#guitarmonies

[brokenpiecesshine]

Lzzy Hale on Instagram, 18/12/2023.

Improv solo jamming and Guitarmonies ( yes it’s a technical term 😜) at Wembley on my new signature @kramerguitarsus Thank you to @iamcreativechameleon for the Birds Eye capture!

[ahjdaily]

Episode Transcription Below:

Hi! This is Albert Hammond Jr again. I hope you'e been enjoying my festivities, my playlists, my conversations with myself. I have this next one which I'm excited about is: LA night drives. I image them to be late, maybe they're just in LA there's a lot of traffic so the later you go, the more open that it is. The freeway system is actually incredible and you can get quite far quite quickly. So these songs felt like warm air, night, low lights. This is Daft Punk with Veridis Quo, ver-di?

[Playing: Daft Punk - Veridis Quo]

I don't recommend this and I don't ride my motorcycle anymore but I used to put my in-ears in from playing and my helmet on and listen to music driving my motorcycle at night. But this was in New York and it felt like Blade Runner. So maybe that's what it reminds me in LA, Daft Punk.

The next band clearly did not ever want to get played on radio besides, they're doing heavy metal instrumentals which is already a hard one to get on radio. They've named themselves The F-ing Champs. The fudging Champs. I have two songs from them, they kind of go together in my opinion. The first song is Thor Is Like Immortal and the second one is Lost.

[Playing: The F Champs - Thor Is Like Immortal] [Playing: The F Champs - Lost]

I saw this band at a place called Brownies in New York, which doesn't exist anymore that we played at early on. That then turned into like Hi-Fi Bar. I don't know what it's called now on Avenue A between 10th and 11th. It was awesome. I do love guitarmony and so they have that. I love guitarmony so much. Uh but yeah, enjoy those instrumetnals. That is an interesting band to hear. I feel like maybe more fun to see live but I think these are probably the two best. That was the F-ing Champs with Thor Is Like Immortal and Lost. I still like that "Thor Is Like Immortal" such a heavy song.

This next song is from Adam and the Ants, it's called Cartrouble (Part 1 and 2). I think I've been chasing to write something like part 1 solo I think it's one of the coolest things ever, all the parts in the melodies. I thought we came close once with a Strokes song that never got released called Valley Guy. Maybe it gets released one day. Yeah, I think that was in my early 30s again, it wasn't a mid-life crisis okay? [Laughs] It was not! These are my later years, but I would just love this song. I think it's the perfect song. This actually might be Alex Brown again, who showed me that Jay Reatard song.

[Playing: Adam and the Ants - Cartrouble (Parts 1 & 2)]

Well, that was Adam and the Ants Cartrouble (Part 1 & 2). Next up is Bob Dylan with You Belong to Me from the Natural Born Killer Soundtrack. Can't find this song anywhere. I own it that's why I have it but I don't even know sometimes streaming services that they but it up but it is just an awesome song. I know Patsy Cline, I don't know if she was the original who did it but I just think his version is so great. I love that movie to death but this song is just up there, gets played a lot.

[Playing: Bob Dylan - You Belong to Me]

It's fun to see an artist that you like do a cover. Sonic Youth did a cover of a Carpenter song, Superstar. And it's so cool to like the song when you like the cover and the original because a lot of times that doesn't happen. The cover's usually kind of like a mess or the cover's amazing, the original you don't like. So this is very special, his interpretation of it. That was Bob Dylan with You Belong to Me. This is Ace Frehley with New York Groove.

[Playing: Ace Frehley - New York Groove]

Gus who produces and engineers everything of mine, did the Strokes fourth and fifth album, and does front of house for the band, he is a big Kiss fan. And he showed me this song probably on a drive upstate and it's just a great great song. That was Ace Frehley with New York Groove.

[Playing: Billy Swan - Don't Be Cruel]

Another cover, another great cover, another dual where the original is great and this cover is great. My friend Malcolm showed me this. Just this song has the coolest vibe, you know. Just you imagine like laying down is, this vibe with the sound, with the drums. Just the epitome of cool for me. That was really Billy Swan with Don't Be Cruel. The next song is, Yazoo with Only You. You know, I can't say something about every song right? [Laughs]

It's one of those, where you're gonna put it in there because it's one of those where I don't really know anything besides the song. And maybe there's a few of those that come up like that. I like that. That was Yazoo with Only You. This next song is Reckless Eric with Whole Wide World.

[Playing: Wreckless Eric - Whole Wide World]

There is this movie called The Adventures of Sebastian Cole with Adrian Grenier that I saw early on in New York when I first lived there, that I loved so much. Such a cool movie and that song played in it. That's where I discovered that song. I tried to do a cover of this song in my very dark days and I think I was just too high to ever do anything. That was a total disaster. I feel bad for Gus. He came over and I did absolutely nothing except hear voices. Well, that was Reckless Eric with Whole Wide World. Goodbye Eric! This is the Wipers with Is This Real?

[Playing: Wipers with Is This Real?]

This whole album is amazing. Discovered this again in the early 30s. A girlfriend played me The Misfits and stuff, played me this. I don't even think this is album- maybe it's streaming now, but I had to buy it on vinyl because it wasn't streaming. And I just I liked the whole record and I would just play it. I liked its intensity and its immediacy. I picked the song because I thought if you were gonna get into it, this might be the song that does it for you, and it'd be nice to get people into them. So I think they're a cool band. That was the Wipers with Is This Real? Next up are The Rolling Stones with Can't You Hear Me Knocking?

[Playing: The Rolling Stones with Can't You Hear Me Knocking?]

I had a whole South of France playlist and that song was on it. Constantly I vacationed with a friend of mine and then went for a few day like excursion by myself. It's very lonely. Not a good place to be for yourself. I had a beard and I would go swimming every day for hours. I was so tan and I would just like this amazing fruit and I would just get fruit and sit at the beach and eat and be salty. Like literally. I really I should post that on my story so you guys can see just how tan I was. It was just incredible. But yes, so back to the song [laughs] yeah its just one of those, The Stones really knew how to create vibe. What they might have not had in other stuff they created in vibe like that. And it was just really cool jam at the end. Really great guitar throughout the whole song.

And last but not least, if you're driving late at night, anywhere doesn't have to be in LA, since this is in the UK. I love driving in the UK, driving on the other side of the road is one of my favorite things actually. I always rent a car whenever I go there, drive I find it amusing. It also feels good for my brain, but I feel like the song ties in well with the end of this playlist and with my new record. Maybe because they just they both have a lot of drum machine on it. But I just loved Phil Collins when I was a kid, still do now. But I grew up in LA and pop radio was, you know, Whitney Houston, Elton John, Phil Collins, I just knew that stuff so well. You're whatever 9,10, 11, maybe even earlier, 8. This was a song by Phil Collins, like I said it's called Take Me Home. Just the way it starts, you don't know where it's going and even the release of the chorus isn't like huge but it's if you get into it, if you get lost in to the way the beat starts, it's really transfixing. If you're driving at night, I think that's a good thing.

[Playing: Phil Collins with Take Me Home]

Well that was Phil Collins with Take Me Home. I am Albert Hammond Jr, wishing you a pleasant evening. Good night!

"LA Night Drives" A Playlist by Albert Hammond Jr for BBC Radio 6

Albert Hammond Jr shares a playlist of music to drive to late at night, particularly in LA.

Tracklist

Daft Punk - Veridis Quo

The F Champs - Thor Is Like Immortal

The F Champs - Lost

Adam and the Ants - Cartrouble (Parts 1 & 2)

Bob Dylan - You Belong to Me

Ace Frehley - New York Groove

Billy Swan - Don't Be Cruel

Yazoo - Only You

Wreckless Eric - Whole Wide World

Wipers - Is This Real?

The Rolling Stones - Can't You Hear Me Knocking

Phil Collins - Take Me Home

[lovelisajames]

What a beautiful way to end our evening. Thank you for having us! Shout out to @reverbhunter and @joelbocek for being the dream team. @castillodefeliciana #lovelisajames #guitarmonies #reverbhunter #joelbocek #castillodefeliciana (at Castillo de Feliciana Vineyard and Winery) https://www.instagram.com/p/B0cuZN0DiGX/?igshid=bn5a09uaynd7

[laurenserpaphotographs]

CHON!  

[allmusic]

AllMusic Staff Pick: Testament Titans of Creation

The Bay Area thrash legends' 13th studio effort is awash in immaculate guitarmonies, blast furnace-forged double-kick drum, and taut, palm-muted riffage. Co-produced by the band and Juan Urteaga (Cattle Decapitation, Machine Head), Titans of Creation is as savage as it is meticulously rendered; born of the wisdom of age and rage.

- James Monger

[sailor-freak]

My blog wishes it could be as in depth as Lonny is omg he’s putting me to shame 😂. But anyone who’s ever read any of my posts knows I know basically fuck all so oh well 😂.

Also from now on I’m only ever going to call it a guitarmony that’s its technical name now.

Btw if you’re seeing a video of someone dressed as a cat up there uhhhhh I don’t know why that’s coming up when I post it comes up with Lonny’s video here.

But I post and there’s just a video of someone dressed as a cat on someone’s kitchen table I’m very confused I did not make a mistake that’s legit what’s happening.

[kelseadaily]

kelseaballerini: @reidgah & @chriswrate with their guitarmonies. @david_od capturing all the moments.

[shemakesmusic-uk]

Getting to Know...

Fantasy Non Fiction.

Fantasy Non Fiction is a fierce four-piece rock band featuring the original music of drummer/vocalist, Rose Cangelosi, a queer songwriter navigating the world through the catharsis of musical composition.

Fantasy Non Fiction raises the bar for drummer-led projects, with complex rhythmic styles that complement the captivating melodies. A vivid, kaleidoscopic sound is rounded out with an array of musical influences that illustrate the strikingly honest songwriting. Candid poetic lyricism speaks to the genuine nature of each song, whether commenting wryly on the strange nature of the social universe and unrequited love, or reflecting remorsefully on a glass-shattering temper tantrum.

Musical chemistry and time-tested friendships keep this group of full-time musicians moving ever forward. The release of their self-titled debut album, which is being self-released on May 8 represents only a fraction of the prolific repertoire you’ll hear at a live show, and showcases the band’s catchy melodies, while leading listeners on musical sagas through what makes our everyday lives full of fantasy.

We had a chat with Rose all about how the band came to be, the new album and more. Read the Q&A below.

Who are Fantasy Non Fiction?

“We are four buddies who met in various states at various times.  I have known Molly Reeves and Nahum Zydble for over a decade, from playing in different music scenes in Northern California. One summer, Molly asked me to go on tour with her band, and told me about her life in New Orleans. I saved up some money and moved into her spare room one year later. I met our bassist Sam Albright two weeks after I got into town, at my first gig on Frenchmen street. We started playing together and hit it off right away. At that time, I had been writing songs for years, but was too shy to put them out into the world. Admittedly, I had an aversion to singing because of what I now know to be a kind of  “Jazz School PTSD,” where I wanted to be seen as a drummer and taken seriously. I can’t tell you how many times people ask me if I am a singer the second they find out I’m a musician. I looove to sing and think the voice is one of the most beautiful instruments, but at the time I wanted to be seen as this serious drummer, you know, part of the instrumentalist “boys” club. Finally when I got over that nonsense-head-trip, I realized my songs would just be paper collecting dust--unless I performed them. When I started opening up I realized people liked my writing and connected to it, so I had the courage to bring other musicians into the process, and they were into it too. I never dreamed I’d be playing with Molly and Nahum on the regular, they are two of the coolest people and best guitarists I’ve ever met, and I was reaffirmed when Sam heard my songs and wanted to be a part of the band. Fantasy Non Fiction is my fantasy, it's really my dream come true. But--if you're wondering--that's not why I named it that. It is fitting though...the name is more about the nature of our collective but individually-perceived reality. We all live in these little fantasy realms, the songs I write are just a handful of my own experiences that I think other people can relate to."

How would you describe Fantasy Non Fiction's sound and your drumming style? Who/what are your influences?

"My writing varies a lot, and we play in multiple styles, but  we have consistency in our instrumentation and each player has their own definitive sound. Molly and Nahum  create lush textured backdrops and weave “guitarmonies” around my vocals, and Molly sings background vocals with natural finesse and good taste.  Sam Albright has this huge rich tone that grounds everything, his bass lines venture beyond their conventional role with counter melodies as well as chordal accompaniment on songs like 'Strange Effect' as well as our space-ballad 'Rocket to Mars.'

"My drumming is influenced by the different percussion styles I encountered in my formal education, but I try to lay down a solid groove and just “play the songs,” I’m not trying to show off. Besides, I sing my naturally syncopated, rhythm-centric melodies while I play, so I have to choose my battles there. I have played a lot of jazz and international music styles that you can hear in my drumming too. Everyone has their own influences that affect their playing, but my songwriting specifically is influenced by a lot of different factors, from folks my parents listened to when I was young, to my favorite old jazz standards, early 2000s pop and grunge rock, as well as contemporary indie bands and what-have-you. I’d rather not name any names, I want people to hear for themselves."

You've just released your debut album. What can you tell us about the record? What was your creative process?

"I can tell you we worked very hard to make it happen. We are all full time musicians, and everyone contributed their precious free time and energy. Our creative process was fairly natural; we learned a few songs at a time, started playing shows, made adjustments, and when it came time to record we picked the songs that felt ready. The band saved all the money we made at shows and spent that on the album. We recorded at NOLA recording studios in Mid City with the fabulous Michael Harvey. I produced the record with a lot of preconceived ideas about what I wanted, and he was attentive to those details, and overall excellent to work with."

What do you hope listeners will take away from the LP?

"Whatever suits them best. I hope people listen to the record and hear it without trying to fit it into a box. I want people to listen to the songs and see what it stirs up for them, if anything. I write from a very honest place. It feels good to show vulnerability--whether about relationship issues and unrequited love, social awkwardness, melancholy, or guilt and regret, knowing that other people go through the same things. What made me fall in love with music is its ability to transform suffering. I go through some growing pain that makes me feel terrible and depressed until I write a song about it, and then I find myself on the other side. There is no therapy with faster results. If I can make listeners feel something that moves them someplace else, then I’ve done what music has done for me. That's why I meddle in this business. Empathy is transformative."

Finally, how are you guys coping with the COVID-19 lockdown and what do you have planned for when we all go back to normal?

"Well, it’s been a strange emotional rollercoaster. We planned our album release for May 8 far before we had any idea that a pandemic was around the corner. When COVID-19 hit New Orleans, the streets that are normally filled with music ran silent, and we went from busy full time musicians with multiple gigs a day to unemployed “gig economy workers.” I really struggled with the idea of going through with the release. It felt self-focused and surface level to promote our debut album while so many people are suffering, mourning, and dying. When I expressed these feelings to friends and family they shot it down as nonsense and wanted to hear what we’d been working on for so long. A close friend reminded me that this is the time when a lot of people need music and art more than ever, and I remembered how I’ve used music to cope with things, like I mentioned before. I decided the only way I felt comfortable continuing with the release was to set aside some of the profits to give back to our community in New Orleans. The band all agreed to continue with this new plan in motion.

"As far as what we plan to do when this is over...we are rescheduling our release show, but I don’t think there will be a “normal” as we knew it before. COVID-19 will have unforeseeable lasting effects on our community and the music industry. It's too soon to know what this will look like, but it is what it is. This time has certainly been positive in reminding me not to take myself, music, or anything too seriously. Life is precious, and can change at any moment.

"The world will keep spinning, we will move through this, together, and see what is beyond when the time comes. I just want to hug my friends again, and help create a better after, in whatever way I can."

Fantasy Non Fiction is out now.

[learnguitarforever]

View this post on Instagram

A post shared by Ken Wilcox (@kenwilcoxguitar)

Robbie is working on a Phineas melodic metal song. Harmonies or Guitarmonies!! 🎸🎸🤘#guitarmonies #metal

[lachrimaestro]

Thin Lizzy - Black Rose (Roisin Dubh)

‘cus you got to.  Phil Lynott’s consonant formation is so unique, and I dig guitarmonies.

[sinceileftyoublog]

Guided By Voices Interview: A Conversation with Doug Gillard

Robert Pollard (left) and Doug Gillard (right); Guided By Voices perform “I Am A Tree” at SPACE in Evanston

BY JORDAN MAINZER

Journeyman Doug Gillard has been in Guided By Voices for 10 years, over 2 stints, for 12 official LP’s and other releases that no casual fan could keep track of. So, apart from Robert Pollard himself, I could think of no better person to analyze the creative process behind their recent crop of records, including two so far this year, Zeppelin Over China and EP compilation Warp and Woof, and a third coming, Sweating the Plague. More than ever, GBV seems to be a democracy, and not just because each member has gotten his turn at writing a few songs. From my conversation with Gillard over the phone last month from his home in Queens, I got the sense that as long as Pollard doesn’t have a clear idea for the song, he not only welcomes but relies on the others to help him complete it, even if he was the original writer. As for Gillard, he provides the backbone of the songs, something you don’t really notice but would if his contributions weren’t there, especially the horns and strings that supply dramatic flair or emotional weight. At any given live show, he’s the heart and soul of the band, whether doing backup vocals on the set mainstay that he wrote “I Am A Tree” or dishing Pete Townshend-esque riffs on the band’s Who worship.

Read our conversation below, edited for length and clarity, wherein Gillard also talks about his favorite new GBV songs, upcoming band-related news, and other projects he’s recently worked on or is working on.

Since I Left You: You’ve said Zeppelin Over China is unlike anything the band has done before. What makes it unique within the GBV discography?

Doug Gillard: I think it’s just a little warmer and has a little more orchestration and is probably the most diverse record.

SILY: A song like “The Hearing Department” is certainly hazier than your average propulsive GBV track.

DG: Yeah, Bob wanted sort of a rumba beat for that in his notes. Sometimes he has notes. Some songs he doesn’t. When we do the music, a lot of times, we just have freedom to take a song somewhere we’re feeling at the time of recording. Other times, he has sort of a vision. It’s a mixed bag, which is great. We like doing both. On that one, given that beat and the chords, it sort of reminded me of an early Fleetwood Mac song--Peter Green-era Fleetwood Mac.

SILY: On “Cobbler Ditches”, does he reference “Motor Away”?

DG: I think so, yeah.

SILY: You guys have so many songs, but having listened to a lot of them, I’ve never really picked that out before, where he’s referenced a previous song by title. It had to happen one of these days.

DG: I think it’s happened in the past, but I can’t be sure. There’s been a lot of records.

SILY: On this one, you did a lot of string and horn arrangements. That’s most notable on the singles and the ones you were playing before the album was out: “The Rally Boys” and “You Own the Night”. Where else did you add them in?

DG: They’re all over the record--“Vertiginous Rafts”, the last song on the record. Really, there are little parts of strings and horns on a lot of the songs on here. Sometimes, the strings are in the version of a Mellotron, but mostly, they’re not. Sometimes, they’re really subtle, too, added just to add a little bit of atmosphere.

SILY: Who plays them?

DG: I play them. I have an orchestra program, a MIDI program administered through a keyboard. There’s piano on there--key-related things.

SILY: I’ve seen how you adapted the first two live. Is it the same approach with the others? Are you even playing them?

DG: We will be playing more songs from the record. But when we play stuff live, we just kind of rock it out. I’m not concerned whether parts on the record aren’t in the song live. I really like seeing bands that play songs on the record different from how the record sounds.

SILY: Bob has said in past concerts that you’re the most instrumentally capable version of GBV ever even though the fans want the mistakes. But you achieve the balance between the record and live well. You still retain that rawness.

DG: Yeah, I think that’s true. Sometimes, I’ll try to play some of the string lines live on guitar if there’s room. I was doing that with “See My Field”. But it’s only because I hear them. I don’t have to play them. It wasn’t a request--just something I thought I would do.

SILY: Were the last songs you wrote for GBV the ones from “August By Cake” [Ed note: “Goodbye Note” and “Deflect/Project”]?

DG: No, there have been some B-sides to singles that band members have written that have come out. They haven’t been digitized, necessarily. They were vinyl-only and sold out quickly. One was called “Red Nose Speedway”...What was the other one called? I wrote one with Mark Shue. Kevin March wrote one that ended up on the B-side of a single and so did Bobby Bare.

SILY: You don’t play them live, do you?

DG: No, that’s correct.

SILY: Have you done the string and horn arrangements on other GBV albums before?

DG: Yeah. All the stuff that’s come out so far I have done a little bit, but on August By Cake really not much at all...some keyboards, maybe a string line here or there. How Do You Spell Heaven, a little bit. [Engineer] Travis [Harrison] did some string lines on August By Cake. And I did some arrangements on an ESP Ohio record which came out before August By Cake, which was Travis, myself, Mark Shue, and Bob.

SILY: Now that you’re back in the band, as of 2016, is “I Am A Tree” going to be in the set list for as long as you’re in the band?

DG: [laughs] I’m not sure. I would say probably so, but you can never be sure. There are a lot of songs in the can that Bob likes to rotate in and out of the set list. 

SILY: How does he or the band decide upon the set list on a night by night basis?

DG: Bob will have a master list that he re-sequences for every show. We’ll have a basic list for every tour, give or take some. Sometimes, he’ll get a whim or an epiphany and put something in mid-tour, which is always fine. But the sequence is different every night.

SILY: Do you have a favorite song on Zeppelin Over China or Warp and Woof?

DG: Wow...there are a lot of songs to choose from on both of those, and they’re all so damn good. Zeppelin Over China, I really don’t know what a favorite would be. Let’s see...looking at the list here...I really like “Where Have You Been All My Life” or maybe “Wrong Turn On” or “Jam Warsong”. There’s a ton, though. They all kind of have different purposes, different sounds. Warp and Woof, there are a lot of great little songs on there. I say little because they’re shorter. About two minutes or so. I think one of my favorites is “Angelic Weirdness”.

SILY: The two that are called out in terms of your contributions are the first and the final track, especially in terms of unique recording process. Didn’t you record “Bury the Mouse” in the van?

DG: Yeah, except for the drums. The drums were done first. We already had those, and we finished it on tour in the van. 

SILY: And “End it With Light” was at a soundcheck?

DG: Yeah, I did guitars at the soundcheck on that one. “Cool Jewels and Aprons” is another favorite from Warp and Woof. Oh, I forgot, the last song on 100 Dougs is mine. The instrumental. If you don’t have that actual EP, I can’t remember what sequence it’s in on Warp and Woof, but it’s called “It Will Never Be Simple”.

SILY: The third record you’re putting out this year is no longer called “Rise of the Ants,” right?

DG: That’s correct. It’s going to be called Sweating the Plague.

SILY: Are you able to talk a little about that one, whether your specific contributions, songwriting, and arrangements, or the feel for it in general?

DG: To me, there are similarities to Zeppelin Over China. There’s a little more hard rock on it, a little more of a 70′s rock feel to the songs, some “guitarmonies.” But there are some really nice ballads. It has the four ps that Bob talks about. [Ed note: pop, punk, prog, and psych] Lots of punk on it.

SILY: It’s been described as a little proggy.

DG: For sure. There are a couple prog songs.

SILY: Are there any more records on the horizon for you guys?

DG: There are some reissues this year because of album anniversaries. 

SILY: Bee Thousand?!?

DG: No. There’s always an anniversary of some album. Later this year, it’s the 20th anniversary of the release of Kid Marine, Robert Pollard solo, and of Speak Kindly of Your Volunteer Fire Department, which is a record I did with Bob. It was released under the name Robert Pollard and Doug Gillard, but it was the 4th one in the Fading Captain series of his records coming out around then. That has “Pop Zeus” on it and some other songs. That’s been remastered and it should be reissued in August. There may be a Cash Rivers collection coming out. I’m not sure about when that will be released.

SILY: You’re going to Europe for the first time in decades. Are you excited to play Primavera and the UK?

DG: Very much so, yeah.

SILY: When was the last time you were there with GBV?

DG: 2003, I’d say. We did a European tour and UK tour there.

SILY: Was that for Earthquake Glue?

DG: I believe so. It was either Universal Truths or Earthquake Glue. I think it was Earthquake Glue. I’ve been there a lot since with Nada Surf. I’m really excited to play there with Guided By Voices.

SILY: You contributed to the most recent Neko Case record. How did that experience come about?

DG: Neko had always liked my playing. When she was assembling songs for this record, she gave me a call, I went down to Tuscon, and I played a lot of tracks. I learned the songs. It was great.

SILY: I never realized that you were on The Hold Steady’s Stay Positive, too. I was looking at your credits and was like, “Woah, all these albums I’ve loved over the years!”

DG: Oh, yeah. I was friends with those guys at the time they were making that. I think I had just moved to New York, and they invited me to their session. Tad [Kubler] had me play the recurring riff on “Sequestered in Memphis”. That sort of Stones-y riff. That’s the only song I’m on, I think, but that was fun. They’re really good guys.

SILY: Any plans to come back to Chicago soon?

DG: I’m sure we will. We’re always around Chicago at least a couple times a year. Nothing that I know of just yet, but I’m positive something will happen in that area.

SILY: Anything you’ve been listening to, watching, or reading that’s caught your attention?

DG: I listen to a lot of podcasts. Mark Riley from the BBC does a Bowie podcast, The A to Z of David Bowie. I’ve been listening to a lot of that. I’ve been checking out stuff here and there.

SILY: I don’t have anything else to ask you--is there anything I didn’t ask about you want to say?

DG: Let’s see...not sure. I’m producing a band called The Bye Bye Blackbirds. They’re a guitar pop band from the Bay Area. They’ve definitely been around for a while. They have ex-members of Game Theory, The Mr. T Experience. My friend Bradley [Skaught] is the songwriter of the band. He writes some good songs.

SILY: Anything else not GBV in your realm coming up?

DG: Not really too much. GBV’s been planning a busy year with recording and shows and tours coming up, so I’ve been kind of leaving things open for that. It will be busy playing shows for sure. Really nothing else right now.

SILY: Thanks again for your time, I really appreciate it. Congrats on the releases, and looking forward to hearing the next one!

DG: For sure!

[independentartistbuzz]

Goodnight Sunrise Shine on "Friends Like You"

Toronto rock band, Goodnight Sunrise, was founded through a shared love of pop hooks and the raw power of classic rock. Since 2011, the band have taken their explosive live show to over 300 audiences across Canada, the US, and Europe, opening up for Bon Jovi, Big Wreck, and The Sheepdogs along the way.

“Friends Like You” is about the type of friend who's around when things are going badly so they can feel better about themselves, but who won't show up to celebrate wins. It's a heavy, riff-driven modern blues rock anthem featuring dual vocals, thunderous drums and Thin Lizzy style ‘guitarmonies’.

Stream their new single, “Friends Like You,” via SoundCloud: https://soundcloud.com/gnsrband/friends-like-you

https://linktr.ee/goodnightsunrise

Their explosive third full-length album, Against All Odds, will be released on October 7, 2022. Produced by Brian Moncarz (Alice Cooper, Circa Survive), mastered by Brian Lucey (Green Day, Arctic Monkeys) and recorded with the rhythm section of Our Lady Peace. The album title is a testament to Goodnight Sunrise emerging from the last couple years the same way they have taken on every challenge since the band started.

[micksjaguar]

TFW the guitarmony starts 📷: @teamfunnynyc 12.22.18 #micksjaguar #rocknroll #guitar #ridingeasyrecords #nyc (at Mercury Lounge) https://www.instagram.com/p/BsLkVNjF5pZ/?utm_source=ig_tumblr_share&igshid=2r5k2oq8su5g

[laurenserpaphotographs]

CHON!  

[friendship-switchblades]

i feel like mcr could do a dope cover of an early judas priest song. guitarmonies. talk-singing. wear a little outfit. extremely gay.

[itakelotsofpictures-blog]

Six Songs Complete

Here’s song number six for this year’s RPM Challenge. I seem to be finishing them off in the same order as I started them. Weird. Usually the good ones sort of bubble up to the top of the queue. I think this might mean that there aren’t any good ones this year. That’s too bad. This one has guitarmonies and a drum solo though, so based on that alone it sort of…