Sunday, 3 November 2013

Brian Larkin: premier release to contain some heavyweight soloing partners

Brian Larkin announces the name of his upcoming album "Far Enough Into The Void" and some pretty heavyweight guest soloists.  So here's what to expect... Ron Thal, Chris Brooks and Christophe Godin laying down some pretty awesome solo work for this premier release.  Full details, track listings and cover artwork to follow.

In the mean time, while we wait, check out Brian's glorious solo for the Toontrack Metal Guitar God 2013 competition

Brian Larkin - Toontrack Metal Guitar God 2013 "Erised" solo

Sergey Golovin: HeadBreak Licks - 8-bit Buckethead Tap - Russian dialogue

#01 HeadBreak Licks - 8-bit Buckethead Tap
My Facebook page: My VK page: Lepsky Guitars: EMG Pickups: "If you like what I do and want to support me, please follow the link Thanks for the support!"

Daniel Himebauch: Worlds Fastest Guitar Player 1300 BPM

Absolutely no way is this faked at all... really genuine.

Worlds Fastest Guitar Player 1300 BPM

next week how to travel faster than the speed of light.

Yngwie Malmsteen: live in the studio - Fox 29

Yngwie J. Malmsteen - Live in Studio (FOX 29)

Chris Gordon: April Sky - promo video from the upcoming vocal album

Chris Gordon: April Sky - promo video from the upcoming vocal album... interesting wrought iron work and nubile pagan dancers...

April Sky

Sergio Paganini: Rock Fusion Guitars

Miroslav Mirosavljev: 3th daily solo arrives - midnight express - solo acoustic guitar

Daily Solo - Midnight Express (No. 300, guitar)
One day - one solo! Composed by Nuno Bettencourt. Played by MICKYLEE. Animation by Emanuela Bulatovic official homepage: like us on facebook: become friends on facebook: follow us on twitter: My album "deComposing Cats" is available for purchase! Buy it on iTunes, Spotify, Amazon or any other major online music store! You can also contact me ( if you want to purchase the cd! I´m also available for guitar and music theory lessons in Vienna or via Skype from anywhere in the world! Played on Larrivée D-02.

Brian Carroll: Buckethead - Thank you Ohlinger's,The Pit, Pumpkin - three new albums from the bucketed one!

Brian Carroll: Buckethead - Thank you Ohlinger's
Thank you Ohlinger's by Bucketheadland
1. Thank you Ohlinger's 09:19
2. Unopened Boxes 05:09
3. Way in the Back 02:38
4. Manila Envelopes 02:16
5. Alphabetical Order 03:00
6. Window Clip 03:35
7. Shoe Lock 02:30
8. Telling Number 03:39

released 02 November 2013

Brian Carroll: Buckethead - The Pit
1. The Pit part 1 04:28
2. The Pit part 2 02:12
3. The Pit part 3 02:21
4. The Pit part 4 03:34
5. The Pit part 5 03:21
6. The Pit part 6 04:23
7. The Pendulum 08:07
credits released 02 November 2013

Brian Carroll: Buckethead - Pumpkin
1. Pumpkin Pikes 1 01:51
2. Pumpkin Pikes 2 02:39
3. Pumpkin Pikes 3 00:40
4. Pumpkin Pikes 4 02:03
5. Pumpkin Pikes 5 01:11
6. Pumpkin Pikes 6 05:40
7. Pumpkin Pikes 7 00:49
8. Pumpkin Pikes 8 00:53
9. Pumpkin Pikes 9 00:30
10. Pumpkin Pikes 10 00:26
11. Pumpkin Pikes 11 05:11
12. Pumpkin Pikes 12 00:14
13. Pumpkin Pikes 13 02:04
14. Pumpkin Pikes 14 00:20
15. Pumpkin Pikes 15 00:30
16. Pumpkin Pikes 16 00:59
17. Pumpkin Pikes 17 01:25
18. Pumpkin Pikes 18 03:45

credits released 29 October 2013


Q. What is Buckethead Pikes?
A. A kiosk shop set up in the park that carries particular wedges not readily available at the toystore.

All the latest:

Masahiro Aoki: Godspeed Vivix - Toontrack Metal Guitar God 2013

Godspeed Vivix aka Masahiro Aok. Kudos to Mineko Inoue for letting me know.

"Erised" (Periphery) / Toontrack Metal Guitar God 2013 contest entry by Masahiro "Godspeed" Aoki

Guthrie Govan, Owen Edwards: All Out Guitar interviewed Guthrie back in 2006

There was a big buzz in the UK guitar community about these competitions – did you manage to see the first Guitarist of The Year Final, which Dave Kilminster memorably won?

Yes I saw Dave’s Final, and was thoroughly impressed! That first year was different to later ones in that there wasn’t the element of competing live with fellow finalists – that started in the year that I won. For the first competition, I think what happened was that they listened to all the demo tapes, decided that Dave’s was the best… and as his punishment for winning, they made him play in front of hundreds of other guitarists at one of the London Guitar Shows!

Anyway – in my year, the organisers had whittled it down to six players, and we all had to get up on stage, one after the other, and play our tunes on a live stage at that year’s London Guitar Show – this time with a panel of judges watching. I remember being highly amused by the fact that these included Tommy Vance and Martin Taylor – picture Martin and Tommy at the same table judging the same music! But apparently they both liked what I was doing.

I believe that one of your early recordings found its way to a certain Mike Varney…

It did indeed, and I suppose it was around 1991. The first demos were done at a time when I was listening to a lot of Vai and Satch, mixed with a lot of Prince, some country stuff, a bit of John Scofield and Mike Stern, some sax players and of course plenty of Zappa. I guess I was trying to come up with some guitar music that wasn’t the same as what everyone else seemed to be doing. Obviously it had to have some technical elements, but I was trying to write stuff that had some melodic interest and I wanted to make it funkier and groovier and a little less dark than most of the straight ahead rock instrumental guitar fare I’d heard. I had waded through an awful lot of music that I didn’t really enjoy in order to study the mechanics of the instrument, so I was determined to find some kind of fresh approach where that technical vocabulary would still work. I guess the earliest stuff probably came out sounding like a funkier Satch, that kind of idea. What also influenced me a lot, when I got into the recording thing more seriously, was the idea of taking inspiration from something as simple as a particular sound, or trying to fuse two apparently unrelated styles, or trying to emulate another instrument on the guitar – anything to get away from being technical and “shred” just for the sake of it. For whatever reason, Mike Varney seemed to like what I was doing and offered me a record deal.

To be honest it was very scary at that age – I think a lot of teenagers would be daunted by the prospect of being flown across the Atlantic to record an album very rapidly with musicians they’d never met – so I suppose I tried to put Mike on hold for a while, saying that I was flattered, I would like to do this but I didn’t think I had enough material that was of a high enough standard. Mike reassured me that he thought the playing was great, which was the main consideration for the average Shrapnel record buyer. In the midst of all these things which had cropped up so suddenly and clearly warranted so much serious consideration, something else crossed my mind. Once this hugely influential figure in the world of extreme guitar playing had given my music the ‘thumbs up’ I needed so much, I started to question the whole point of these albums. What actually happens when you release one of these? And what I concluded, rightly or wrongly, is that people will buy your album because they’re looking for new technical tricks, some new ways to sweep an arpeggio or skip a string or tap a note. They’ll slow it down, learn it and then one day you’ll hear their album, which will be the same as your album but 10% faster and possibly less musical.

I settled on the idea that if I was going to have a recording career I would rather have the music as the focal point, with the guitar just functioning as a tool of the trade. Getting encouragement from Shrapnel was great at the time, but it all just felt a bit too guitar-centric for the player I wanted to be. I also wanted to devote more time to finding a distinct direction for the music I was making, before making any bold statements to the world!
Funnily enough, the same sort of thing happened about a year later with Mark Varney – and he was even more straightforward about it “0h, don’t worry about the compositions – the people who buy our records just want to hear loads of burning guitar” – I know he meant well, but it made me feel a little uneasy!

Well, with all of that going on, it was a case of: “If in doubt, do nowt!”

Full interview:

Sarah Longfield: Cognitive Dissonance Play through

Hey guys! Here is a play-thru of the song Cognitive Dissonance off of my latest EP Oneiric, which you can stream/download at :) Thanks!

Sarah Longfield: Oneiric

Joe Bonamassa: Dont Burn Down That Bridge - A New Day Yesterday Live

Joe Bonamassa - "Dont Burn Down That Bridge" from "A New Day Yesterday Live"
Joe Bonamassa performs "Dont Burn Down That Bridge " in Ft. Wayne, Indiana. This amazing performance was recorded and released on Joe's A New Day Yesterday Live DVD. For more information please visit: FREE SONG DOWNLOAD:

Carl Mörner Ringström: Neocolony - Coriolis Made A Valid Point perforance - excellent legato fusion

A tune from my album NEOCOLONY featuring Henrik Linder on electric bass. Just a quick take of the tune, practicing for a concert.

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Ibanez RG505 into Line6 Pod XT Pro, RME Babyface and then effects in Logic.

Carl Mörner Ringström - Neocolony
Carl Mörner Ringström: Neocolony

Neocolony is the Swedish guitar virtuoso Carl Mörner Ringström's debut solo album.

From arena-rock anthems like "So Who Votes In Favor Of The Heliocentric Theory?" to 80's synthesizer-laden tracks like "More Stick Than Carrot" via drum'n'bass inspired grooves in "Champagne Wishes And Caviar Dreams" and contemporary world jazz fusion in "The Cause". This album is a treat for fans of great songwriting, intense guitar playing and beautiful sounds and production. 

Neocolony is Carl Mörner Ringström's first outing as a solo artist, after being active on the music scenes in Sweden and Denmark and playing around the world for over ten years. Carl has been heard playing in as diverse genres as balkan folk music, hiphop, straight ahead jazz, fusion, death metal and improvising over Steve Reich's music with an orchestra. All these influences have fused into one distinct, very personal sound with no boundaries of genre or style and with 100% energy and output. 

1. So Who Votes For The Heliocentric Theory?
2. Shot Heard 'Round The World
3. Well, There's The Rub
4. Guacamole Style
5. Coriolis Made A Valid Point
6. Champagne Wishes And Caviar Dreams
7. Random Patches Of Cool Trees
8. More Stick Than Carrot
9. 7.83
10. RRO
11. The Cause

All songs written, arranged, recorded, produced by Carl Mörner Ringström
All electric and acoustic guitars, keyboards, vocals and programming by Carl Mörner Ringström
Electric bass on track 1, 2, 3 and 10: Linus Abrahamson
Electric bass on track 5: Henrik Linder
Mixed by Carl Mörner Ringström
Mastered by Pelle Fridell at Pelle's Room 
Cover art and design by Mikkel S. Dysted