Exodus Gets Inked: Thrash Icons to be Featured in Comic Book by Terminal Press

Nuclear Blast Records and Terminal Press have joined forces to produce a new apocalyptic horror comic book featuring Exodus. The comic/metal crossover, entitled Exodus: Death Begets Death, will feature the Bay Area thrash metal legends in a futuristic tale of war and the supernatural.

Terminal Press has issued the following premise for the comic:

Set in a ruined America of the near future, the story follows two war generals who rule over military fiefdoms the size of time zones. General Scraw controls the west coast, while his twin brother General Scraggg reigns from a seat in Las Vegas. The twins amuse themselves by sending the military’s toughest war toys, the Shovel Headed Kill Machines, into the deserts of the MidWaste to exterminate the human rabble that scrabbles for survival there. But when General Scraw learns that his military has been wiped out by a supernatural being calling herself the Earth Mother, he sends five crazed men who may or may not be the members of EXODUS from the bowels of his own prison to stop her. But many more people will die before the strange woman gets what she wants, and the twin generals will learn the price of their own misdeeds.

The one-shot comic will draw on a number concepts from the band itself, particularly those relating to their music and lyrics. "As many things as we get to do as a band, traveling the world, getting paid to drink and play thrash metal, I don't think anything can touch being immortalized in our own comic book!" said guitarist Gary Holt.

Exodus: Death Begets Death is written by Keith McCleary and features the artwork of Rolo Ledesma as well as colours by Narek Gevorgian. It is set to hit shelves in early 2010.

Vesica Lead: Innovative or Incomprehensible?

At first glance, the Vesica Lead seems interesting, to say the least. If you're at all like me, you might find yourself experiencing a combination of intrigue and confusion. Upon first seeing the guitar, I initially thought, "Well, that's...different" and after closer study, the question that followed was, "But is that really necessary?" After giving the notion some consideration, I can't help but think it's entirely unnecessary.

Vesica describes its new 6-stringed creation as:

The electric guitar that opens the door to untapped expressive and creative territory and challenges you to explore extraordinary sonic possibilities.

Maybe I'm old-fashioned, but I always thought creative expression came from the music one made using an instrument, not from simply playing something that looks interesting. As a musician myself, I won't deny that visual representation is part of the package, but I still can't buy into the fact that Vesica seems to be marketing a guitar based predominately on appearance. I find this even more peculiar after focusing on the Lead's neck design, which is reminiscent of that of a banjo.

Now, your standard banjo neck is designed as such in order to accommodate an extra string. If Vesica had designed the Lead's neck with this purpose in mind, I'd say that made sense – but that's not the case. In fact, the VL Neck (patent pending!) serves an entirely different purpose. Again, I'll let Vesica explain:

Thanks to the VL Neck™, the guitarist is no longer constrained by only inward movement of the outer strings while soloing or playing lead. This freedom to move the strings in either direction is the logical evolution of guitar design and the ultimate way to expand the palette of the musical canvas in your hands.

If this was actually a problem before, I was completely unaware of it. Call me crazy, but bending strings upward has always worked for me and I have never experienced any of the "constraint" of which Vesica speaks. I know I don't speak for everyone, but I'm pretty confident that I'm not the only guitarist who will be quite content to continue bending high strings upwards.

Awkward neck design aside, the Lead does have some quality features: Graph Tech Nut, EMG pickups, and a Hipshot Baby Grand Bridge, to name a few. It has a mahogany body, maple neck, and ebony fingerboard as well, which is not what I'd classify as "shabby." However, despite this decent helping of admirable features, I'm still not convinced. The Lead carries a £1,380.00 price tag – a cost that I consider a tad unreasonable given the fact that the axe’s main attraction is a seemingly unnecessary neck design.

New release from Ron Jarzombek

Acclaimed guitarist Ron Jarzombek (BLOTTED SCIENCE, WATCHTOWER, SPASTIC INK) has set a September 15 release date for his solo album, 'PHHHP! Plus', which combines the cult fave 'PHHHP!' recordings with 12 additional cuts that delve further into the archives of the legendary guitarist's formative pre-WATCHTOWER days.

"I've been getting e-mails for years about properly releasing 'PHHHP!' on CD from people that had cassette copies of these demos some twenty years ago. I was hesitant for a long time because I was more interested in releasing new music rather than resurrecting the past", says Jarzombek.

"Eventually, I considered doing a digital-only release but I know a lot of fans, prog and metal fans in particular, still want that physical CD rather than just an mp3 for their iPod. So I came around to the idea of pressing up product after all but adding bonus tracks to really make it worthwhile. I started to go through old boxes of tapes and found stuff I didn't even remember I had - demos I recorded on my older brother Ralph's four-track machine over at his apartment while he was away at work. Some time later I got my own four-track recorder, held together with duct tape to keep it from falling apart, and began to record more songs, including 'Ants On My Windshield' and 'Fishies On Leashes' (originally written for my FATES WARNING audition ca. '86), which features my brother Bobby (Jarzombek) on drums. Finally, there is the 'PHHHP!' demos, a collection of a dozen songs I put together in the late 1980's and early '90s after I had already joined WATCHTOWER. None of these tunes were ever played with the band because either there were too many guitar parts, or because it was coming from a totally different musical perspective. If anything this was SPASTIC INK before there was SPASTIC INK."

'PHHHP! Plus' will be issued through Jarzombek's own EclecticElectric label. The album track listing reads as follows:

01. PHHHP!
02. Kill The White Noise
03. This Nice Blonde
04. Nighty-Nite
05. It Looks Like A Chicken
06. Oh No, Mr. Kitty!
07. Electrical Stud
08. Test Tones
09. Pre-Slam Discussions
10. Blink For Me
11. Zits In 3-D
12. That's Odd
13. The Blood Boogie
14. Ants On My Windshield
15. Tri-Vivace
16. Dead Machine
17. Hello There!
18. Die Bleeding
19. Let's Eat Glass
20. Fishies On Leashes
21. Blessed Corpse
22. The Respiratory Therapist Wanna-Be
23. Of The Essence
24. Razor Blade Baby
25. Bombs Away
26. The Slow Song

www.myspace.com/ronjarzombek
www.ronjarzombek.com/

Interview - Shred Teacher John Davis

Phoenix native John Davis currently has several ‘irons in the fire’ while he does session work, teaches and makes himself available for hire as a sideman. John also plays guitar in the band F5 (www.f5theband.com) who released their debut album titled "A Drug for All Season"(JVC/Mascot/Cleopatra) in 2005 and their latest cd "The Reckoning" coming out August 19th 2008 (Oarfin Distribution / Koch). Featuring his versatile heavy and melodic guitar style; Davis is the perfect compliment to F5, working with vocalist Dale Steele, bassist David Ellefson, guitarist Steve Conley and drummer Jimmy DeGrasso. John picked up his first guitar at the age of 16; he was selected as the winner in a grand opening contest at a local Musician’s Friend music store. He began with private lessons and continued his studies at the GIT Musicians Institute to study guitar. He has found influence from all music regardless of style or genre.

How long have you been teaching guitar?

I've been teaching guitar for 14 years… after graduating G.I.T. I started teaching at a store along side instructors that I myself took lessons from…kinda cool.

Why do you teach guitar?

For me teaching someone guitar is passing on the gift of music. Enabling people to express themselves on guitar through writing songs, playing covers or even shredding is a totally fulfilling process.

Where is your teaching practice based?

I teach in Scottsdale, Arizona

As far as teaching goes, what is your specialty?

My specialty would probably be helping students get to the place where they want to be with guitar. No matter what their goals may be.

What level of player do you prefer to teach?

Teaching every level of student is great. They all have their rewards. Showing a new student that they have it within themselves to play guitar is great. Then to watch their aspirations and confidence go through the roof is awesome. Training very technically advanced players, the ones that the bridge between us is not so large is great as well. Helping these students to continue to make progress and push forward in to uncharted territory is extremely gratifying.

What makes a player a virtuoso?

Having Complete control over technical and emotional aspects of playing. To me there is more to virtuoso guitar playing than speed. In my opinion fast guitar playing is like driving a fast car, if you can’t control it you wreck.

How fast is too fast, if such a concept exists?

It depends on what and how a particular thing is being played. For me if you’re going to play a light speed it should be clean, Like Michael Angelo Batio. I don’t believe there is such a thing as to fast as long as it appropriately placed and sounds musical.


From a Teacher’s point of view, what is the number one roadblock to becoming a better player?

Not focusing on the details of what makes good guitar playing great. Things like developing a great vibrato, bending in tune, great timing and feel and clean speed. These things are so often over looked. Separating and breaking down all the techniques available to us as guitar players is a tedious but necessary process.


What makes a good student? Describe the student who progresses really quickly.

A good student to me usually has loads of motivation and passion for playing or learning guitar. I find that students that show up on time having practiced the previous lesson, and believe in the process, advance at a very fast rate.

Do you find that older or younger students progress faster/learn quicker?

Actually, I think it comes down to a time issue. What I mean is, sometimes younger students progress faster simply because they have more free time available. But I have some older students that if given unlimited practice time would progress much more quickly and far beyond what they think would be possible.

What is your teaching format?

I teach in all formats. Private lessons, doubles, triples, and I have group classes that focus on specific subjects and styles e.g. Cool Blues Improvisation, Extreme Rock Training, The Art Of Metal Guitar ect…

What models of learning benefit the student the most?

I think most students benefit from a type of rotating format where they don’t stay in any one place for to long. All formats can get stale and at times can become limiting to the student and teacher. You just have to know when a particular student is ready for a change.

Is there one piece of advice that you can give the readers to improve their playing right now?

Yes, Find an experienced instructor that you feel understands your goals and aspirations for playing guitar. When I finally found the right teacher my playing went through the roof. Good teachers are like gold!

How can prospective students contact you for lessons?

They can email me at scottsdaguitarlessons@yahoo.com or visit my website www.GuitarLessonsInScottsdale.com

Interview - Shred Teacher

Phoenix native John Davis currently has several ‘irons in the fire’ while he does session work, teaches and makes himself available for hire as a sideman. John also plays guitar in the band F5 (www.f5theband.com) who released their debut album titled "A Drug for All Season"(JVC/Mascot/Cleopatra) in 2005 and their latest cd "The Reckoning" coming out August 19th 2008 (Oarfin Distribution / Koch). Featuring his versatile heavy and melodic guitar style; Davis is the perfect compliment to F5, working with vocalist Dale Steele, bassist David Ellefson, guitarist Steve Conley and drummer Jimmy DeGrasso. John picked up his first guitar at the age of 16; he was selected as the winner in a grand opening contest at a local Musician’s Friend music store. He began with private lessons and continued his studies at the GIT Musicians Institute to study guitar. He has found influence from all music regardless of style or genre.

How long have you been teaching guitar?

I've been teaching guitar for 14 years… after graduating G.I.T. I started teaching at a store along side instructors that I myself took lessons from…kinda cool.

Why do you teach guitar?

For me teaching someone guitar is passing on the gift of music. Enabling people to express themselves on guitar through writing songs, playing covers or even shredding is a totally fulfilling process.

Where is your teaching practice based?

I teach in Scottsdale, Arizona

As far as teaching goes, what is your specialty?

My specialty would probably be helping students get to the place where they want to be with guitar. No matter what their goals may be.

What level of player do you prefer to teach?

Teaching every level of student is great. They all have their rewards. Showing a new student that they have it within themselves to play guitar is great. Then to watch their aspirations and confidence go through the roof is awesome. Training very technically advanced players, the ones that the bridge between us is not so large is great as well. Helping these students to continue to make progress and push forward in to uncharted territory is extremely gratifying.

What makes a player a virtuoso?

Having Complete control over technical and emotional aspects of playing. To me there is more to virtuoso guitar playing than speed. In my opinion fast guitar playing is like driving a fast car, if you can’t control it you wreck.

How fast is too fast, if such a concept exists?

It depends on what and how a particular thing is being played. For me if you’re going to play a light speed it should be clean, Like Michael Angelo Batio. I don’t believe there is such a thing as to fast as long as it appropriately placed and sounds musical.


From a Teacher’s point of view, what is the number one roadblock to becoming a better player?

Not focusing on the details of what makes good guitar playing great. Things like developing a great vibrato, bending in tune, great timing and feel and clean speed. These things are so often over looked. Separating and breaking down all the techniques available to us as guitar players is a tedious but necessary process.


What makes a good student? Describe the student who progresses really quickly.

A good student to me usually has loads of motivation and passion for playing or learning guitar. I find that students that show up on time having practiced the previous lesson, and believe in the process, advance at a very fast rate.

Do you find that older or younger students progress faster/learn quicker?

Actually, I think it comes down to a time issue. What I mean is, sometimes younger students progress faster simply because they have more free time available. But I have some older students that if given unlimited practice time would progress much more quickly and far beyond what they think would be possible.

What is your teaching format?

I teach in all formats. Private lessons, doubles, triples, and I have group classes that focus on specific subjects and styles e.g. Cool Blues Improvisation, Extreme Rock Training, The Art Of Metal Guitar ect…

What models of learning benefit the student the most?

I think most students benefit from a type of rotating format where they don’t stay in any one place for to long. All formats can get stale and at times can become limiting to the student and teacher. You just have to know when a particular student is ready for a change.

Is there one piece of advice that you can give the readers to improve their playing right now?

Yes, Find an experienced instructor that you feel understands your goals and aspirations for playing guitar. When I finally found the right teacher my playing went through the roof. Good teachers are like gold!

How can prospective students contact you for lessons?

They can email me at scottsdaguitarlessons@yahoo.com or visit my website www.GuitarLessonsInScottsdale.com

DVD review – Roo “Creative Shred”

We’ve interviewed Roo twice and we also reviewed his solo album earlier this month. He’s a great guy, a very professional individual, and his playing is as off-the-wall as it is mind-blowing. More great news is that Roo’s instructional DVD “Creative Shred” is a breath of fresh air as far as tuition videos go.

Rather than the rudimentary “Here are my best licks fast, now slow” kind of instructional video format, Roo takes the viewer deep into his unique approach to technique, taste and timing.

From mixing up the notes of a basic scale to understanding the intro to The Simpsons, this DVD takes a look at shredding from a completely original angle.

One of my favorite parts of the DVD is the “Chops Building” section where Roo shares some fantastic insights concerning the construction of your own licks. Instead of only playing examples of his own licks and letting you go off and practice them until you sound like him, Roo shows you how his heroes create their licks, how he creates his licks and how you can create your own unique licks and ideas.

Another interesting section is the Arpeggios chapter. Here Roo takes a good look at exciting sounding extended arpeggios, focusing on how to fit the correct amount of notes in a particular beat, and how to play the notes using Sweeping, Tapping and String Skipping.

The last chapter is a showcase of Roo’s favorite licks, how he came up with them and why the sounds appeal to his ear. Every finger twisting lick is as wacky as it is ear catching, and is sure to rip you right out of your comfort zone.

The DVD is a lot of fun, and I take my hat off to Roo for successfully making an instructional DVD in his third language! While not the DVD with the biggest production budget, the content will hugely benefit any shredder looking to set themselves apart from the crowd.

Album Review - Roo "Guitar Without a Cause"

Romain Chapus, also known as Roo, is a French musician and producer based in Helsinki, Finland.

Roo is a busy guy. He has performed live in France, Finland and Estonia, he released an instructional DVD and various other instructional products, and now we finally have his debut solo album, Guitar Without a Cause.

Featuring Toni Paananen (Malpractice-Spinefarm records) on drums, Guitar Without a Cause was mastered at legendary Finnvox Studio (Nightwish-ChildrenOfBodom).

Roo is a master of the unexpected, mixing chicken-picking, tapping, country licks and Metal-Funk Fusion to create a sound all of his own.

On to the tracks:

The album kicks off with the boot stomping “Heat”. The main riff is from the old-school rock stables and the beat is big. This track is sure to get a good few listeners jumping around and throwing some air-guitar poses.

Track 2, “Double Trouble”, is a shred fest not bound by any musical genre. Roo’s musical approach is full of quirky ideas, making his compositions very unpredictable. Form the blue-grass licks, to the acoustic solo, to the lounge grooves, to the prog breakdowns, I was pleasantly surprised at every turn of this track.

The title track is a funky number with more country and blue-grass elements, while still staying true to rock and shred. The solos are precise and Roo’s clean lead tone is stinging. The musical motifs are seemingly endless and Roo’s skills seem limitless.

“Flash Point” opens with a funky vamp, allowing Roo to get a little bit jazzy, showing that he can bust out the tastiest of licks along with the best of them. The outro solo is a stunning mix of countrified shred, that ends of with some textbook sweeping and tapping ideas.

The final track, “Inner Strength” is a far heavier affair than the rest of the album. The harmonized riffs and chugging palm-muting are simultaneously brutal and beautiful. The lead breaks leading into the solo are frightening and the chromatic ideas and huge arpeggio moves are astonishing.

Guitar Without A Cause is clear and well mixed, allowing the listener to hear every note that Roo plays. The unpredictability of Roo’s playing, along with his ability to play in any number of styles in a single track, make this album lots of fun to listen to. I hope to hear Roo’s next offering soon.