All posts in Featured

Pan-Euro prog metallers Philosophobia make a plea for mercy for Mother Earth on their latest single, “The Forgotten Part I.”
The post Track Premiere: Philosophobia – “The Forgotten Part I” appeared first on Decibel Magazine.

If you were to only know about one country guitarist, you’d want to know about Chet Atkins. On this episode, we’re talking about the man people called “Mr. Guitar”—the Country Gentleman himself—and how he developed his style and transformed the way we approach our instrument. Atkins’ recognizable eloquent sound is full of punchy bass notes, jazzy chords, cascading righthand patterns, and cleanly articulated melodies, and it can be heard all over the history of electric guitar music. How did he create his style? How can you fake it on your own? And was Chet Atkins responsible for the second most popular signature model guitar of all time?

Halestorm announces new album “Everest” and fall tour with Lindsey Stirling and Apocalyptica. Produced by Dave Cobb, the album explores the band’s journey with deep lyrics and epic musical detours. “Darkness Always Wins” is the first single impacting Active Rock radio. Halestorm, the GRAMMY-winning band initially formed by siblings Lzzy and Arejay Hale with guitarist Joe Hottinger and bassist Josh Smith, have announced Everest, their sixth studio album out August 8 on Atlantic Records. Today the band also announced the “nEVEREST Duality tour,” a US/Canada tour this fall with Lindsey Stirling and supported by Apocalyptica. Tickets go on sale this Friday, May 2 at 10 AM local time.Last week, the band offered a glimpse of Everest with “Darkness Always Wins,” the first song to be revealed from the upcoming collection. The song teases an album, produced by GRAMMY winner Dave Cobb (Brandi Carlile, Chris Stapleton, Jason Isbell), that dives deeply, both lyrically and sonically, into the band’s mountainous climb over the last couple decades.“Our album Everest is a story of our journey as a band, full of beautiful endings and new beginnings,” says Halestorm frontwoman Lzzy Hale. “We weave a tangled web of melancholy, frustration, anger and the vast purgatory of love and love lost. It is a rollercoaster of epic musical detours, great songwriting and completely unhinged twists and turns. Everest is an auditory representation of the 4 pillars of Halestorm. Let us reintroduce ourselves and invite you into our world…if you dare.”Rolling Stone said of “Darkness Always Wins,” “What the song has going for is its catchy, brooding, and dramatic in all the ways we love Halestorm songs to be,” and Revolver noted “The arrangement remains lean even as the amps begin to crank into the red, though ‘Darkness Always Wins’ still sports some exquisite minor-key melodicism, a metal-chunked bridge, loud-as-hell requiem bells and a classically rippin’ rock guitar solo.”“Darkness Always Wins” impacts at Active Rock radio this week, but already debuted as the “Greatest Gainer” at the format with early airplay last week.The newly announced nEVEREST tour follows an epic run first supporting Iron Maiden in Europe and dates with Volbeat in the US with a one night-only-performance at Black Sabbath’s final show in Birmingham, England. See below for a full list of upcoming dates.For more information, please visit halestormrocks.com.

Get caught up on Spanish death/doom dealers Bocc with this new compilation release.
The post Full Album Stream: Bocc – “Obrint El Taüt” appeared first on Decibel Magazine.

It’s easy to characterize Chase Bliss’ Joel Korte and “Analog” Mike Piera as pedal-designer opposites. Piera’s work is rooted in understanding what makes great vintage circuits special and building improved, refined, better-quality versions. Korte is often a maximalist (many sounds, many knobs, many possibilities) and an envelope-stretching modernist (unorthodox tones, digital control). But the two builders share much in common. Both are gifted designers, and each is tireless—perhaps obsessive—about chasing specific sounds. The intersections in their methodologies are embodied in the Brothers AM, a Chase Bliss/Analog Man collaboration based on the scarce and much-coveted Analog Man King of Tone dual-gain device.The Brothers AM nails the creamy, clear, and agreeable essence of the KOT—at least what I know of it. Like many of you, I do not own a KOT and rely on the effusive raves from fellow musicians and what I’ve heard live and in the video sphere. But you don’t need a KOT to hear how good the Brothers AM is. It’s an excellent drive pedal by any comparison. The seamlessly integrated dual-circuit design means it moves readily from very subtle to very vicious tones. It’s even more versatile than its inspiration, thanks to the inclusion of an addictive, dynamite 2-position treble booster and DIP switches that expand the pedal’s tone palette and control options. Rock-Solid FoundationThe original King of Tone pedal was inspired by a modded Marshall BluesBreaker which an Analog Man client bought as a less-compressed, less-midrangey Ibanez TS9 alternative. By the time Piera completed the King of Tone, it didn’t sound much like a BluesBreaker. But it achieved other aims: It sounded natural and open and felt touch responsive. As the KOT evolved it effectively became two drive pedals in one—each of which could be configured as a boost, drive, or distortion. This KOT iteration is the foundation for the Brothers AM.The many controls on most Chase Bliss pedals induce panic among some players. If you’re among them, Brothers AM won’t do much to calm your nerves—at least at first. In reality, though, the Brothers AM is easy to know. The six knobs are two identical sets of gain, volume, and tone controls for the two circuits. You switch each circuit between boost, OD, and distortion using two dedicated toggles on either side of the 3-position treble booster switch. The DIP switches on the pedal’s crown make it possible to add extra gain, reconfigure the footswitches for momentary bypass, repurpose volume and tone knobs as master volume and presence controls, save and switch between two additional presets, assign expression pedal control, and more.Manifold MonsterOne of the Brothers AM’s great strengths is its agreeable nature. It doesn’t seem to give a hoot what guitar or amp you throw in the pool with it. This easygoing personality makes it a great backline-surprise coping tool. Got a Telecaster and an AC15 conspiring to run you through with treble daggers? A dose of the Brothers AM’s soft-clipping OD and a dark tone setting will turn those sharp ends to honey without sapping too much energy. Need to slice through humbucker fog? A dollop of top end and a bump from the treble boost will cut through pea soup. Finding these agreeable baseline tones for a given guitar/amp combination is easy. But what’s most satisfying is shaping, refining, and recombining the Brother AM’s two basic voices into so many completely different identities.Another great thing about the Brothers AM: You know how a lot of overdrives turn to mud at low amp volume? The Brothers AM sounds and feels great in this role. The range and interactivity between the tone and gain controls enables hot, lively tones and touch-responsive playing dynamics. The Rangemaster-voiced booster shines in this context, too. I got full-bodied, sparkling sounds from a 35-watt Fender Vibrolux whilst leaving room for an unamplified acoustic and voice in the same room. And it’s easy to hear how Brothers AM will excel in small or home studios just as readily as it does in big rooms with big, loud amps.If the Brothers AM has a drawback, it’s the heavily colored compression at the highest gain levels. But if the Brothers AM doesn’t shine brightest at these settings, the relative headroom and kinetic bump at most others underscore how you don’t need maximum gain to make your tone as hot as the hinges of Hades.The VerdictThe Brothers AM makes almost any guitar or amp feel more alive and muscular, in shades ranging from a hint of heat and mass to fuzzy, fierce, and very loud. Though many stompbox clockers categorize the Brothers as a transparent overdrive, it does possess a compressed coloration throughout its range. It’s less cramped in the midrange than a vintage TS9, just as its creators intended. But if super-oxygenated boost-to-light-overdrive tones are the goal, you still might be better served by a good Klon clone or a preamp pedal that mixes in a clean signal. For anyone else, the Brothers AM is full of delights. It lends extra body and fullness to any tone recipe without stripping away instrument or amp personality. It’s effective in small rooms where you still want big-amp sound, but the visceral way it elevates a louder amp—especially with the thrilling treble booster in the mix—can make a player giddy. The Brothers AM, as suits its name, is like the kid at school that gets along with everyone. It doesn’t matter if you have a Rickenbacker and a Vox, an SG and a Deluxe Reverb, a baritone and a Marshall, or a decrepit old lipstick-pickup Silvertone and a Champ—all of them can sound and feel extra exciting along a spectrum that spans a gentle push and raging roar.

I’ve always loved what I do for a living. Even long before it became a career, doing the work every day to get better was something I fell in love with right away. As a result, I’ve never had any issues with stage fright or nerves when it comes to performing—even if there are some mega-influential or important musical people in the room.Luckily, throughout my career, I usually only find out if there’s been someone major in the audience after the show. I’m not very social on tour these days. I’m the last one to soundcheck or show and the first one out of the venue afterwards. I’m often asleep in the hotel before some of the rest of the band have even left the venue.But once in a while, I do get caught off guard—and this little story from a night on tour last week highlights how you just never know who’s listening … or watching.I’ve been playing with Steve Smith (former drummer of Journey and inductee of the Rock & Roll Hall of Fame) for over 10 years, first as sidemen with Mike Stern in a band with Randy Brecker, and for the past five years as a member of Steve’s band Vital Information. Throughout that entire time—hundreds of shows, rehearsals, soundchecks, recording sessions, and clinics—I haven’t once played a Journey bass line around him.It’s that thing of being way too on the nose to even hint at. Knowing that the Journey chapter of Steve’s life is musically very much in the past, it honestly just never crossed my mind. So, what on earth possessed me to start playing the bass line to “Any Way You Want It” during soundcheck in Oakland last week?!I don’t even get through the first two bars of the song when I hear, “Looks like I’ve been rumbled….” I look up, and there’s Ross Valory, the original bass player for Journey.I had never met him. I had no idea anyone besides the band and the crew were even in the venue during soundcheck. Aside from the embarrassment of doing that in front of one of your bass heroes, it really got me thinking about how you just never know who is listening.I don’t know who the phrase “be ready when the luck happens” should be credited to—or if that’s exactly how it was originally said—but I’ve thought about little else since my Ross Valory moment. If you’re considering a career in music, or working to further the one you already have, it might be something worth thinking about for yourself.“I had no idea anyone besides the band and the crew were even in the venue during soundcheck. Aside from the embarrassment of doing that in front of one of your bass heroes, it really got me thinking about how you just never know who is listening.”Like I said before, I’ve been in love with the work since the beginning. I still set aside vast amounts of time every day to practice and work on my music. I’m constantly tinkering with my goals, large and small. I’m realistic about the time it will take to reach them, the work I need to do to get there, and the fact that some goals may well change over time—and I have to be totally okay with that and adapt as quickly as possible.The success of the work and the attainment of the goal is also going to rely at least a little bit (and if I’m being honest, sometimes a lot) on luck. Being ready to capitalize on luck involves constantly updating my daily routine. I have to find the balance between working on very specific elements of my playing for long periods of time, and letting them go once I know they’re an internal part of my vocabulary.Jazz pianist Chick Corea talked about memorizing versus knowing a piece of music. When you read through a chart and start to memorize it, you’re essentially just taking the music from the sheet and creating a picture of it in your brain. You then end up looking for that picture the next time you want to play it—and all you’ve done is take away the physical paper while keeping the concept of reading. That’s not knowing the material like it’s a natural part of your vocabulary. The repetition I aim for in my daily routine is what helps me play the language of music as fluently as I speak English.The confidence gained by putting in the work can make you so much more ready for your moment than you’ve ever been before.Set goals, love the work, and always be ready.You never know who’s listening….

It’s time to play catch up with some bangers from the last couple weeks, including the latest from Vader, Velvet Cross and more!
The post Five For Friday: June 6, 2025 appeared first on Decibel Magazine.