:59:00.001+07:00

Periphery is an American progressive metal band from Bethesda, Maryland formed in 2005. The band is known for their heavy, modern, almost futuristic, and progressive sound that includes polyrhythmic patterns and soaring melodies.

Here's an update about in-studio working footage from my favorite Djent Metal band called "Periphery"
let's see how they work. lol

EP 1

EP 2

EP 3

EP 4

EP 5

EP 6

Protone Pedal "Hunted Delay" Review by Mark Holcombs

2014-11-06T16:32:00.001+07:00

Pro Tone Pedals is extremely proud to present the Mark Holcomb Limited Edition Signature Delay Pedal. Mark’s signature pedal, The Haunted Delay, was designed to be an ambient style delay, like your favorite vintage tape echo… with gig-ready durability to last you decades without a $1000 price tag.

-The Delay control offers a sweep of delay times ranging from 25 milliseconds to 450 milliseconds.

-Repeat control runs from a single regeneration to infinite feedback-The longer settings introduces some slight note crunching similar to the vintage tape delay systems from decades long gone by.

-Mix sets the level of delayed signal mixed with straight guitar tone.

-The Volume knob adjusts the overall output from unity gain to a 20db boost- enough volume to drive your amp to the edge The Haunted delay was intentionally designed to work well with modern high gain amps as well as classics, offering the widest range of usability no matter what style you play.

I’m extremely happy with how unique and versatile this pedal turned out, and it’s been an
inspiration merely jamming on it as of late. The intention here was to create something truly trippy – a pedal versatile enough to handle the soundscape-y material I’m drawn to, while at the same time having a very streamlined interface, making it easy to use as a songwriting tool – which is it’s main use for me. -Mark Holcomb

Check out more detail here

VAMPS to release new single “VAMPIRE’S LOVE”

2014-11-06T01:28:00.000+07:00

VAMPS has announced that they will be releasing their new single “VAMPIRE’S LOVE” on October 8th.

The Japanese rock duo VAMPS is made up of vocalist, rhythm guitarist, lyricist, and songwriter Hyde and lead guitarist, backing vocalist, and songwriter K.A.Z. was formed in 2008. Since then, the duo has released multiple albums and singles.

On October 8th, the duo will be releasing yet another single “VAMPIRE’S LOVE” which will also be used as the theme song for an upcoming Japanese movie. The movie is the Japanese version of the action blockbuster movie ” Dracula ZERO” ( also known as “Dracula Untold”) and will premiere on October 31st. Exclusive limited VAMPS collaboration movie tickets will be available in the albums!

The upcoming single will be released in 3 different versions: Limited Edition A (CD+DVD), Limited Edition B (CD+Story Book), and Regular Edition.

Details for VAMPS’s new single “VAMPIRE’S LOVE” has been released, including the track listing and cover illustrated by artist Kashima.
“VAMPIRE’S LOVE” will be coupled with a piano version of the title song, as well as a remix by Kevin Brereto. It comes in three versions and will be used for the Japanese version of the film ‘Dracula Untold’ (titled in Japan as ‘Dracula Zero’).
Check out the trailer for the film below as well as the track listing.

‘Dracula Untold’ is the origin story of the man who became Dracula. The new trailer included the song, but it has since been deleted off of YouTube but check out the old one.

As the coupling tracks, Limited Edition A and Regular Edition will include a piano version and Kevin Breton's remix of "VAMPIRE'S LOVE". In addition, Limited Edition A will come with a DVD containing the PV produced by Nikai Ken and its making video, while Limited Edition B will enclose a story book that is linked closely to the PV.

CD, DVD Cover

Limited Edition A

CD
・VAMPIRE'S LOVE
・VAMPIRE'S LOVE - Piano Ver. -
・VAMPIRE'S LOVE - Kevin Breton Remix -
DVD
・VAMPIRE'S LOVE -MUSIC VIDEO-
・VAMPIRE'S LOVE -MAKING-

Limited Edition b

・VAMPIRE'S LOVE
・VAMPIRE'S LOVE - Piano Ver. -
・VAMPIRE'S LOVE - Instrumental -

[Regular Edition]

・VAMPIRE'S LOVE
・VAMPIRE'S LOVE - Piano Ver. -
・VAMPIRE'S LOVE - Kevin Breton Remix

Periphery Announce Dual Album Release Date and Tour

2014-11-06T00:58:00.000+07:00

Periphery have announced the release date of their dual albums, ‘Juggernaut: Alpha’ and ‘Juggernaut: Omega,’ as January 27 via Sumerian Records.

One of the most awesome song from Periphery called "Make Total Destroy"

Drummer Matt Halpern said, “’Juggernaut’ is a story that is told through our music, and we want our audience to fully digest the whole experience. Because ‘Juggernaut’ is very detailed and dense in terms of character development, peaks and valleys, climaxes and resolutions we’ve divided the story and music in two, in the form of two separate albums. ‘Juggernaut: Alpha,’ the first part of the story, focuses on the back story and character development, while part two/album two, ‘Juggernaut: Omega,’ focuses on some pretty serious and gut-wrenching events, taking you for a thrill ride along the main character’s complex journey. Although the albums are split in two physically, the story is only complete when the albums are digested consecutively, allowing the listener to recognize and hear the lyrical and musical overlapping themes, foreshadowing, and connected ideas.”

The band will also hit the road early next year with Nothing More, Wovenwar and Thank You Scientist.

“We are ecstatic to be out of the studio and touring on ‘Juggernaut,’” said vocalist Spencer Sotelo. “The band is planning on performing a good amount of tracks from that record on this tour and we are beyond excited to share this experience with all of our fans. It’s going to be a killer tour and we feel very strongly about the diverse line-up of bands that we were able to bring together for this.”

Tour Dates:
January 10 Carrboro, NC Cat’s Cradle
January 11 Charlotte, NC The Fillmore
January 12 Atlanta, GA Masquerade
January 13 Tampa, FL Orpheum
January 14 Ft. Lauderdale, FL Revolution Live
January 16 New Orleans, LA House of Blues
January 17 Houston, TX House of Blues
January 18 Dallas, TX House of Blues
January 20 Albuquerque, NM Sunshine Theatre
January 21 Phoenix, AZ Club Red
January 22 Los Angeles, CA House of Blues
January 23 Anaheim, CA Yost Theater
January 26 San Francisco, CA The Fillmore
January 27 Portland, OR Hawthorne Theater
January 28 Seattle, WA El Corazon
January 31 Denver, CO Summit Music Hall
February 2 Minneapolis, MN Varsity Theater
February 3 Chicago, IL House of Blues
February 4 Detroit, MI St. Andrew’s Hall
February 6 Toronto, ON Opera House
February 7 Montreal, QC Corona Theatre
February 8 Albany, NY Upstate Concert Hall
February 9 Rochester, NY Water Street Music Hall
February 11 Boston, MA Paradise Rock Club
February 12 New York, NY Irving Plaza
February 13 Silver Spring, MD The Fillmore
February 14 Philadelphia, PA District N9ne

New Mini-Album from amber gris

2014-10-29T06:49:00.000+07:00

amber gris will release a new mini-album, Across the blow, on the 17th of December. The album will include 6 tracks.

The band's new music video from mouth will also be released on iTunes on the 5th of November. You can get a little sneak peek of it below.

Amano Tsuki - Gomoku narabe

2014-10-29T01:37:00.000+07:00

As Wii U gamers look forward to the next instalment of "Fatal Frame", we take a look at the new mini-album from Amano Tsuki.

Following in the footsteps of previous singles Chou from November 2003, Koe from July 2005 and Zero no choritsu from July 2008, Amano Tsuki has once again contributed a theme song to renowned videogame series "Fatal Frame". It features alongside four more brand new tracks on her latest mini-album Gomoku narabe. Released on October 1st 2014, with this release, the artist also wanted to commemorate the five years she has spent working under the name Amano Tsuki.

The album begins with Torikago ~in the cage~, the aforementioned theme song to new "Fatal Frame" game, "Zero ~Nure garasu no miko~". This deep and very emotional track about a birdcage kicks off with the sounds of piano and acoustic guitar. One after another, electric instruments, drums, strings and then Amano's vocals join the ensemble. At six minutes, Torikago ~in the cage~ might seem pretty long at first, but due to the shifting dynamics and the varied instrumentation, as well as Amano's outstanding vocals, the song proves very entertaining. If anyone would like to decide for themselves, they hazard a look at the trailer for the game, in which Torikago ~in the cage~ is featured.

Compared to the first track, Swimmy is a pure and lively rock & roll number that invites the listener to dance. This entertaining song is followed by the somewhat calmer Pablov. Unique in this lounge-esque piece of music are the trumpet and piano in the background. Only during the refrain is there a change in pace and volume.

Hana to mitsu is a special kind of ballad. Compared to the previous titles on the album, Amano Tsuki's singing becomes very childish - it's almost as if you're listening to some sort of lullaby. Special as well is it's running time: Hana to mitsu lasts less than three minutes, making it the shortest track on Gomoku narabe. The mini-album then ends with dreamy rock ballad Zeitaku na hibi.

I have to confess that I haven't followed Amano's music since she resumed her musical activities, but the chance to hear a new composition of hers for "Fatal Frame" revived my curiosity. In the end, Gomoku narabe proved to me that Amano Tsuki remains a talented singer and songwriter and has created some very diverse and entertaining new songs here; my personal highlights being Torikago ~in the cage~ and Zeitaku na hibi. I look forward to hearing more from her in future.

Jupiter New Album: The Hisory of Genesis

2014-10-28T00:59:00.003+07:00

Jupiter has announced through their official facebook page the release of their new album THE HISTORY OF GENESIS! this album will drop on January 7 of next year. details regarding the tracklist have not been revealed.

SLIPKNOT .5: The Gray Chapter Review

2014-10-28T00:49:00.002+07:00

Since the first teaser for Slipknot's .5: The Gray Chapter went up on July 15, speculative postings and supposed "insider knowledge" has been running amok. Who was going to take the place of recently fired drummer Joey Jordison? Who would fill the mighty shoes of the late, great Paul Gray? Would the band still be able to bring it like they used to after six years of silence? While the answers for the first two questions have been all but confirmed across the great expanse of the Internet, I personally can answer the last question- Slipknot can bring it just as hard as they used to and then some, but with the acrid grace and brutal maturity of musicians who know how to sharpen their proverbial knives and efficiently kill with them just as well.

This review is pretty straight forward in terms of layout. I'm going to go track by track in the order they appear in on the album, excluding the two bonus tracks considering I don't have them, and then give my overall impression of the album at the bottom. Deal? Deal.

Let's get to it!

1) XIX

"XIX" opens up with a distorted bagpipe-sounding keyboard patch, a glockenspiel and an acoustic guitar in the background. Corey Taylor's vocals come in over the eerie soundscape alongside muted drums quietly keeping the beat and Taylor's voice just sounds strained in a fed up, pissed off way. "XIX" is interesting because it keeps building on a lot of additional instrumentation, volume increases and layered vocal harmonies seeping into frame. The main scratchy, sickening soundscape remains constant and you can almost feel Taylor glaring at you. It seems like Slipknot is trying to make you feel uneasy and scared with this track.

The song builds and builds, edging toward total paranoia, and finally arrives at… nothing. Everything falls apart and you're left with the original soundscape in extreme disrepair. It’s you're expecting something to jump out at you from behind a curtain. You reach toward it and there's nothing behind it, but you're pretty sure there's someone breathing down the back of your neck now.

2) Sarcastrophe

"Sarcastrophe" picks up where "XIX" left off in terms of mood. There’s light percussion, effected clean guitars and a bubbling static noise. Things pick up with the addition of cymbals and distorted guitars. Then, out of nowhere, a drum fill and you're thrown into the midst of Corey Taylor growling his fucking face off. The heaviness arrives in the same way the band did heaviness on their debut record- plenty of heft in terms of a traditional metal band, but with more percussion going on and the added madness of DJ electronically adding layers of insanity.

It’s immediately noticeably that this is not the Slipknot you think you're getting. This is a Slipknot that is righteously pissed off. There's blasts, there's tremolo-picked riffs and there's non-conventional breakdowns that include sampling and keyboard work and aren't drum centric. There's a strange, airy quality to the heaviness of this song. It's not this laser-focused precision that's cut and dry. It’s haunting, terrifying and larger than life. It's as if Slipknot were this spectral being here to kill you, but slowly… painfully.

3) AOV

"AOV" is driving in the same way the members of Amon Amarth are just kind of vikings. The combination of double bass and percussive attacks on the downbeats give the song a militaristic stomping quality while guitars simply drive like tanks through your speakers and keyboards sound the air raid sirens as if it were the end of days. There's a big hooky chorus that pops up between the bursts of violence that's going to get stuck in your head, and that's just the first half of the song. What surprised me was the interlude toward the middle of the track.

During the interlude, the majority of the band fades off and featured prominently, providing the melody aside from a tinkling piano and dreamy, swirling guitars, is the bassist. I'd go as far as calling this a bass solo. It’s melodious and has a sense of direction in that it touches on what the guitars are doing in the background but doesn't stick to them. With the band still mourning former bassist Paul Gray, I wasn't sure if this was going to be Slipknot's …And Justice For All.

It is not.

4) The Devil In I

Everyone knows this song already, so I'll keep it brief. This is straight up classic Slipknot via their Iowa days with a heavy dose of that unsettling heaviness I’ve mentioned. It's also the slowest song up to this point (barring the introductory track) and I'd even say the least heavy.

Do not underestimate how much heavier this band has gotten.

5) Killpop

The intro to "Killpop" brings back that "XIX" phantasm keyboard sound along with plodding drums doubled up by what sounds like an electronic drum kit. The best way to describe "Killpop" is a ballad co-written by Satan himself and someone who is just totally empty inside. It's cold, it's slow and it seems to deal with drugs, the issue of addiction and someone taking advantage of them. "Killpop" is interesting because it relies on keyboards and alternative percussion as the main focus the song, barring the blistering guitar solo and blastfest in last forty seconds of the song.

As a quick refresher, Craig "133" Jones is listed as doing media and sampling in the band, Sid Wilson on turntables and Chris Fehn on percussion for the group. The trio has always been a part of the group's sound and a big part of the live show, but they shine in a huge way here. After listening to the record in full, I can honestly say the three have a big hand in .5: The Grey Chapter terrifying. In fact, they’ve the backbone to two of the five songs so far!

6) Skeptic

There's a lot of references to someone dying and some else being arrested for it in “Skeptic.” I’m near positive this one is directly about Gray’s death. The chorus of the is particularly touching in both inflection as well as lyric, reading-

"The world will never see another crazy motherfucker like you.
The world will never know another man as amazing as you.”

"Skeptic" is an interesting song musically. It starts off with the typicalSlipknot stomp and then launches into a Soilwork-worthy melodic death metal chorus, even using a pre-chorus section twice in two different formats that gets blindingly fast and uses a lot of chromatic, dissonant tonal work. "Skeptic" opens up the sonic space a lot throughout its runtime to be filled out entirely by Jay Weinberg's drumming, giving the song this very punk rock feel with grindcore sense of anger.

7) Lech

“I know why Judas wept, motherfucker.” Those are the words that seem to boil out of Taylor’s mouth at the beginning of “Lech.” There’s no instrumentation backing him up, there’s nothing. This is between you and Taylor, and so help you he’s going to make sure you heard him.

“Lech” takes the punk feel of “Skeptic” and heaviness of “AOV,” and marries them into the sound of ten thousand soldiers with Doc Martens and six-foot mohawks curb stomping everything. There’s a few passages in the song that use effect-laden guitars that sound like broken machines and even some glitched audio that serves as a vehicle for the band to essentially make sure you’re feeling the violence. At this point, I’m noticing the main focus of Slipknot’s songwriting seems to be the flow of energy in a song- how can they make people feel something during this song, or beat the shit out of each other make their pain evident.

8) Goodbye

The bass is high up in the mix again, the creepy synths are back and there’s orchestral bells, timpanis and what sounds like a choir that got all of it’s treble and high mid frequencies stolen. The first half of the song is an ambient ballad and then about half way through the band takes the themes from the first half and transposes them onto guitars, drums, and everything define here as the “traditional metal band.” It’s cool to hear the original themes go from these airy instruments onto heavily distorted guitars, not necessarily because it translates well, but because the contrast works amazingly to close out the song. Everything gets faster, heavier, darker and louder until there’s a brief band unison and then silence.

I’m glad this wasn’t a ballad. It would have worked just fine as a ballad, but this is Slipknot in 2014 on .5: The Gray Chapter. Fuck the rules.

This is probably a good place to mention the differentiation between keyboard patches and samples used on the record. While a lot of them are indeed terror-inducing and generally have this feel to them that can be described accurately as “nausea-inducing,” each song that uses them in whatever massive instrumental arsenal being employed uses them differently. It’s as if the sounds are tailored to each song, which harkens back to the notion that this record was meticulously written.

9) Nomadic

All this talk of the “new Slipknot heaviness” goes right out the window on this one. If you told me this was a song from Iowa that was just a little too weird to be included on the record, I would believe you. The main riff is this chunky stop-and-go kind of thing that breaks out into an odd, somewhat off-kilter melody in the chorus. “Nomadic” is a really straight forward song that employs probably some of the strangest melodies the band has used up to now. It has this seasick, chromatic feeling to it with low-toned spoken word parts here and there and another ripping guitar solo.

It’s the chorus that gets me more than anything else in this song. That angular riff that Taylor’s singing over has this counterpoint quality going for it with the riff underneath and it’s just infectious. If you could hear the instrumental version of this song, there are points where most vocalists would be left scratching their heads wondering what would fit overtop. Then again, most vocalists aren’t Corey Taylor.

10) The One That Kills The Least

“The One That Kills The Least” starts off with a riff that should signal something heavy, but instead the song stays mid-paced and gets pretty anthematic and slow touring the chorus. For some reason this song reminds me of “The Heretic Anthem” at a slower tempo, or basically any of the lighter songs from Vol. 3. The kicker to this song is that even though it’s slow, it has this anxious feeling like it wants to speed up at every turn, but just keeps backing down instead.

One of the cooler aspects of this song is the recurring guitar theme. There are a few variations of it presented throughout, both as low-down riffs and higher-up melodies or leads, but in the end it’s all still this descending pattern that seems to trip over itself initially and then tumble into place. Upon my first listen through the album I was floored at just how much fantastic guitar work there is throughout the album, with “The One That Kills The Least” being the song that finally made it click that both Mick Thomson and Jim Root are ridiculously capable at their instruments.

11) Custer

“Custer” starts off quickly with the band playing a hooky unison riff before breaking down into a bass drum, distorted bass and the occasional tom. Enter Corey Taylor, who starts off with a seeminglyLamb of God-influenced spoken word section before going flat out lunatic status. Right as the song explodes, there’s a quick change back to spoken word and then this four-on-the-floor chant that has everything come crashing down around you and ends on a scream that decays a little more every time it echoes off into the depths of the abyss.

This is the song that will have every single person at every single concert screaming at the top of their lungs for the chants before beating the everliving shit out of each other for the remainder of the song. This is the song you’re going to be blasting in your song when it comes on and scaring the piss out of the poor grandmother in the Buick next to you. There aren’t too many components to this one. It’s a pounding sound that takes on that electronica aesthetic of beating you submission.

12) Be Prepared For Hell

Another interlude, but it’s interesting. There’s distorted speaking in the beginning that sounds like a distant voice in a tiled chamber while something is intermittently being crunched around you. That atmosphere gives way to a singular, theremin-sounding keyboard (which was there in the first place but quieter) with a much louder voice that seems to add pitches into its timbre as it continues speaking. Other than that, it’s just a break between songs.

13) The Negative One

Another song familiar with. “The Negative One” is actually a really solid example of what this album is all about and showcases a lot of the sounds I’m referencing here. It has that classic Slipknot stomp to it, it has all the hallmark DJ sounds, screeches and scratches from their earlier days and it has the hellishly nimble drumming you’re going to hear non-stop throughout the record.

I know Slipknot said “The Negative One” wasn’t technically a single off the record, but it’s a great representation of the record. Not necessarily what the whole record sounds like considering how varied it is, but it gives a pretty good idea.

14) If Rain Is What You Want

“If Rain Is What You Want” is a slow burner and an excellent end to a record. It builds slowly upon the blocks of muddy guitars and vocals that seem to be sung through a blanket up to the full band mournfully culling the apocalypse one last time. Everything you have heard up to this point on the record in terms of instrumentation and mood is encompassed in this one. Whether that was purposely done or everything just happened to fit is a mystery, but much like the rest of the record everything seems to have been planned out in terms of its place in this sonic portrait.

The song isn’t trying to crush you to death anymore- the rest of the record has done that just fine. Instead, this is the song that plays over the montage as they find your body and eventually lower you into the ground as the frame widens and everything goes skyward. Even as the song reaches the apex of heaviness, there’s a very sorrowful quality to it that floats down into noise and one last verse sung before its lights out and once for all.

Overall Impression

If it hasn't been made abundantly clear by now, let me reiterate the irrefutable fact that .5: The Gray Chapter is an extremely coherent album that will please fans who have waited and probably garner multitudes of new ones. The sequencing of songs on the record ensures a smooth listen, the writing is impeccable, the lyrics range from straightforward and emotional to sinister and cryptic and the new members fit into the group perfectly and even shine through with their musical personalities.

To sum it all up, .5: The Gray Chapter is an album that retains the classic. Slipknot sonic signature while adding new flourishes and finishes the stroke with a solid stab right through the paper.

Epiphone Les Paul Electric Guitar Player Pack

2014-10-26T21:37:00.000+07:00

A complete setup for the budding guitarist.

The Epiphone Les Paul Electric Guitar Player Pack is a great way to save time and jump start a career in music. It includes an Epiphone Les Paul Special II guitar, Electar-10 amp with overdrive, gig bag, pinch-on tuner, strap, cable, guitar picks and free eMedia guitar lessons on-line.

Les Paul Special II
Epiphone's number one selling model LP Special II is a great way for beginners to get started on guitar while getting the feel and tone of a Les Paul. Seasoned pros also love the Special II because it's a great-sounding workhorse of a guitar that allows them to leave their more expensive axes at home.

Electar-10 Amplifier
The Electar-10 amp is a 10-watt amp with overdrive. It features 2-band EQ for tone shaping. There are also inputs for headphones and connecting a music source such as an MP3 or CD player.

Features

Les Paul Special II guitar
Electar-10 amp with overdrive
Epiphone gig bag
Pinch-on tuner
Strap
Cable
Guitar picks
Free eMedia guitar lessons online

If you like the style and sound of a Les Paul, this is a great deal.

Dir En Grey - Reveal New Album "Arche" with Tracklist

2014-10-26T17:46:00.001+07:00

Currently celebrating the 15th anniversary of the release of their full-length debut Gauze, visual kei survivors Dir En Grey have unveiled the tracklist for their upcoming album Arche. Coming three years on from its predecessor, the band's ninth studio effort will be released on December 10th via Sony Music Japan.

Tracklist:

01. Un Deux
02. 咀嚼 (Soshaku)
03. 鱗 (Uroko)
04. Phenomenon
05. Cause Of Fickleness
06. 濤声 (Tousei)
07. 輪郭 (Rinkaku)
08. Chain Repulsion
09. Midwife
10. 禍夜想 (Magayasou)
11. 懐春 (Kaishun)
12. Behind A Vacant Image
13. Sustain The Untruth
14. 空谷の跫音 (Kukoku No Kyouon)
15. The Inferno
16. Revelation Of Mankind

Elsewhere, Dir En Grey frontman Kyo was recently in Europe with his side-project, the visual kei supergroup Sukekiyo. The outfit released its full-length debut Immortalis back in April.

Latest Music Video from Die En Grey (This song "Sustain The Untruth" will also be include to this 9th Album)

Dir en grey relate product

Kill the noise and become metalism : ISP Noice Decimator

2014-06-06T17:12:00.000+07:00

The Decimator guitar pedal offers a new approach to Noise Reduction processing with a high level of performance. Most noise suppression systems suffer from one major problem inherent in their design: The system cannot be immediately responsive to very short-term staccato notes.
The typical downward expander sound reduction system suffers from a dead zone in the release response characteristic that causes a compromise in tracking both fast decaying notes and long sustained notes. The Decimator pedal's design offers a novel approach to tracking the envelope of the input signal called Time Vector Processing.
Due to this novel approach in controlling the expander, the Decimator system will instantly respond to short staccato notes and, at the same time, will provide a very slow ripple free control of long sustained notes. The Decimator noise suppression system is very transparent delivering high performance. The Decimator pedal by ISP Technologies is extremely easy to use;
simply insert the Decimator at the end of your chain of existing pedals or, insert the Decimator Pedal in the effects loop of your amplifier to clean up the noise present at the amplifier input as well as the noise in the amplifiers pre-amp section. Packaged in a rugged, beautifully polished smooth chrome chassis, the Decimator pedal offers reliability, performance and beauty in one compact pedal.

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Build a Rockin' Pedal Board!

2014-06-04T00:12:00.000+07:00

Build a Rockin' Pedal Board!
Paul Riario (with some help from Mick Mars) shows you how to build a pedal board.

Are you a pedal-board dunce? Fear not! In this illustrated tutorial, Guitar World shows you everything you need to know, from choosing a board to powering up and laying out your pedals.
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Dir en grey : Guitar Lick (Young Guitar Magazine)

2012-11-02T06:00:00.000+07:00

Scaned from Young Guitar Magazine of Japan. not too old, it's 2011

Kaoru and Die from Dir en grey come and show you how to play some lick of their song. A lot of advantage. enjoy.

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Dir en grey : Obscure (Official Scan TAB,Bandscore)

2012-11-01T18:00:00.000+07:00

This is the original version of song "Obscure" from band Dir en grey.
The original version have 2 different guitar line (Die use 6 strings and Kaoru use 7 strings guitar)
for Die guitar tuning : Drop D (on 6th string)
Kaoru : also use Drop D as Die and Drop 7th string to A
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Dir en grey : Official TAB,Bandscore (Hageshi sato...)

2012-10-31T16:43:00.000+07:00

Taken from official bandscore book of Dir en grey, enjoy. Download Here (Mediafire)
This TAB is for 6 string version (Dir en grey use 7 string for the latest version, also made sound a bit different)

Die, the red guitar : use his signature tuning (A#,G#,C#,G#,C#,C#) from 6th to 1st.
Kaoru, ESP SG model : use normal drop C# tuning, but on 6th string drop to A like Die.

More Bandscore and TAB of Dir en grey is coming soon.
full song name of this song is

"Hageshisa To, Kono Mune No Naka De Karamitsuita Shakunetsu No Yami"

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Periphery - Letter Experiment TAB

2012-10-30T18:00:00.000+07:00

Download trough mediafire (You will found 3 TAB in RAR, use each TAB to make your playing more accurate)

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Sugizo's Gears

2012-10-30T06:00:00.000+07:00

Sugizo use many gears to create his signature ambient sound, he usually use ESP (His own signature) to play live, let's see some of his gears and equipment.

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the Gazette : Equipment history

2012-10-29T13:43:00.000+07:00

Some of Japanese magazine scanned, some page talked about their influence artist (some artist are western.)

They usually use Bogner and Diezel amplifier to play live and record, their private stock have many guitar brand that you might ever know before, such as Errnieball Musicman, PRS, etc.

Uruha and Aoi usually use tuning style as "Drop B", "Drop C". For some of the Gazette old song also use standard tuning as well.

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Free Download : E-Book - Sustain Magazine

2012-10-14T09:39:00.001+07:00

Free Download : E-Book - Sustain Magazine

Sustain Magazine

a new magazine for luthiers

Do you build, design or repair musical instruments?

SUSTAIN Magazine contains news, articles, interviews, reviews and the latest research on the field. Join the Fellowship and receive all 2013 issues at home, anywhere in the world. Issue #2 shows up on time for Christmas.

Sustain Magazine : issue September 2012 (Submit E-mail and download)
Content in this issue.

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How To Choose Acoustic Guitar

2012-10-13T17:10:00.000+07:00

How To Choose Acoustic Guitar

Acoustic guitars sound just brilliant? For almost every occasion, in every place and at any time, acoustic guitars might just be the best friend of a man! Whether it's a trip, a party, a trip to the beach or the park or just to kill a little 'bored at home, acoustic guitars seem to always come in pretty handy.The purchase of a good acoustic guitar used to be a difficult task, but not anymore. And the best part is that, in all probability not even have to break the bank to buy a good acoustic guitar.The choice of a good acoustic guitar but it could still be a little 'difficult, as there is plenty to choose from. The following is a list of my personal picked acoustic guitars, favorites, suitable for beginners, guitar intermediate, advanced or veterans!

1. Washburn D10S

The Washburn D10S is, without doubt, the best acoustic guitar in the world, and by far my favorite! It 's just an ideal guitar to play, and most importantly, it looks absolutely fantastic! It is not surprising when you discover that it is the number one best-selling acoustic guitar in the world! The back and its sides are made of mahogany wood, mahogany neck too hand and the keyboard is made of rosewood, all of which combine to give excellent tone and sound quality.

2. Seagull S6

Reviewed both before and on this very site as one of the 3 best acoustic guitars for beginners, the Seagull S6 is another brilliant acoustic guitar, and a close call to be one of the best acoustic guitars in the world, right up there with the D10S. Seagull built by the Canadian company, and reasonably priced at $ 400, its quality in terms of construction, the sound and the tone is right up there with guitars that are priced quite a bit 'more - like the Gibson dear Price (Gibsons are usually quite expensive!). And if that were not enough, it has a great finish and looks absolutely brilliant!

3. Yamaha FG730S

The FG730S Yamaha was one of two guitars that we have seen in a previous blog post. The FG730S is a great all-round guitar guitarist any and all out there - from a beginner to a professional! It offers a truly amazing guitar playing experience, and all the FG730S - from construction, finishing and sound - believes that a much more expensive guitar, which also means that Yamaha offers excellent bang for the buck. Furthermore, it is very easy to play, which makes it the perfect pick-up-and-play guitar for all types of guitarists. But above all, the FG730S is well known and well regarded in the guitar community to provide the best sound and sound of any acoustic guitar out there - something that we mentioned earlier as well.

4. Morgan CCK

The CCK Morgan, short concert Florentine Cutaway, is a guitar craftsmanship, built and manufactured by a company well known for making the best handmade acoustic guitars out there. The CCK is really one of their best works, the better both in terms of its sound and appearance! The CCK definitely looks gorgeous, and turns great! All this is due to the fact that the different parts of CCK are made from different types of wood, which confer a unique tone and versatile. The neck, for example, consists of mahogany and ebony. Honestly, I have not come across another guitar that sounds as good as the CCK!

5. Fender DG100

Suitable for all types of game guitar, the DG100 Fender not only feels great
and looks quite good, it comes with the reliability and excellent build quality, which has been a constant guitars Fender any and all since a good couple of decades now. The DG100 produces sounds bold, rich and warm with a balance between its ups and downs. It also has a low action, so it is easy to play. The cost is less than $ 300, and once the replace its strings stock photos with good after-market ones, you will end up with a great, reasonably-priced acoustic guitar, made by one of the biggest names in the industry in this time.

6. Takamine G Series 340C

Suitable for all types of game guitar, the DG100 Fender not only feels great and looks quite good, it comes with the reliability and excellent build quality, which has been a constant guitars Fender any and all since a good couple of decades now. The DG100 produces sounds bold, rich and warm with a balance between its ups and downs. It also has a low action, so it is easy to play. The cost is less than $ 300, and once the replace its strings stock photos with good after-market ones, you will end up with a great, reasonably-priced acoustic guitar, made by one of the biggest names in the industry in this time.

7. Fender GA43SCE

The Takamine G Series 340C is probably the guitar that I met, that almost sounds like the CCK Morgan, and is the closest to it in terms of sound quality. That in reality, says it all! In fact, you probably will not be able to find any guitar under $ 1000 that sounds as good as this does! The Takamine G Series 340C is known to be an ideal guitar for beginners, as it is easy to play and has a large, comfortable action. It 'also a guitar very well regarded among professionals for its bright, warm colors and a big sound. And, of course, its price is very good.

8. Gibson Epiphone Masterblit

GA43SCE The Fender Stratocaster is the acoustic guitar! It shares the same features as the Fender Squier Stratocaster and (both of which are electric guitars). Again, and as is the case with any guitar Fender takes in hand, the GA43SCE also has an excellent sound and tone. Has a body and rosewood fingerboard, and Fishman electronics.

Gibson - another famous and well known guitar manufacturer, Gibson makes Epiphone AJ-500R Masterbilt. As is the case with everything that comes from factories Gibson, Masterblit is highly functional, and a nice looking guitar. E 'consists of solid rosewood finish has a great impact, and incorporates many features that are used by musicians and guitarists of today. The sound is pure noise, with a beautiful sound and the balance between its ups and downs (similar to Fender DG100). Above all, it is (or was) at reasonable prices, but has now been broken - you can still easily be bought second-hand off eBay. It 's light (thanks to the built rosewood), sounds great, and is generally a great guitar for beginners and professionals.Words EndingSo that's it then, eight great-looking, high-impact acoustic guitars for guitarists who play any and all musicians out there!Regardless of the type of guitar-playing skills, all eight would be great choices for you.Buying a guitar, however, is only one step in the process, if you are looking for some guitar lessons and large, I recommend GuitarTricks. It 'easily one of the best guitar online learning programs out there. Selecting this review to learn more.

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