Still can't fuck with it. Also, Malcolm Young's rhythm toan.

Yeah, it's got just a hint of quack to it. Very cool.

If we're thinking of the same thing, would that be the Marshall high mids?

Such a simple setup; sounds ginormous. And a lot thicker than what I associate with Marshall and '70s/'80s hardrawk. Lotsa meat to it. And a great attack- that's all the player, though!

I was reading something about the making of that record the other day; from what I gather the mic placement was a little unusual; one of those two-mic angled jobs again, but a fair bit back from the cab. I'll see if I can't dredge up the details.

Oh well I mean like the actual sound of the guitar... kinda more of an interesting sound than the flat humbucker sound of Angus.

It's something within the overall guitar tone that's coming from player/guitar/amp, so I get what yer on about. I can't place it but I do hear something in there I can associate with that word, yeah, wherever specifically it's from (and not in the recording gear).

And I do think, of the two, Malcolm has the cooler tone. 'S more aggressive. I would totally rock that as my "normal" rock rhythm tone with no complaints.

It may be the amps though- Angus's tone is JTM 45, and cranked, where Malcolm traditionally has run 100-watters, and not wide-open, either. A cranked JTM 45 is gonna squash/smooth things a bit. Between that and the hollowbody (see also: Billy Duffy, Geordie Walker from Killing Joke.) it's definitely going to have a certain something.

I find this to be true with Hetfield/Hammett, as well (and as an unashamed Metallica fan), that the "rhythm guy" has the better, more exiting toan.

Any of you lot remember this from the glory days of HCAF before it turned into a circlejerk of utter cunts? I find it hilarious that I even have a track on this CD as it's so badly produced and technically incompetent compared to the rest of the stuff on the disc. It's not even a proper bass guitar ffs, just a guitar ran through an octave pedal in amplitube My riffs on it do bring the Sabbathy grind, though.

I didn't know about that CD. Actually I kind of remember talk of something like that being in the works. Ah well..

So I got a copy of this year's Alice In Chains at the library, of all places, and I've been rocking it all weekend.

The library in downtown Buffalo has a good amount of cool rawk rekkids including proper alt-rock and metal stuff. It's good for more than just raiding the classical and jazz sections.

I liked the new AIC, but not as much as the one that proceeded it, Black Gives Way To Blue, as a whole. That being said, it's still full of proper sludgery, excellent vocal harmonies, and general gloominess, as one would expect. Also, the album title joins my list of favorite album titles.

It's been a few years since I busted this out.

Between this and The Pumpkins, I've heard some damnfine rockdrumming today.

This is fantastic. Actually a step up on drumsounds even, IMO. I'd be curious to see how they set them up for tracking. Seems like they dropped some of the kick in favor of a crisper snare as a general sort of angle.

I found this picture; coulda swear I saw more, but they may have been from the guitar/bass rigs:

Band fucking rules.

Besides the earlier Alkaline Trio stuff and Volatile Molotov by The Arrivals, I have never listened to as much poppy punk based stuff as this band. Shit is just so rad and well written.

New rekkid streaming now: