Heavy Temple at Psycho Las Vegas by Dante Torrieri

Nighthawk: My history with music goes as far back as I can remember. My parents had a pretty diverse record collection and they encouraged me to play early on. I started on piano and eventually moved to cello as a classically trained musician, though admittedly I hated practicing. I was a music major for a year and then realized I just wasn’t cut out for it. I dropped out, bought my first bass and discovered that playing it came much more naturally to me. I was at my friend’s house getting stoned and he put on Black Sabbath’s first album (for those who are wondering, yes, I didn’t hear that record until I was 20). That’s when I knew what I wanted to do. I also make flyers for our shows, and had made a bunch for our tour that just got postponed. I just really enjoy doing anything creative when it comes to music, be it writing, playing, making flyers, just experiencing it in any way possible. You can check out my flyers here.

What can you tell us about your band Heavy Temple?
Nighthawk:
I found myself without a band in 2012 and was rather depressed. I went through the “I’m gonna sell all my gear and quit music forever” phase. Then one day I just sat in the basement and started recording a few riffs that had been kicking around in my head. Fast forward to 2 records, 6 lineups and 8 years later. I feel like we’re really starting to hit our stride as far as live performance and collective writing. We all have different desert island records but also have a strong foundation in heavy rock. Our personal influences span everything from punk and black metal to psych and doom. The Sabbathian overtures on the first two records are obvious but not directly intentional. With this third record, you’ll hear more vibes like Black Angels, Queens of the Stone Age, Acid King, if I had to put a finger on it.  We were set to release that this year on a label, but since the world is ending we might just put it out ourselves.

Is there any artists that stands out as an influence to you?
Nighthawk:
I always find myself struggling to answer this question succinctly. If I’m naming bass heroes, I’d say Nick Oliveri (as bassist for Queens of the Stone Age), Bootsy Collins, and Lemmy. The bass playing I enjoy the most is groove based and more complex than you think, like Captain Beyond, early Scorpions, Grand Funk. Overall I’m influenced by a lot of things. Basically whatever sounds good to me. Could be High on Fire, could be Interpol. Could be Tchaikovsky. 

You recently got the OB1-500, how are you getting on with it? Have the neighbours complained yet?Nighthawk: Oh. My. God. I can’t believe I haven’t played through this before. The tone that I’m able to get straight out of the head is insane. Honestly it’s a real game changer for me. The fact that it splits the signal so you can dial in the clean sound before sprinkling that distortion on top is great. And if we’re being honest I like the easy to discern images on the face plate for people like me who sometimes have one too many shots of tequila before playing. As for our neighbors, they’re actually pretty cool. One keeps asking when we’re putting out a new record, so we got that going for us.

You also just released a solo album, what can you tell us about it and the influences behind it? 
Nighthawk:
Well, I love Italian horror movies and film scores. I also really enjoy the process of composing, so the album I just released, “The Dimensionaut” (listen here), is really an homage to all of that. It’s nearly a decade of music that I’ve wanted to put out for the longest time, so I figured I’d just go for it. I dig what you can accomplish with synths. There’s so much atmosphere you can achieve. My favorite tracks have a sort of ethereal synth sound with a massively wet reverb guitar track over top. We’re also releasing a split Funkadelic EP on Riff Merchant Records with our friends from Wolf People in a couple of days on the 31st of May which we’re excited about.

People love censorship and telling other people what they can and cannot do (they loooove it). There is of course, a strong line of strong censorship in music, and below I’ve picked a selection of songs that were weirdly enough too much to take at the time of their releases.

The Beatles – I am the Walrus (1967)

Wow, we always talk about David Bowie reinventing himself, but what about The Beatles? From 1963’s ‘I saw her standing there’ to ‘I am the Walrus’ just a mere four years later in 1967, so trippy! 
Lyrically you’re almost torn, are these the ramblings of a madman of the work of a genius? Both, maybe? Despite the song being incredibly inoffensive throughout, it was thought by some that it was simply too sexual:

“Yellow matter custard
Dripping from a dead dog’s eye
Crabalocker fishwife, pornographic priestess
Boy, you’ve been a naughty girl, you let your knickers down”
‘Pornographic priestess’ & ‘you’ve been a naughty girl, you let your knickers down’ didn’t cut it with the squares.

Loretta Lynn – The Pill (1975)

“All these years I’ve stayed at home
While you had all your fun
And every year that’s gone by
Another babys come
There’s a gonna be some changes made
Right here on nursery hill
You’ve set this chicken your last time
‘Cause now I’ve got the pill”

Hell yeah to Loretta Lynn for this 1975 country-shocker! Recorded in 1972, her label waited three years before finally allowing it’s release. Women’s sexuality and reproductive rights are still a major debate in 2020 (which is just insane to me, our bodies, our rights!), so releasing this song within such a conservative genre as mid 70s country way back when was a pretty bold move. Needless to say, a lot of country stations refused to play it, however, the additional PR and shock value around it may also have worked to Loretta Lynn’s favour.

The Kinks – Lola

Despite it’s ‘bold’ lyrics, it was actually the ‘Coca Cola’ reference that got sweet Lola banned from BBC radio, as mentioning the brand name was seen as advertising. To avoid missing out on those sweet BBC plays, Ray Davies recorded an alternative take using the words ‘Cherry Cola’ instead. However, due to it’s explicit lyrics referencing a transexual or transvestite; “walk like a woman but talk like a man”, “Girls will be boys, and boys will be girls” & “I’m not the world’s most masculine man, but I know what I am and I’m glad I’m a man, and so is Lola.” It was simply too much for the 70s. Rumour has it the song was based on their manager getting cozy with a bearded lady, either ignoring the fact she was bearded, or simply just being into it. Either way, the tune is banging.

Sex Pistols – God Save the Queen

Oh man, the Sex Pistols, they must have been a stuck up parent’s wet dream whey they first made an appearance! The filth and the fury of these greasy, outspoken punks, simply too much for the British empire to take. Their 1977 single ‘God Save the Queen’ (which was conveniently released just in time for the Queen’s Silver Jubilee), was regarded as an attack on not just the queen, but the entire monarchy, and was banned from the BBC as well as by the Independent Broadcasting Authority, which regulated Independent Local Radio. 

The Doors – Light my Fire

‘You know that I would be a liar, 
if I was to say to you,
Girl we couldn’t get much higher.

This one didn’t get banned from radio, but caused havoc at the Ed Sullivan Show. Before appearing on the show in 1967 to perform their single ‘Light my Fire’, The Doors agreed to replace ‘Girl we couldn’t get much higher’ with ‘Girl we couldn’t get much better’. However, during their performance Morrison stuck to the original lyrics, which resulted in them getting the remaining slots on the show cancelled, as well as some teenage hearts skipping a few beats.

The Saturday of Black Deer Festival was blisteringly hot and the days music was exceptional. In the afternoon Orange got the pleasure to sit down with William Crighton to talk through his musical influences growing up in Australia and how he is inspired to write songs both collectively and solo. He even strapped on his trusty resonator and played through the new TremLord 30 with its all analogue signal and valve tremolo and reverb.

How did you get into music?
I started in church, my grandmother used to take me and my brother to church in a little place called Ardlethan, a town of about 300 hundred people. It’s where we used to start singing the church hymns, i’m not really Christian any more but you can’t deny that sort of connection with that music. ‘How great thou art’ and ‘Amazing grace’, they are beautiful songs, I was a young kid you get swept up in emotion of the songs of that for sure.

Who are your biggest guitar influences?
My favourite guitar player is Neil Young just because he is so visceral, he plays what he feels and it’s cool. He would probably be my biggest influence across the board.

What inspires your song writing?
It’s always a tough question to describe your music, I’m not really a wonderful musician by a stretch. So I just do what I do and try and be honest with what I do, how I play and what I sing about and how I present it to everybody. My biggest inspiration is the world around us, just try to take it in, everything I have listened to as a kid probably flows into the music, you can’t stop that.

Do you usually write songs as a band or by yourself?
Bit of both, I wrote a lot of the songs by myself, a lot of the songs I write with my wife Jules and my brother Luke, or the rest of the band. It’s interesting touring solo, it’s a whole new thing I just did a tour in Australia and I found the same thing. You are out there by yourself so you have got no one supporting you but your also free to do whatever you like, I quite enjoy it, there is definitely room for both.

How are you finding the festival so far?
I just saw the Sheepdogs they were awesome and John Butler Trio who were great, fellow Australians, Irish Mythen, John Smith. Just walking around and hearing the buzz of everyone around is cool. It seems like a festival where everyone seems at home, everyone talks to one another, you walking past and the security guard says hello is always a good thing. I’m enjoying myself.

Adam: I’m Adam Kenny, mandolin, bouzouki and banjo player for the Rumjacks. We play fast Celtic punk rock. I grew up in western Sydney with Irish parents, where I was exposed to a lot of Irish music like the Pogues, The Cheiftans, The furyeys, Christy Moore and more at our family barbecues. At the time I laughed at them thinking I was too cool, and it wasn’t until years later when I was listening to Joe Strummer playing with The Pogues, I found heard a beautiful mix of punk and folk, something that inspires us as a band to this day.

Music was clearly a part of your childhood being played at the house, when did you get into playing yourself?
Adam: My Dad gave me a Stratocaster copy when I was 13 or 14, He taught me ‘House of the rising sun’, and I was hooked. I did a year of classical guitar before I discovered Nirvana which became all I wanted to play for years. I played in a few different punk and hardcore bands and joined The Rumjacks as guitarist in 2008. After a few line up changes I ended up teaching myself mandolin, which in turn led me to tenor banjo and Irish bouzouki. Since then, I’ve had the pleasure of touring and recording with other folk/rock acts like Handsome Young Strangers, The Go Set, The Clan, and Irish singer/songwriter, Damien Dempsey.

Can you tell us a bit about The Rumjacks?
Adam: We’re a celtic punk band formed in 2008, in the Blue Mountains, Sydney, Australia. We were all involved in different projects at the time, but as we found such a great sound together we started playing shows in Sydney, followed by the rest of Australia. In 2015 we did our first of many European tours, and in 2017 we did our first USA tour, before hitting south east Asia and Japan in 2019. When we tour, early starts and long hours in the van is normal for us, we keep it simple with a very small crew, so we are still involved in the fun load-ins and outs.

What are you up to during these strange locked down days?
Adam: I’ve been writing a bit, taking care of the garden and hanging out with the family cat. I’m lucky enough to be stuck in my hometown in the blue mountains right now, I just hope I can leave again for the upcoming summer festivals in Europe!

What’s your history and experience with Orange?
Adam:
I first started noticing Orange at live shows around the 2000s when I was watching a lot of punk and hardcore bands in Sydney, the sound they gave really blew me away, especially when driven for the harder styles. Naturally, the bright colours and cool symbols for the controls stood out to me. I was so used to seeing just big black Marshall and Peavey stacks, Orange always intrigued me. Over the years, I saw more and more of them popping up onstage (and in studios), and I thought these amps must be the real deal. After shifting to acoustic instruments live and in the studio, I was always on the lookout for good acoustic amps an DI preamps, it’s always a battle playing acoustic instruments live with with full volume band, so the notch / feedback controls were a must for dealing with different live stages. I also hated having a pile of single DI boxes in front of me, so the dual channels on the Orange Acoustic Pre really stood out to me.

I use passive flat piezo style pickups in some of my instruments, and I can still get a steady and ballsy signal to the sound desk. Outperforms itself every night, a great piece of kit! I’m currently running an Orange Acoustic Pre for mandolin, Irish bouzouki, Tenor banjo and acoustic guitar, and the Crush Acoustic 30 for onstage foldback and in the studio. K&K banjo twin pick ups in the banjo and Irish bouzouki, Crafter mandolin with CnR-4 pickup. Godin acoustic guitar with Lr-baggs M80 pickup.

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What’s your name, age, occupation?
Daniel Eades, 40, Gas Fitter

How’d you first hear about Orange?
Oasis, late 90s

What do you use your rig for?
Recording, gigging and practicing

How much did this rig set you back?
£2800

How often do you update the rig?
Guitars often but amps not so much.

What gear is in this rig?
Orange Thunderverb 200w blood orange and a Dark Terror

What guitar do you use? Why?
Gibson ES 335 for loudness, fender jazz bass for comfortable neck, Gibson Firebird because it looks cool.

Any purchases your regret in this rig setup and why?
No

Can you share any links where people can go to hear how this sounds?
iTunes, YouTube and YouTube

Art always had a huge place in my life. As a kid and teenager, I was an anxious and introverted person and my social life was quite inexistent. I will always remember this feeling of peace I would experience when I was closing the door of my room to go to my little desk and start drawing. I could spend hours creating stories and my own comic books. Everything was possible and this idea always triggered something special in me! When I discovered music, especially metal, with Metallica, Iron Maiden and Testament being the bands I was the most into, it has been a pure revelation for me! I was incredibly empowered while listening to what felt like a type of music crafted for people like me. It was the first time for me to feel so alive! Music had a way to put everything else into another perspective. Suddenly, all the school bullying and anxiety that came with it was gone, only the uplifting spirit of the music mattered for whatever brief of a moment it was.

The next step was for me to embody that empowering spirit by learning to play an instrument myself. In a way, my introduction to guitar probably had the same roots as so many others, but for me, it became the only reason I had to live. School didn’t change, bullies kept on bullying, my broken home kept on getting crazier, but music truly changed everything for me. To the eyes of others, I was still the nerdy guy looking like everybody’s bad joke (When your father says you look great with those glasses, one of those old accountant shirts and a pair of jeans which doesn’t even have a brand, well you’re not going in the good direction, trust me on that one!). Picture that “kid” holding a huge acoustic guitar plugged into a BOSS Metal Zone and a transistor Fender amp… Now you would say that I look trendy and cool… Well, there was a much more darker world before Mumford & Sons, Vampire Weekend, Mac DeMarco and Weezer! So let’s say I didn’t receive much invitations to join bands in high school. Nobody wanted to have Kenny Rogers (RIP) in a Metallica cover band.

I didn’t care that much, because I was suddenly free in a way.

You’re currently playing with Alex Henry Foster, how did that come about?
Sef: Before Alex Henry Foster started his solo project, I was involved with him in a rock band called ‘Your Favorite Enemies’ for about 10 years! YFE has been an incredible creative outlet for me. We toured all over the world, had radio top 10 hits and won all sorts of awards but Alex, who was the band’s driving force, wasn’t really happy… and when his father passed away, he left for Tangier, Morocco to take some time to meditate and write, for 2 years. After a while, he invited us to North Africa for us to spend some time together. That reconnection opened the door for the other members of YFE and myself to be part of his new personal music ventures. It was great news for everyone, but we all had to unlearn the way we used to play our instruments and to let go of all our deeply rooted conceptions of how to write, perform and especially improvise.

Alex’s only rule was this: “Forget everything you ever learned with YFE; from the way you played your instruments to what you ever decided music was about. If you can do that, you’re in. If you can’t, it’s better to not even try to.” So it was really simple, right? Well, if you’re ready to unlearn and redefine yourself, it’s easy. To Alex’s credit, his vision of art has always been freedom. No wonder why he is the one who introduced me, many years ago, to Sonic Youth, Branca, Nick Cave and so many other artists I felt so remote from as a metalhead. Post-rock, what? Shoegaze, noise rock, avant-garde, experimental… it was all nonsense for me. No guitar solos, no sweep picking… what??? For me, Sonic Youth was a total aberration, especially after all the years I had spent emulating Yngwie Malmsteen’s style! But once Alex’s idea started to sink in, I became obsessed with guitar effects and noise experimentations. It was pretty much the same sensation as when I started to play guitar… freedom and emancipation… a new creative language in a way. And that new realm of possibilities had no boundaries! Sorry Thurston and Lee… I may have been a little judgmental at times. Are we still friends?!?

Have you got any other ongoing musical projects?
I have my own instrumental thing going on as well. I released an album called Deconstruction a little more than a year ago. I got into Trent Reznor and Atticus Ross’ music a while back and wanted to sonically explore away from a collaborative environment… and since Your Favorite Enemies have an absolutely amazing recording studio, I started to experiment with synth, loops and odd guitar tunings in order to create a different way to craft sounds and landscapes. It was the personal extension of the musical exploration Alex had invited me to dwell into. That experience generated a new emancipating dimension. 

As a guitarist, who would you say are your biggest influences?
That’s a very difficult question to answer because I might hurt some of my friends’ feelings if I don’t mention their names or if they ever believed they were an inspiration for me. But, I think that if there was only one name to mention it would be Nels Cline, and for so many different reasons. First, he’s singular and unique, he doesn’t brag, he doesn’t try to be someone else… he is who he is… and I’ve learned to know how incredible of a thing it is. Secondly, his free musical approach towards creation. He’s playing jazz, experimental noise, punk rock, alternative, shoegaze, psychedelic and whatever moves him! I discovered him when I went to see Wilco with Alex during the Yankee Hotel Foxtrot period thinking: “Ah, yes, Alternative Americana… boring.” But how wrong was I again as I not only discovered a brilliant creative universe but couldn’t believe how into it Nels was… intense, always on the edge… and just how insane and intriguing it was to see him giving life to all sorts of sounds with his pedals. And most importantly, all of that was to serve the emotions of the songs. Brilliant and real. 

What are you currently listening to?
Sef:
The album Ummagumma by Pink Floyd, which is odd because I don’t consider myself a fan of Pink Floyd in the first place. It’s Jeff (Alex Henry Foster’s bassist and former YFE guitar player) who introduced me to that album. I was a bit skeptical at first. I’ve never been a fan of the song “MONNNNNEYYYYYYY” that kept on playing 25 times every night when I was working in a factory. So when I first listened to it, it was again the perfect and pure expression of what artistic freedom is about, with many bewitching musical landscapes in which you easily lose yourself!

What’s your history and experience with Orange, and what’s your current set up?
Sef: It started back in 2012 during the writing process of Your Favorite Enemies’ album “Between Illness and Migration”. I was looking for a richer tone, something with personality but that wouldn’t take over the different guitar singularity I had. It took me a while to find it actually. I tried every possible brands available, from the usual ones up to the underground boutique ones. I bought some of them but still wasn’t totally satisfied. I tried different alternatives… pedals, amps modelling and other kinds of things, until a friend working at my favorite music store in Montreal told me, kept on telling me and bugging me “You want an Orange amp” up to, “Dude, you NEED an Orange amp!”
So one afternoon, I finally decided to give it a try, but with my rig. You should have seen me going in the store with all my stuff, it was laughable. Some people are probably still talking about it! It was indeed insane, but I did try different Orange amps. And when I heard the sound of it, nothing else existed around me. When I cranked the preamp, the overdriven sound was tight, rich, powerful, focused and reproducing faithfully the different harmonics of my guitar. I stayed there 3 hours passed the store’s closing hours. No joke. 


My choice, beside the fact that I wanted them all, stopped at the Thunderverb 200 with the cab PPC412HP8 (with four 100 watts Celestion G12K-100 speakers). It immediately became my faithful “partner” in the studio and was the corner stone of my live gear set up with Your Favorite Enemies, especially since the Channel B was a perfect place for me to plug all my different pedals. I was also using the 4 method cables to connect some of my effects, like delays and reverbs, after the preamp section of the amp (Yes, even if there are no laws regarding that, a reverb before distortion can sound a bit messy!). So I was able to get the best of my time-based effects with the big distortion from my Thunderverb 200! A game changer in every possible way for me! As for now, since Alex asked us to change our whole rig for his project, I’m using the same cab (don’t tell him!) but I mostly use the Custom Shop 50! The clean sound is outstanding and it’s the perfect template for my big spaceship (the name my bandmates gave to my pedalboard). Oh, funny enough, it’s Alex who’s now using the Thunderverb 200 for all his guitar noises and textural sounds. But since he doesn’t use guitars the way they were created for, it’s clearly far from YFE’s sound, trust me! And since Jeff is now playing bass in Alex’s project, he is using the AD200B MK3 Orange bass head. We do have a crazy lot more of different brands and all sorts of equipments available at the YFE studio, but we always end up going back to Orange to express ourselves.

Best quarantine activity?
Sef: I got back from a tour across Europe on March 12 with the rest of the band and was ordered to stay in quarantine until further notice. Even Alex, who now lives in the US, wasn’t able to go back home. So now that we’re all living together, in our studio (which is a massive Catholic church we converted into a recording and rehearsal space), we are doing live stream performances to introduce Alex’s new album “Windows in the Sky” to be released on May 1, 2020. 

Here’s our latest performance of a 30-minute version of the song “The Hunter (By the Seaside Window)” off Alex Henry Foster’s solo project, live from our church-studio. The performance starts at 43:30.

You started playing at a very young age, what are some of your earliest memories revolving
music? 
小さい頃から弾き始めましたね、記憶にある最初の音楽は?
Orianthi:
 My earliest memory would have to be walking into the family living room and my
dad playing a Beatles record, and I just thought it was the coolest thing. I really wanted to
play along, so he started teaching me chords. I was 6.
覚えているのはお父さんが家でかけていたビートルズのレコードを初めて聞いた時ね。最高にか
っこいいと思ったわ。弾けるようになりたいとお父さんにギターコードを教わったの。6歳だったわ。


What would be the best advice you could give yourself as a young player?
もし若い頃の自分にアドバイスするとしたら?
Orianthi: 
Don’t sign anything except for photos and guitars, haha! 
写真とギター以外は絶対にサインしてはいけないってことかしら!

As a guitarist, who would you say are your main influences?
ギタリストとしては誰に影響を受けた?
Orianthi: 
It has to be B.B. king, Carlos Santana and Stevie Ray Vaughan
間違いなくB.B.キング、カルロス・サンタナ、スティービー・レイヴォーンね。

Would you care to share some of your ‘pinch me’ moments that stands out to you so far in
your career?
今までのキャリアの中で自分の夢が叶ったと思った瞬間はある?
Orianthi:
 Definitely being asked up onstage by Carlos Santana when I was 18, In front of
20,000 people. Playing the Kennedy honors / getting to work with Michael Jackson, having
a platinum record and touring the world! 
何と言っても18歳の時に2万人の前でカルロス・サンタナに呼ばれてステージに立った時ね。

What’s your history and experience with Orange?
今までのオレンジアンプとの関わり合いは?
Orianthi: I remember seeing Jimmy page playing one, Orange are such classic amps, they
have such gravity, presence and versatility.
ジミーペイジが使っているのを見て知っていたけど、オレンジは伝統のあるアンプでその音の重さ
、高音域、そして多様性に優れているわね。

What do you look for in an amp?
ギターアンプに求めるものは何ですか?
Orianthi:
 Clarity and presence, and for it to be able to sound super sweet, then as viscous
as a wild lion.
透明感と高音域、つまりとても甘いサウンドから危険な野生のライオンを表現出来るようなもの。

What’s your current set up?
今使っている機材は?
Orianthi:
 Orange rockerverb MKIII, Neck pedals and Cry Baby Wah with my signature PRS
Guitar custom 24.
オレンジ・ロッカーバーブMKIII,ネックペダル、クライベイビー、ギターは勿論私のシグネチャー
ポール・リード・スミス・カスタム24

If you could have any Orange gear, what would it be?
オレンジ製品で他に欲しいものは?
Orianthi: 
What I have, haha! The Rockerverb MKIII is awesome ! 
ロッカーバーブMKIIIだけで充分に素晴らしいわ。

What are you currently working on, or would be working on if it wasn’t for the pandemic?
現在、何か取り組んでいるものはありますか?もしもこのパンデミックが無かったらどんな事をしてましたか?
Orianthi: 
I just finished my new album in Nashville with Marti Frederiksen, and that will be out soon. It’s called ‘O’, and I would be playing shows pretty soon and traveling to promote
the album.
ナッシュビルで新しいアルバムをマーティ・フリードリクセンと完成させたばかり、 “O”というタイトル
発売になるの。そのプロモーションでライブショーとツアーを計画してます。

How does a day in the life of lockdown look like?
外出禁止令での生活はどんな感じですか?
Orianthi:
 Lots of coffee, 6-mile run, on the phone doing business, work in the studio and
then maybe a live stream, or a bunch of interviews and podcasts.
たくさんのコーヒー、6マイルのジョギング、電話での仕事、スタジオでの仕事、そしてライブストリ
ーム、インタビュー、ポッドキャスト。

If you could have a jam with anyone, dead or alive, who would it be, and why? 
もしも生きているかにかかわらず一緒に演奏できる人を選べるとしたら誰、そしてなぜ?
Orianthi: 
Definitely Jimi Hendrix and Stevie Ray Vaughan
それは絶対にジミ・ヘンドリックスとスティービー・レイヴォーン。

Bill Ward by Colin Fuller

We’re all probably going bat shit crazy at the moments, and while we’ve been catering for our string playing friends in the form of practice amps to play at home, we can only imagine what our drummer compadres are going through, locked up and most of them unable to play as, let’s face it, drums aren’t exactly welcome in densely populated areas and cities. So, to shine a light on our drummer friends who are currently held up at home with an abundance of excess energy, we decided to ask a few drummers to share some of the songs that inspired them to start playing.

Massive thanks to Joey Castillo of The Bronx, Tomas Järmyr of Motorpsycho, Michael Amster of Nebula & Mondo Generator, Tom Marsh of Haggard Cat, Ken Pustelnik of The Groundhogs, Adam Bulgasem of Dommengang & Black Mountain, Thomas DiBendetto of Sacri Monti, Robby Staebler of All Them Witches, Rich Noakes of Derelics and Marco Ninni of Swedish Death Candy for contributing. Full playlist & artist overview of who picked which song below.

Joey Castillo, The Bronx, formerly of QOTSA

Circle Jerks – Red Tape
Motörhead – Motörhead
DEVO – Satisfaction
Led Zeppelin – Misty Mountain Hop
Fear – Camarillo

Tomas Järmyr, Motorpsycho

Meshuggga – Spasm
Cult of Luna – Finland
The Dillinger Escape Plan – 43% Burnt
Switchblade – 19:30
Tool – Schism

Michael Amster, Nebula & Mondo Generator

The Melvins – Honey Bucket 
Thin Lizzy – Massacre (LIVE) 
Poison Idea – Deep Sleep
Black Flag – The Bars (Live ’84-Live) 
Russian Circles – 309 

Ken Pustelnik, The Groundhogs

When asked about his top 5, Ken had this to say:

“This is tricky since I’ve spent my entire career trying to avoid listening to “just” the drumming for its merit alone. Why have I done that? Simply because I have attempted not to be influenced by other players so that I can preserve any natural originality in my own playing. Saying all that, here are 5 songs I have enjoyed today.”

The Who – Won’t Get Fooled Again
Mahavishnu Orchestra – Meeting of the Spirits
King Crimson – Starless (Live with 3 drummers)
Spirit – Fresh Garbage
Santana – Soul Sacrifice
Dave Brubeck – Take Five

Tom Marsh, Haggard Cat

Issac Hayes – Run Fay Run
The Mars Volta – Roulette Dares (The Haunt Of)
The Locust – Hot Tubs Full Of Brand New Fuel
Zach Hill – Face Tat
Lightning Bolt – 2 Towers 

Adam Bulgasem, Dommengang & Black Mountain

CAN – Pinch
The Police – Next to You
Mahavishnu Orchestra – One Word
Slayer – Jesus Saves
John Coltrane – A Love Supreme, PT, III

Thomas Dibendetto, Sacri Monti

Colosseum – The Kettle
Mahavishnu Orchestra – Vital Transformation
Dust – Chasin’ Ladies
Captain Beyond – Mesmerization Eclipse
Beck, Bogart, Appice – Lady

Robby Staebler, All Them Witches

Pink Floyd – Echoes
Led Zeppelin – Whole Lotta Love
Sun Ra – Dance of the Cosmos Aliens
Bill Frisell – Big Shoe
Miles Davis ‘Agharta’ full album

Rich Noakes, Derelics

Jimi Hendrix – Fire live at Woodstock (It has to be the Woodstock version) 
Jeff Beck – Led Boots
Dhaffer Youssef – Odd Elegy 
Mars Volta – Take the Veil Cerpin Taxt
Antibalas Afrobeat Orchestra – Dirt and blood 

Marco Ninni, Swedish Death Candy

Black Sabbath – War Pigs
Deep Purple – Speed King
Queens of the Stone Age – Sick Sick Sick
Sleep – Dragonaut
The Claypool Lennon Delirium – Boomerang Baby

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Duke, how did your story with music begin?
Duke: I was lucky to be raised with great records as my entertainment. Classical, and blues. John Lee Hooker was the spine tingler for me, House of the blues. I was given a guitar at two years of age and that got kicked around and played with twigs until I worked out how to do it. A piano showed up two years later, and that was my thing, the violin was unfortunately torture for everyone. 

Your latest release was 2018’s ‘With Animals’, which you released alongside Mark Lanegan, what can you tell us about it and the process of creation living an ocean apart?Duke: When we did 2013’s ‘Black Pudding’ the writing was long distance, I wrote, recorded things, sometimes multi track, send them over, wait a bit, then do some more maybe, it can take a long time, good music can take all the time in the world. ‘With Animals’ came about while I was staying at Mark’s in LA, looking after the animals! That was fast, lighting in a glass, you had to catch it raw, and move on to the next movement with graceful speed. I believe in telepathy, psychic connection, many words for it, ultimately musicians can connect, distance doesn’t mean anything in the universe. 

You also work as a solo artist and released your latest solo album ‘Garden of Ashes’ back in 2017, is there another one on the horizon?
Duke: I have made a few things, something may happen with some of them, with others, they wait there time. There is a n incredible amount of music being released in the world, old dogs like me have to put out only our best stuff.

As a musician, who and what inspires you?
Duke: Jimi Hendrix ,John Lee Hooker, Antonio Carlos Jobim, John Coltrane, Janice Joplin and Yma Sumac at this moment today.,

What’s your history and experience with Orange?
Duke: Orange amps, the beasts! Once upon a time I worked in Denmark Street, Tin Pan Alley, and at that time Cliff Cooper was the retail king, and he designed the first Orange amp, so we played them all the time , all day long. I remember a gig in Soho, there was a sweet Orange combo, and that rocked most beautifully.  

Hi there, Teleport lovers, Danny Gomez here.

Are you staying at home? Well done, let´s turn this home time into something creative that you can take with you on the road when all this ends. Do you want to record at home? This is the way to do it: You’ll need a Teleport (a perfect interface because it’s easy to use and lets you take it on the road and on your pedalboard), a power supply, your laptop or mobile device, and some software and Apps suggestions… Let’s start!

When I developed the OMEC Teleport my ultimate goal was to integrate classic amps and all new technologies easily on my rig, and be able to record, practice at home, use it at studio, for the road and take it to the stage if required, so that´s what I´ll show you

Being able to integrate my laptop and even my mobile devices was simply the next big thing to happen and to use studio grade plugins in conjunction with tube amps, live or recording, with my soon-to-be the OMEC Teleport was a reality for the first time. I connected the audio interface to the Effects Loop´s send and return and the USB cable to my laptop. Done. Now I had the most powerful effect pedal ever with all the possibilities that only a computer can deliver and my studio grade plugins sounding trough my guitar rig.

We are talking about real amps and studio grade level plugins, to me the perfect combination, not just for modulation, you can load IRs and record silently with your amp´s preamp, get polyphonic MIDI with no MIDI pickup, or even load virtual preamps and use them with your amp´s poweramp and speakers… the sky was the limit.

Something like the OMEC Teleport was the most convenient “gate” to the digital domain and back, opening the door for tone “teleportation” (thanks John Denzil Dines for the Teleport´s name), small footprint, super powerful, tone transparent, loaded with a buffer and the right impedance (to transfer all your interpretation playing nuances) and with a footswitch to activate (or not) the tone teleportation services.

To instal the OMEC Teleport is very simple and almost plug and play on every situation (for example in iOS devices is auto assignable), on your Mac it´s just to go system preferences an select it (and check your DAW preferences and settings too just in case), PC requires ASIO4ALL like 99,99% of audio interfaces to improve your machine response and on Android devices it´s just a matter of your operative system (on every upgrade some components tend to be required to adjust but basically it’s just to grant the Teleport USB access).

… let´s check some of my very favourite software/Apps to use:

As a long time Eventide user and artist, using both of their software and contemporary stompboxes (like the H9), I always dreamed to have the same power that I have in my studio machines on my iPhone and being capable of editing my presets at the studio and bring them all, same look, same parameters, on my pocket too. That way I could use my laptop and my phone to get the same super pro results every time and with a class compilant audio interface like the Teleport I could jump from one platform to another smoothly and with no extra software required.

If we are talking about virtual amps Amplitube was the original (and the first to go mobile), with top signature collections (Brian May, Joe Satriani, Dimebag Darrell, etc) and licensed content by some of the biggest names about amps, effects, synths and studio grade plugins (check our Amplitube Orange bundle here). No company has this catalog and sonical possibilities and, again, allowed me to bring the road to the studio and the studio to the road flawlessly, with my Teleport loaded mini pedalboard plus laptop or iOS device.

JamOrigin MIDI Guitar started the polyphonic MIDI with no MIDI pickup revolution time ago but the Teleport brought it to pedalboards and studios worldwide, where a tiny interface and powerful software/App could be required to bring amazingly tracked MIDI info from your regular instrument and cable (or wireless pack), plug and play, five minutes and your enjoying MIDI playing your instrument (if you, like me, are a terrible keyboard player you´ll appreciate this)

Two Notes Audio introduced their Wall Of Sound suite and became the standard in terms of impulse response technology, allowing players to place virtual cabinets in different spaces and move the microphone(s) all around in real time, no need to mess with different files with static mics. moving them quarter of an inch, being unable to distinguish the subtle differences from on to another. Check our virtual Orange cabinets here.

Apple´s Logic Pro is my personal favourite DAW to go, easy, Apple native, superbly integrated into my work flow, but if if you´re into something little less PRO I´d say, go for the equally Apple native Garage Band can do the job seamlessly and, even better, you can take it with you on your iPad or iPhone and import/export the sessions to work remotely and capture ideas on the fly for your final session.

If you´re looking for contemporary guitar tones, with amp and effects not based in classic models but just trying to bring some inspiration to the equation, Neural DSP has an immaculate collection of Archetypes (Plini, Nolly, Abasi) that can bring countless hours of joy to the most exigent musicians. Lush tones for state of the art good looking software that can deliver exactly what you expect from such a players, contemporary tone.

Again, some benefits about a super powerful audio interface on your pedalboard is that after all, this you can bring your whole “studio” with you on the road, you can capture the inspiration anywhere and finish it later in your studio, or add the little details to your superb studio productions on the road… and play live with it all, bringing new sounds and possibilities to your performances on tour.

… with the OMEC Teleport and this vast line of software and Apps you are ready to conquer the studio, the road, the stage and everything in between.