Photo Nick Slade of Togada Studio

It’s great having you join the Orange family! Can we get a bit of background on you please?
Izzy: I’m Izzy, Sweden born, London based guitarist. I come from a musical family so playing an instrument was always a given. I first got in to playing guitar by circumstance, it was my best friends preference and we just did everything together, needless to say I clearly got hooked. My first choice at the time probably would’ve been the piano or the flute, that’s what 10 year old me rated cool! Later on I got in to grunge and metal and I got desperate to play the electric guitar. Music, playing and writing has been my life ever since.

You’re the guitarist in Kings Daughters, how did you all come together?
Izzy: We’ve known each other for years and played music together in different constellations but we only formed Kings Daughters sometime early spring last year so it’s still very fresh! I would describe us as a weird mix of geeks and rebels that blend flamboyant pop with gritty rock. Though our first single is a pure feel good track.

You just released the video for your single ‘Get up’ today, which was produced by none other than Brian May! How did that come about?
Izzy: It was as dream we certainly had to pinch ourselves the first time we joined him in the studio. The day he put down his guitars on the single was probably the most special, just being in the same room when he started warming up gave me chills, it was pure magic. I thought to myself: wow I am in the presence of a legend. I truly feel so lucky!

You’ve been playing our TremLord 30 for our little while now, how have you been getting on with it?
Izzy: It’s been fantastic exploring the Tremlord. Both the tremolo and reverb has such a beautiful vintage sound to it and I love how nicely it breaks up when you crank it. Not to mention the bedroom setting is just lush for me as I live in a block of flats. My neighbours thank you!

Photo by Ambre Arneodau

What are you three currently working on / towards / what’s the plan for when this madness ends?
Izzy: We are just dying to get out and play, tour, even just meeting up for a rehearsal would be bliss at this point! We are also working on our next single, doing the final bits of production and then sorting out all the details. So we’re excited for the release of that too.

Our fourth ‘How I got into playing’ post where we as part of our ‘Learn the Orange Way’ campaign, offer free guitar lessons for all Orange users (more on that here), and share a series of quotes from some of our artists on why how they got into playing.

Anthony Meier, Sacri Monti & Radio Moscow

Photo by Emily Power via The Jonesing Jams

A lot of the people I grew up jamming with is really fucking good at the guitar, so I decided to look into playing the bass as I’m influenced a lot by it rhythmically and I’ve always appreciated good bass players. I started playing it more myself and realised how much fun it was and stuck with it. We used to have jam sessions three or four times a week when I was younger, and when we started Sacri Monti I bass was what I wanted to play.

Shaun Cooper, Taking Back Sunday

My parents introduced me to rock ’n’ roll music when I was a little kid, and I remember hearing The Beatles and I just connected immediately – hearing John Lennon’s voice was just like ‘Ok, I get this, and I really like it.’ My mum would always sing around the house and play a little bit of piano and my dad plays the accordion – you can’t really rock out with an accordion, although Dropkick Murphys figured out how to do. I guess people in my family were always into music and would play at least a little bit. I started playing bass when I was 12 years old, and I dont know what it was or why, but I just fell in love with it.

Devin Holt, Pallbearer

The first band I ever fell in love with was Nirvana. I remember reading about Kurt early on, and discovered that he’d loved both the Beatles and Black Sabbath. So I checked them out, and ended up sharing his admiration for both. It was around this time that I first picked up a guitar, and it’s been a wild ride since then.

Space, Black Futures

Hey Todd! Cheers for taking the time to chat to us in these locked down times, would you be so kind to introduce yourself to the reader?
Todd:
I’m Todd Winger, the guitarist in the UK rock outfit, Collateral. When we’re not out touring I work in a little bicycle shop in Maidstone during the day to keep my wife & daughter fed and watered. I started playing guitar at around 10 years old because my older brother was my childhood idol, and seeing what he could do with a 6 string was incredible! He taught me for a while until I began learning songs by ear which has served me well so far. I’ve never been one for reading music!

How did Collateral come together?
Todd:
Angelo & Jack have been in bands for a long, long time, I joined just over 2 years ago when a good friend of mine told me Angelo was looking for a guitarist. I’d never met him, but only heard good things about his talents! I sent a couple videos over & it spiralled from there. About 5 months later we needed a drummer and my long time friend Ben Atkinson being the best drummer I know, joined the crew.

You released your self-titled debut album in February and congratulations is in order, so congrats! What can you tell us about it?
Todd:
Firstly, thank you to everyone who has purchased it, streamed it, voted for it and plugged it all over the world. To reach the top 5 in the UK rock chart is amazing for us! We live an hour apart so we tend to send each other ideas, riffs and demos.. we then change a couple of things, put our own spin on it and send it back.. We usually then track the guitars on a computer clean and ‘re amp in the studio. I’ll run the solos in pretty much last thing when I’ve got a solid feel for the song. We recorded the album with Sean Kenney at Ten21 Studios in Maidstone. He’s a great guy to work with and puts a great mix together! For the album the Orange Rockerverb MKiii 50w was used on every song and on all solos!! 

Hell yeah! Can you tell us a bit about your relationship and experiences with Orange?
Todd:
The first time Orange really jumped out at me was seeing Blackberry smoke at Download 2015.. They are one of my all time favourite bands & for such a dark festival.. seeing an entire backline of Orange was awesome!! A year or so later, at a Cadillac Three gig, I met a lovely lady by the name of Karla-Ann who it turns out, is the Queen of covering the Orange amps & cabs at the factory! She told me about how amazing the company are to work for. Personally, having experienced both sides of the coin work wise that goes a long long way in my book! My relationship with Orange so far, has been nothing less than amazing!! Rapid responses to my ridiculous questions and so, so much kindness!! You’ll have to beat me away from Orange Amplifiers with a seriously big stick!!

What do you look for in an amp?
Todd:
I like an amp that you don’t have to put a ton of pedals in front of to make it sound good. In my search for an amp head, I trudged to a well known guitar shop with ample choice.. I played a plethora of different brands and models and regardless of my soft spot for Orange.. the Rockerverb MKIII simply blew every other brand out of the water! I wanted the ability to pull some utterly filthy distortion out of it and in turn, dial it back to a nice southern crunch. I rarely use a clean tone, but the Rockerverb has tons of chimey clean through smooth funky tones in the bag, no problem! 

What’s your current set up?
Todd:
I use the Rockerverb 50 MKIII head, PPC412 cabinet loaded with Celestion Vintage 30s. The one and only effect I use is a Zoom …. Chorus Pedal to widen the sound a little, mainly for rhythm purposes. That puppy sits at the back and stays on always. At my feet sits a korg pitch black tuner and under my fingers.. Jackson guitars with either Tonerider (Awesome pickups from down here in Kent) or Seymour Duncan pickups.

Our third ‘How I got into playing’ post where we as part of our ‘Learn the Orange Way’ campaign, offer free guitar lessons for all Orange users (more on that here), and share a series of quotes from some of our artists on why how they got into playing.

Marcus King, The Marcus King Band

I first started playing when I was about 3 or 4, and I’ve been playing professionally since I was about 11. I was really inspired by guitar players such as Clapton, Hendrix and Stevie Ray Vaughn from a young age, another early discovery was The Allman Brothers Band, as well as The Marshall Tucker Band and a bunch of other great Southern bands. Later on, I got really intrigued by “the frontman”, and artists such as James Brown, Otis Redding  and Aretha Franklin – anyone who had that certain attitude would really speak to me. What really changed the game for me was when I started studying jazz theory, and discovering Miles Davis and John Coltrane was really life changing to me, a clear game changer.

Steve Bello

I heard Led Zeppelin when I was four years old, thanks to my aunt, not that she was aware of it at the time. My grandfather was a jazz guitarist way back when, so while I liked that there was a guitar player in the house, I wanted to play heavy rock from the start. Grew up listening to Zep, Queen, Aerosmith, Kiss. Started learning guitar at age 9 but didn’t take it seriously until I saw Ritchie Blackmore on MTV smashing his guitar, and seeing videos of Jimi Hendrix lighting his Strat on fire. Both of those moments made me think “I have to play guitar for life!”

Becky Blomfield, Milk Teeth

I grew up surrounded by music and the people playing it, my grandmother played and my dad played the saxophone. It was something I just naturally gravitated towards from a very young age, and it didn’t go away. I think you either have it in you or you dont, and for me it was just something I stuck with.

Photo by Carla Mundy

Stoked you’re down to chat from afar while both being quarantined away. Your band Haggard Cat just released ‘Common Sense Holiday’, congrats! It’s a killer record, what can you tell us about it?
Matt:
Why thank you! We’re both very proud of it! It’s certainly was the most intense writing and recording process we’ve ever entered into. I think from the very first track that we wrote (First Words) we knew that we were potentially looking at something very special, so we set out to make over very own Dark Side of the Moon. I think it’s my favourite album that I personally have ever been a part of. The song writing feels more evolved and mature.

We never want to relax into being the type of band that releases the same record twice, as I’m really not interested in releasing an album where a listener will already know exactly what they’re getting before even hearing a note. Some bands do this very well, but I think it makes the whole scene quite a lethargic place to be. So I never want us to stop moving, I want to take in as many different types of music from different places and allow it all to become absorbed into what we do!

In particular, now that I’m able to stand back and look at the album more critically, I’m very proud of the work I did lyrically, I think each of the songs has it’s own thing to say. I actually isolated myself to write the bulk of the lyrics (which seems quite ironic now given “the event”). I was away for a few weeks in Christchurch, New Zealand – so I set myself the task of cutting myself off the world and really honing in on what I was writing. I went a little stir crazy, but I think it really gave me a unique perspective on what I was writing about.

To sort of recap a bit, how did Haggard Cat come about in the first place?
Matt:
Haggard Cat has been mine and Tom’s passion project for almost 10 years. It has basically always been our method of writing songs, and practicing material to get it up to scratch no matter what project we were working on at the time; just the two of us going into a room and playing loud. So it only made sense for us to embark on making this our full-time project. It’s definitely the most honest form of us making music together – it’s what comes out naturally. We’ve been playing under the name Haggard Cat since the middle of 2017 when Jamie Lenman took a punt and decided to get us to support him on tour, since then we’ve pretty much been coerced into becoming a real band. Long before any of this ever happened we used to stand a bottle of Bourbon on a wooden stool (named Chris who still comes with us to every show to this day) and we wouldn’t finish the show until the bottle was empty. Hazy, hazy days.

Have you always been into music?
Matt:
A friend of mine at school’s parents bought him an electric guitar. I remember thinking it was the coolest thing ever, so basically I copied and begged my parents to get me one too. From that point on I did nothing but play guitar. I’d play in between lessons and at break times I would stay indoors and play some more, I would play non-stop after school and I even got our music teacher to write me a note excusing me from PE lessons to practice. I just loved it, and since then making music is all I’ve really had a true interest in doing.

As a guitar and drum two piece, what would you say you find the most challenging?
Matt:
This could sound a little pretentious, but the hardest thing is staying as far away from the 2-piece band stereotype that seems to precede any duo’s reputation. There’s definitely a pre-conceived notion that there’s only so much you can achieve between two of you and I think it’s a lazy idea. That was our main mission statement on CSH, to sound as far away from the typical “rock and roll” duo people have come to expect. We treated the production almost like a hip-hop album, and wanted to have a revolving door of collaborators and musicians that would come along and add their own flavours. And then as soon as it came to playing something live it would be an all together re-imagined different beast, kind of like Dylan would do in the 70s, or more recently what the Raconteurs do to their songs live.

Photo by Carla Mundy

On that note, what do you look for in an amp, and what’s your current set up?
Matt:
I put an unholy amount of bludgeoning low frequencies through my amp, so what’s always been important for me is having something that can tackle those with ease and spit them out with some balls, grit and above all clarity (with the added bonus of being able to do it at ear-splitting volume). My current set up relies on my trusty Orange Thunderverb 200 as its backbone, along with a 1973 Fender Bassman 135 for extra rumble. I also use an Orange Rocker 30 blended in there for a bit of extra sparkly grit, and on the album I use a vintage Roland Jazz Chorus for some spacey wobble. I run all of it through a bunch of tough as a brick-shit-house Orange Cabs loaded with V30s (as is tradition). 

What’s your best quarantine activity?
Matt:
Listening to records and drinking whisky. Yes, I’m a cliche.

Haggard Cat’s heading out on tour in September, after having to cancel their original spring tour due to Covid-19. Full touring schedule below, something to look forward to hey?!

Our second ‘How I got into playing’ post where we as part of our ‘Learn the Orange Way’ campaign, offer free guitar lessons for all Orange users (more on that here), and share a series of quotes from some of our artists on why how they got into playing.

Laura Cox

Photo by Carlos Fabian.

I picked up the guitar when I was 14, and I think my dad’s very much to thank for that. He wasn’t a musician himself, but he was very interested in music, and it was something that was a part of my life from a very young age; him playing various country and classic rock records around the house. I first started playing acoustic, but it only lasted for about a year as I realised electric was more my thing. I was just playing around at home, and signed up to Youtube where I started sharing videos of cover songs I was playing. I didn’t really think much of it besides wanting to share my passion with the world, so the response was pretty overwhelming as I ended up getting millions of views! Back then, it wasn’t many females my age doing that sort of thing, posting classic rock covers, so there seemed to be a market for it and it definitely helped me get where I am today!

Kristian Bell, The Wytches

I initially started out playing drums as a kid, and didn’t really get into guitar until I was 17. I’d watch people play Nirvana covers on YouTube and just copy what their hands were doing, that’s how I learnt the basics. I guess already knowing how to  play an instrument was a bit of a head start but I wouldn’t really say I’m a real guitar player, I just wanted to be able to play the Nirvana songs.

Murray Macleod, The Xcerts

Photo by: TLBrooker Imagery

Starting it all off and sparking the interest was definitely the household I grew up in, both my parents and older sister was very into music. My dad in particular is pretty much a rock ’n’ roll historical – not as a profession or a job, but for as long as I can remember he’s just always had this encyclopaedic knowledge about dates, record companies, releases, band members and tours, and he has this amazing vinyl collection that I’d go through as a kid, pick albums to listen to based on their covers and end up with bands such as KISS and The Monkees, but it wasn’t until he played me The Beatles everything changed; I even remember the day and exactly where we were, sat in our car parked up waiting for my sister, and he played me live at the BBC by The Beatles, and I think I must have been about six or seven, I was really young, but it just felt like real life magic.

Susan Santos at 100 Club 10th of March 2020

Can you tell us a bit about yourself?
Susan: I was born in a small city in the southwest of Spain, Badajoz. I’m a self taught guitar player, and I’ve always been into songwriting. I started a band in my hometown, but eventually moved to Madrid in the hope of making a living from my music. There, I worked as a guitarist in a National TV show and in musical theatre. Eventually, I started working on my own stuff, which I’ve been doing ever since. I’ve toured Europe, the US and Mexico, and released five albums. My last one, ‘No U Turn’ won be the best musician performance in The European Blues Awards, and Best Album Female in The L.A Music Critics Awards.

How did you get into playing in the first place?
Susan:
I originally started playing Spanish guitar when I was 18, and about two years later I found the blues on the radio – I’d never heard this sort of music before, and I didn’t know what it was but I instantly fell in love with that sound! From that point, I discovered all the classics, Beatles, Hendrix, Cream, Pink Floyd, Led Zeppelin and of course, Stevie Ray Vaughn – my head felt like it was gonna explode when I heard him, and I just knew I wanted to play electric guitar.

As a guitarist, is there anyone else besides Stevie Ray Vaughn that sort of stuck out to you?
Susan:
I’m influenced by a lot of artists, but Led Zeppelin, ZZ Top, Tom Petty and The Beatles all bring out a smile and fill me with energy.

On that note, there’s footage of you jamming with Billy Gibbons, how did that come about? As a ZZ Top fan, how was that experience?
Susan:
Last summer my band and I played the same festival as Billy Gibbons’ Supersonic Blues Machine, and they invited me on stage to play with them, and it was an amazing experience. Just imagine, Billy is one of my favourite guitarists of all time! He was a lovely guy, and it was really funny as he kept speaking to me in Spanish;  “Hola Soy Guillermo…”. For that I played one of my other favourite amps, the Rockerverb 50 MKIII head – an awesome amp, perfect for a big stage.

You recently took our TremLord 30 on tour, how did you get on with it?
Susan:
The TremLord has the sound I always wanted, it’s got a warm and rounded tone, and it’s full of body. The tube tremolo with two speed settings and spring reverb is awesome, and I could use it for playing at home and get a great sound, changing the power mode from 30w down to just 1w. I’d recommend everyone to give it a go!

What do you look for in an amp?
Susan:
I’m after a clean sound, with a rock tone. Sparkling, with full body. Before I was a full time musician I used to work in a guitar shop, and I tried a whole bunch of amps. It’s not easy to find  clean tone without losing body, or losing tone with pedals. I’m incredibly happy with my current set up!

What sort of stuff are you currently listening to?
Susan:
I tend to listen to all kinds of music, as I find you can learn from all of them. Of course, I listen to a lot of rock, americana, country and soul. I’ve also been reading a lot of music biographies lately, about musicians such as Erik Satie, Tom Waits, Ravi Shankar and Woody Guthrie.

Orange Amps is launching a brand new monthly contest called simply “Rig of the Month.” That’s right, folks, all you have to do is submit a picture of your Orange rig, big or small, to Facebook, Twitter, or Instagram, making sure to tag it with #OrangeRigOfTheMonth. At the end of every month we’ll comb through the entries, pick our favorite, and post it to our social platforms AND on our website in a blog post so everyone can see the awesomeness of their Orange rig!

Here’s the best part: the winner will receive a pair of Orange O Edition Headphones!

Rules: Open to the world. No purchase necessary.

We don’t expect all the submissions to look like this, by the way

When I got this column last year, I was so stoked; to have a platform of my own where I could share my thoughts and excitement about music, and the weird and wonderful world around it. No editors and no rules, with the exception of keeping the ‘F’ word to a minimum. This month, I’ve decided to let someone else ramble on for a bit, as I wanted to share in whole this piece Peter Hughes of Sons of Huns and formerly of Danava wrote about the late, great, Roky Erickson. I asked for a few word about his favourite record, and the finished result was more than anything I could have hoped for; a heartfelt ode to one of the pioneers of psychedelic rock. Thank you Peter, and thank you Roky. – Ella Stormark

Peter Hughes of Sons of Huns

Roky Erickson was a Texas-born rock ’n’ roll howler best known for his early years with The 13th Floor Elevators, whose lysergic reverb-soaked hit “You’re Gonna Miss Me” was written by Roky at the tender age of 15 and would endure as his highest charting song and the definitive composition of his career. The 13th Floor Elevators are credited as the first Psychedelic Rock group and their first two albums, The Psychedelic Sounds of the 13th Floor Elevators & Easter Everywhere are the most notable. The Elevators LSD-steeped sound rippled across Texas west to San Francisco and clearly influenced the sonic palette of a number of bands that went on to enjoy larger commercial success, the heavyweight of the bunch being boogie behemoths & fellow Texas natives ZZ Top. Guitar hero Billy Gibbons first found his footing on the Texas club circuit with his band The Moving Sidewalks (an obvious nod to the Elevators, as Gibbons himself freely admits) who later toured as the opening act for Hendrix before going on to form ZZ Top. Even Janis Joplin considered contributing her soulful blues-tinged vocals to the 13th Floor Elevators before deciding to head to San Francisco instead.

Roky’s psychedelic period was cut short after a series of drug arrests, culminating in his apprehension onstage in Austin August of 1969 for marijuana possession, which resulted in two Police cruisers being destroyed by fans in the ensuing riot. Unfortunately, Roky was subsequently committed to Rusk Maximum Security Prison for the Criminally Insane after pleading insanity when faced with the narcotics charges. He would spend the following 3 years in Rusk during which Roky was involuntarily subjected to electroshock therapy and forcefully dosed with Thorazine after being diagnosed as schizophrenic, though this would not be his first or last stay in such a facility. One too many LSD bad trip freak-outs combined with underlying mental health issues in the ‘60s were then compounded by the traumatic environment of the psychiatric hospital and the cruel abuses he suffered in the stead of effective medical treatment during his stay there. These hardships proved to have no small influence on the sound and subject matter of Roky’s music, who had begun to believe that a Martian inhabited his body. This is reflected in the first iteration of Roky’s new group named ‘Bleib Alien’ that first appeared in 1975. This was eventually changed to a more radio-friendly version ‘Roky Erickson & the Aliens’ in 1977 when the group started working on demos for a new album with Creedence Clear Water Revival bassist Stu Cook. The 15 songs recorded during the sessions with Cook from 1977-79 would form the Horror Hard Rock body of work from which a number of alternately titled albums were released (Self/Titled-1980, also called Runes or Five Symbols due to the ambiguous cover art, & The Evil One-1981) and would serve as the songbook from which Roky would base the majority of his live sets during this period and when he resurfaced in the 2000s.

Roky’s return to performing live deserves considerable credit to the aid of his younger brother Sumner Erickson, without whom he likely may not have overcome the odds. After Sumner gained legal guardianship of Roky, he sought the long needed medical treatment for his older brother as well as legal aid to help Roky reclaim licensing rights to his back catalogue, much of which he was cheated out of by greedy labels & others. Austin Texas studio engineer Doug Sahm once traded Roky a smoothie for three of his most timeless songs “Two-Headed Dog”, the love song “Starry Eyes”, and “Don’t Slander Me” once after a session. The must-see documentary released in 2005 titled “You’re Gonna Miss Me” after the hit from his Elevators days also played a large role in exposing his music and life to a whole new audience.

“Two-Headed Dog” kicks off the album with the harsh cries of Bill Miller’s electric autoharp, which adds a signature flavor of psychedelic sound to the group, a bright twang somewhat reminiscent of the familiar electric guitar strum and similar in function to the electric jug playing of Tommy Hall in 13th Floor Elevators, but with s strange otherworldly timbre all of it’s own. This is my favourite track on the album and Roky’s distinctive rock ’n’ roll tenor snarl screams and wails with confidence “Two-headed dog, two-headed dog, I been workin’ in the Kremlin with a two-headed dog!” In addition to Roky’s tortured yelps the other element that gets me every time is the killer lead guitar playing of Duane ‘Bird’ Aslaksen, with his hottest licks heard flying over Roky & the rhythm section pounding away on “Cold Night for Alligators.” The last standout tracks are the two slow-burners “Night of the Vampire” and “Stand for the Fire Demon”, the end of the A & B-side respectively. In “Night of the Vampire” Roky warns, “The moon may be full, the moon may be white, All I know is you’ll feel his bite Tonight… is the Night of the Vampire” before the whole band joined now by eerie overdubbed organ leans into a macabre minor-key melody that would be at home as a foundational basso continuo progression in a Baroque Fantasia. The closing track in the 10 song first release of Roky Erickson & The Aliens’ 1980 self-titled album summons listeners to “Stand for the Fire Demon.” This final performance covers the widest range of dynamics, from subdued backup singers alternating ‘oh-ohs’ with Erickson’s lines delivered with the most controlled restraint,
    
  “Stand for the fire demon
      Spirits say ‘boo’ and the paper
      bursts into fire,
      Stand for the fire demon
      wilder, wilder, wilder, wilder,”

through to full-on pounding electric bass & drums with waves of dual overdrive-saturated guitars crashing on top and Roky’s haunting screams riding above all as he commands,

      “Stand for the fire demon
      Stand for the demon of fire
      Stand for the demon of fiiiiire!”

It is worthwhile to note that after numerous different versions were released over the years, in 2013 Light in the Attic Records released an edition of’ The Evil One’ with 2xLPs containing all 15 songs recorded by Roky & the Aliens during the 1977-79 sessions with Stu Cook and is worth obtaining if for no other reason than the inclusion of Roky’s chilling song “Bloody Hammer.” Roky died last May 2019 aged 71, his music as relevant now in these uncertain times as ever as we face a global pandemic that threatens to usher in untold evils, not to mention stands to spoil Record Store Day leaving vinyl stores empty with most folks fearfully self-quarantined at home. Looking back on the entirety of Roky’s life, his hardships and struggles in the end are unequivocally outweighed by his triumphs in music, early on with psychedelic rock and later Horror Rock and ultimately with his output finding renewed acceptance and culminating in Roky enjoying the most widespread success of his career with a commendable final effort he finished strong with performances at festivals and on tour both throughout the US and abroad.

‘Rest In Peace Roky ’Starry-Eyed’ Forever.

By Peter Hughes

When catching up with Orange artists, one of the things we tend to ask is how they first got into playing – some were pretty much force-fed music from a young age growing up in musical homes, others found music for themselves. Over the next couple of weeks and as part of our ‘Learn the Orange Way’ campaign where we offer free guitar lessons for all Orange users (more on that here), we’ll be sharing a series of quotes from some of our artists on why how they got into playing.

Andreas Kisser, Sepultura

Mainly KISS and Queen, they were my two main bands. Queen came to Brazil in 1981, but my mum wouldn’t let me go because I was too young. Then KISS came in 1983, and that was my first ever show. Being able to go see them live at their Creatures of The Night tour, was insane, that changed my life. That’s why I’m here! Seeing that, in my home town, at my football team’s stadium.. As I said, it changed everything. When I first started playing, my goal was to play ‘Stairway to Heaven’, so that’s what I told my teacher. She gave me the basics and a good ground to learn on, gradually. It started out with acoustic Brazilian music, before moving onto other things. Slowly I’d expand my music taste as well, and start listening to bands such as Iron Maiden, Judas Priest, Black Sabbath, Deep Purple, Jimi Hendrix and Cream, all of those incredible vintage sounding bands and artists. I’m also inspired by Brazilian music, and as I’ve become older and developed my taste I’ve picked up on a lot of the older Brazilian music, which has been a huge inspiration to Sepultura. That’s played a huge part in finding our sound, using Brazilian percussion and other bits from our more traditional music.

Lord Paisley, Heavy Temple & Grave Bathers

I was born in Puerto Rico and moved to the States when I was five. Some of my earliest memories are of my dad and uncles playing me music, those dudes loved Metallica. My dad would also drive me around with Pearl Jam on repeat. All my uncles played guitar, and my grandfather the cuatro, so I had early exposure to those instruments. I didn’t pick up a guitar myself until I was 15 or 16, when my dad finally got an acoustic for Christmas and I got bitten by the bug. Eventually I bought an Epiphone Les Paul for money I’d earned selling candy in high school, and once that was done I stopped doing just about everything else to pursue playing. I’d recently been turned onto At The Drive-In and The Mars Volta and was like ‘Damn, that dude’s got hair like mine and he shreds, let’s learn that shit!’ My dad also made sure I knew Led Zeppelin was the greatest band of all time, so I guess that shaped a lot of my playing too, Zeppelin>The Beatles

Sarah Jane, Gorilla

I come from a musical household where my dad would experiment with home made hi-fi speakers and play bands such as The Beatles, Beach Boys, Johnny Cash and Dylan, as well as church and choral music. My mum, brother and sisters were also into music and would dabble in guitar, piano and singing. When high school came around, my older brother introduced me to Led Zeppelin, Pink Floyd and The Doors, and it was around this time I bought one of my first records which was Hendrix live. After that I just wanted to play guitar like him, he was a huge inspiration! Strawberry Fields was also a mind blowing experience when I first heard it.