Electric Guitar

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Stephen O’Malley by C. Spencer Yeh
Stephen O Malley Bomb 2

“There might be more passion in amateurism than with much of the known, famous stuff. Those are the kinds of energies in music I’ve always found attractive, regardless of quality, expertise, or skill.”

Michael Morley & Alan Licht
Licht Morley Bomb 1

“Oh no, this is sounding too beautiful, too seamless, and too much like it was planned. I have to unravel it.”

Masaki Batoh by Ben Chasny
Batoh Bomb 01

“I still seek for eternity, which maybe is like a rainbow-colored butterfly flying away, suddenly in front of your face.”

Flying Saucer Attack by ​David Keenan
Flying Saucer Attack 1

“I do like feedback. It’s good for people. It is!”

Neil Michael Hagerty by Gary Canino
Neil Michael Hagerty 1

Faux reunion shows, B-sides, new-age garage music, and packing albums to the brim.

Chris Forsyth by Andrew Aylward
Chris Forsyth

Love, devotion, surrender, and the Phillies.

William Tyler by Andrew Aylward
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Composition for solo guitar and its discontents.

Richard Thompson by Keith Connolly
Richard Thompson

Fairport Convention helped to bring traditional music into British folk rock back in the ’60s. Connolly traces Thompson’s evolving style from his Fairport days to his latest solo album, Electric.

Sensations’ Fix’s Music Is Painting in the Air (1974–1977) by Clinton Krute
Sensations  Fix 1

Sensations’ Fix has been in need of some attention for a while now.

Robert Quine by Marc Ribot

Robert Quine, former guitarist with Richard Hell & the Voidoids, Lou Reed, and many others—inconsolable since the death of his wife Alice a year ago—killed himself last June at the age of 61.

Kula Shaker: Retroculture by Lynn Geller
​Kula Shaker

A friend of mine once conjectured, What if the ’60s weren’t an era, but a place one could still visit?

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