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Steve Gunn has been at the vanguard of American experimental / guitar-oriented rock music for over a decade. After a trio of acclaimed albums recorded for Matador, Gunn will release his 7th studio record – and first in 4 years – on November 7th.With Daylight Daylight, Gunn wanted to capture something of the intimacy of playing solo, the sense of possibility and discovery that sparks when he sits down to write, while also creating a rich sonic world for the listener to inhabit. Rather than pulling together a band to flesh the songs out, as he’s done on previous albums, he enlisted a single primary collaborator: producer James Elkington, an old friend and longtime collaborator (who also produced Gunn’s 2019 album The Unseen In Between). Elkington is known as a guitarist, but Gunn asked him to contribute arrangements of strings and woodwinds, inspired in part by the music they’ve talked about over the years (ie. Mark Hollis, Ennio Morricone, The Fall, Basil Kirchin) and the evolution of their own relationship making records – both together, and with others. They soon found a fruitful working process for Daylight Daylight: Gunn would record solo demos and send them to Elkington, who had free rein to develop the arrangements on his own. Working primarily out of Elkington’s Nada Studios in Chicago, they would continue adding from there—a whisper of a synthesizer, a guitar overdub, a muted percussion line—but they were committed to the relative spareness of their initial approach. Macie Stewart (violins and viola), Ben Whiteley (cellos), Nick Macri (upright bass) and Hunter Diamond (woodwinds) also contributed. Listen to the album opener “Nearly There” today: noquarter.lnk.to/nearlythere And pre-order Daylight Daylight at the link below: noquarter.lnk.to/daylightdaylight Tracklisting:Nearly ThereMorning on K RoadAnother FadeHadrian’s WallDaylight DaylightLoonA WalkGunn will tour the UK and Europe in October and November and is announcing a run of US dates today. Sept 11 – Chicago, IL @ Sound & Gravity FestivalSept 25 – Kingston, NY @ Tubby’s Oct 23 – London, UK @ St. Mathias *Oct 24 – Glasgow, UK @ Hug and Pint *Oct 25 – York, UK @ The Band Room *Oct 26 – Shropshire, UK @ Firefly *Oct 28 – Stockholm, Sweden @ stadsgardsterminalenOct 29 – Göteborg, Sweden @ PustervikOct 30 – Oslo, Norway @ BlaOct 31 – Kristiansand, Norway @ Dirty Old TownNov 1 – Stavanger, Norway @ FolkenNov 2 – Bergen, Norway @ KunsthallNov 9 – Sétubal, Portugal @ Forum Luisa TodiNov 14 – Dranouter, Belgium @ DranouterNov 15 – Turnhout, Belgium De Warande Dec 3 – Philadelphia, PA @ Johnny Brenda’sDec 4 – Baltimore, MD @ MetroDec 5 – Raleigh, NC @ King’sDec 6 – Washington, DC @ DC9Dec 10 – Portsmouth, NH @ The Press RoomDec 11 – Portland, ME @ SpaceDec 17 – New York, NY @ Le Poisson RougeJan 1 – Sawyer, MI @ Out ThereHan 14 – Seattle, WA @ The Triple DoorJan 15 – Vancouver, BC @ The Fox CabaretJan 17 – Portland, OR @ Polaris HallJan 20 – San Francisco, CA @ Café Du NordJan 21 – Santa Cruz, CA @ The Crepe PlaceJan 22 – Ojai, CA @ Deer LodgeJan 23 – Los Angeles, CA @ The Lodge RoomJan 25 – Pioneertown, CA @ Pappy’s & Harriet’s *w/ James Elkington

Today, Tame Impala (Kevin Parker) unveils “Loser,” the second song of this new era. LISTEN HERE. The track continues Parker’s fearless exploration of rhythm, texture, and sonic experimentation, building on the meticulous studio approach that has defined his career. The single is accompanied by a music video directed by KRISTOFSKI, and starring actor/musician Joe Keery (Stranger Things, Fargo). Watch the clip HERE:Prior to today’s release, Parker gave fans a taste of what’s to come with the release of his sprawling, drum-beat heavy “End of Summer.” It drew listeners back to the acid house summer of ’89, free parties of the mid-90s, and Australia’s bush doofs in outback paddocks. “Loser” continues Parker’s journey into new sonic territory, layering hypnotic rhythms and textures that push Tame Impala’s sound ever forward. Drawing from a rich history of dance music, his work transforms the imagined past into a sound that feels both present and eternal, reaffirming Tame Impala as one of modern music’s most visionary acts.Kevin Parker has emerged as one of the most influential voices of the last decade. A singular artist renowned for carving out a distinct sound all of his own, Parker crafts transcendent genre-bending sonic landscapes playing every instrument and acting as writer, producer, mixer and engineer on his projects. He has been nominated for four GRAMMY awards with one win for his collaboration with Justice on 2024’s “Neverender.” In his home country of Australia, he’s racked up an impressive 13 ARIA Awards and 27 Nominations. He’s won the BRIT Award for Best International Band and scored nominations for two Billboard Music Awards and an American Music Award. Tame Impala has had numerous US Alternative Radio Top 10 songs including two #1’s for “Lost In Yesterday” and “Is It True.” Tame Impala’s “The Less I Know The Better” is part of the Billionaires Club with over 2 billion streams and the project has racked up numerous gold and platinum certifications globally. Tame Impala has headlined festivals and arenas around the world and released four full length albums – InnerSpeaker, Lonerism, Currents and his most recent album The Slow Rush. The Slow Rush landed at #1 in multiple territories and was his highest charting album to date in both the US and UK, with 14 top 10 chart positions around the world. As a writer and producer Parker has collaborated with Dua Lipa, The Weeknd, SZA, Lady Gaga, Travis Scott, Mark Ronson, Gorillaz, Thundercat, Kali Uchis, 070 Shake, Rhianna, Miguel, A$AP Rocky and many more.

Psychotic Waltz’s progressive metal masterpiece A Social Grace enters the Decibel Hall of Fame.
The post Psychotic Waltz – A Social Grace appeared first on Decibel Magazine.

We figure Jimi Hendrix is easily the most discussed guitarist of all time. And at this point, there are probably few, if any, stones left unturned. So for our Hendrix episode of 100 Guitarists, we had to go to the ultimate scholar on Hendrix’s playing to get deep, and luckily we knew just who to call. Whether you realize it or not, you’ve probably learned at least a song or two from a transcription or lesson by Andy Aledort. A veteran guitar journalist and transcriber whose resume stretches back to the earlier days of guitar magazines, he’s released books and DVDs teaching the secrets behind Hendrix’s playing and continues to post on YouTube. And if that’s not authoritative enough, Andy has not only played with the Band of Gypsys, but he’s one of the guitarists that Buddy Miles and Billy Cox called for the recording of their The Band of Gypsys Return record. On this episode, Andy walks us through his own experience of Hendrix’s music, plays us some examples, and tells us some stories from the early days of guitar journalism. Thanks to our Sponsor, Strings by Mail!Learn More stringsbymail.com

Haraball share “Pink Tiles” from their new album Fear of the Plow, dropping September 19 via Fysik Format. Listen here first.
The post Track Premiere: Haraball – “Pink Tiles” appeared first on Decibel Magazine.

Classic heavy metal is alive! All doubters leave the hall or remain to be convinced by Sacred Leather’s new video!
The post Video Premiere: Sacred Leather – “Spitfire at Night” appeared first on Decibel Magazine.

Player feel, mic placement, and your recording room are the real secrets to getting soulful, compelling performances. Spend time understanding them before you push the button.In a world saturated with plugins, presets, and post-production wizardry, it’s easy to forget the most important part of the recording process. I call it the “Red Light Trifecta.” It’s a simple, powerful concept that can transform your recordings from sterile to soulful—regardless of your gear, your room, or your budget. Tighten up your belts, the dojo is now open.The Red Light Trifecta refers to three interdependent elements that define every recorded sound: the player (of which the instrument is merely an extension), the microphone (and its placement), and the room. If you’re lacking in any one of these, your recording suffers—not just in fidelity, but in feel. When all three work in harmony, the red light on your recorder becomes a doorway to magic. Below, we’ll explore the steps to achieving this.1. Feel First, Gear SecondIt’s easy to get lost in the gear conversation. The internet is full of passionate debates about preamps, converters, boutique mics, and vintage/new guitars. But none of it matters if the performance isn’t compelling.When you press record, you’re not capturing a tone; you’re capturing a human being’s interaction with an instrument. You’re capturing intention, emotion, and energy. The touch of a player’s fingers on the fretboard, the timing of a right-hand mute, the bend at the end of a phrase—these micro-decisions are what form the soul of a recording. And they’re specific to that player.“When you press record, you’re not capturing a tone; you’re capturing a human being’s interaction with an instrument.”If you’ve ever plugged into someone else’s rig—same guitar, same amp, same settings—you know how uncanny it is that you still sound like you. Conversely, a truly great player can make a pawnshop guitar sound like it came from a boutique luthier’s bench. That’s not mysticism; it’s muscle memory, control, and mindset.So the first rule of recording is this: Start with the player (even if it’s you)! Are they connected to the music? Are they playing with purpose? No amount of EQ or compression can fake that.2. The Mic: Placement Over Price TagIf the player is the heart of the performance, the mic is the conduit. There are thousands of microphones out there; some with reputations so mythic they practically glow in the dark. But a great mic in the wrong place will still result in a lousy recording. Conversely, a modest mic in the right spot can yield professional, even breathtaking results.Mic placement is where your ears matter more than your eyes. It’s about experimenting, listening, and adjusting. Moving a mic an inch can dramatically change the tone—less boom, more clarity, tighter low end, softer transients. You’re not just pointing a mic; you’re sculpting a sound at the source.Want a quick way to test your placement? Record a short passage, then move the mic slightly and record again. Compare. Listen to not just the tone, but the space, the balance, the emotional impact. Don’t be afraid to break rules or try unconventional setups. Your job isn’t to copy someone else’s sound—it’s to find the best version of yours.Remember: It’s very easy to make an expensive mic sound cheap. But with care, it’s also possible to make a budget mic sound exceptional.3. The Room: The Invisible InstrumentThe third member of the trifecta is the most misunderstood—and the most revealing: the room. Every space has a sound, whether you’re aware of it or not. Some spaces are flattering. Some are brutal. But all of them are recorded.Think of the room as your invisible instrument. It contributes resonance, reflections, and tone. It shapes the reverb tail, the attack, and the decay. If the room is boomy or boxy, your track will sound that way—even before you add any processing. If it’s too dry, you might find your recordings feel lifeless or anemic.That doesn’t mean you need a world-class studio with floating floors and golden ratios. It means you need to understand your space. Clap your hands. Walk around while playing. Record from different spots. Learn what your room wants to do naturally and work with it, not against it.Sometimes, the best solution is to change the instrument’s location by a few feet. Or use furniture as gobos. Or hang a blanket. Or lean into the room’s quirks and let them define the character of the track.The Trifecta in ActionWhen all three elements align, you get a vibe. You get a performance that resonates emotionally, and sonically. And in the end, that’s what we remember: not the mic model or plugin chain, but how the music made us feel. Until next month, namaste.