INTERVIEW: Stone Sour’s Corey Taylor

Photo by Travis Shinn

Photo by Travis Shinn

If you look in the current issue of Mixdown Magazine you’ll find my interview with Stone Sour’s Corey Taylor about the band’s new album, Hydrograd (released today). We had a great chat about the band’s incredible new album Hydrograd. But we talked about a lot more than could be fit into that article, so I thought you’d like to see some other highlights from the interview.

I Heart Guitar: One moment in the single Fabuless really made me laugh: the ‘motherfucker’ in the chorus. I have a running joke where I insert unnecessary motherfuckers in songs that really don’t deserve it. Steely Dan or the Beach Boys or something. 

Corey Taylor: [Laughs] Thats funny because I do that all the time when I’m in my car, singing. I’m always adding an unnecessary motherfucker to what I’m singing along to, where it just needs a little more, y’know? I mean I’m sure they would have gotten to the motherfucker eventually but they were too busy with the notes, so people like you and me provide the motherfucker for them.

That song is so eclectic. How did it come together? 

That song came together from Tooch (guitarist Christian Martucci) and Roy (Magora, drums) jamming together. It was one of those songs where when we heard the demo we were like ‘Holy shit.’ It took a little arranging because it was all in different spots – it originally had a totally different feel to it – but the riffs themselves all had a great vibe. I took it and did my magic on it and worked it in with the lyrics that were going on in my head and different melodies and stuff, and it came together really quickly. It was a matter of arranging the puzzle so that the song fuckin’ figured itself out.

The first few times you listen to it you don’t quite know what could happen next. 

Exactly. And that’s the cool thing. I feel like a lot of music doesn’t have that feeling any more, and you can anticipate what the next part is. With a lot of bands you can almost write the fuckin’ next riff in your head before you’ve even heard the song all of the way through for the first time. With this song it keeps you guessing right up until the last minute.

HydrogradSo this is the first record written with Christian Martucci and Johnny Chow. 

Working with those two, honestly, was so effortless. The great thing is it all starts with us just getting along. Really getting along. We all hang out, we all love hanging out and talking shit and joking, and we’re all such dorks that it doesn’t really matter. So writing together is the same thing. We just love what we do so much that we get excited when we hear what we’re doing with the music.

How’s the spine coming along after your operation? Has it affected your range? I was thinking about how when Frank Zappa got pushed off the stage and broke his neck, and after he got rebuilt his voice got lower.

Yeah, that didn’t happen to me. It’s really only a physical thing for me. I’m slowly but surely starting to get my mobility back, and that’s even after a year. It’s been pretty crazy. But luckily I didn’t lose any of my range – actually I got some back because I quit smoking over a year ago, and I’m starting to get my range back because of that. God, if I’d know that would happen I’d have quit ten fuckin’ years ago. But I’m still in the process of rehabbing all that shit, and I’m slowing but surely getting my body back. It’s a fucking pain in the ass but I’m getting there.

I don’t think people realise how physical singing is – how much of your whole body goes into it. 

Oh yeah. You can lose your chops really easily. And not only lose your chops but you can let your talent go to fuckin’ shit, and it can take you years to get that shit back. About six years ago I started to really try to keep myself in shape as much as possible, and as long as it’s worth it you just keep trying, keep going for it.

What guitars are you using at the moment? 

On the road I have three guitars that I’m using, really. I have a 2008 Gibson Firebird that has a couple of Seymour Duncan pickups in it. It has a nice chunky edge to it and a really killer clean tone. Those guitars have a great clean tone. I also have a 1987 Gibson SG out with me that smells like the dude who owned it chain-smoked around it for about 45 years! It’s got the colour, but unfortunately it’s also got the smell, so I named it Keith. So I’ve got that out with me and I’ll probably bring that down with me to Australia when we get down there. And I’ve also got a Framus and I’m thinking about working some magic with those guys. I actually have a Stevie Salas Idolmaker model that I’m using right now and they’re fuckin’ pretty dope, dude. I wanna have them use that base and make a custom for me but give it more of a hollowbody vibe, and put a couple of humbuckers in it and see what happens. I think that could be really fuckin’ cool, because it plays amazingly. It’s got such fuckin’ chunk to it. It’s really great. So those three I’m kinda rotating through, just feeling them out every night.

INTERVIEW: Fear Factory’s Dino Cazares

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The mighty Fear Factory is touring Australia this June in support of their latest album Genexus, but this tour has a twist: fans have been invited to submit songs for the setlist. It’s a cool opportunity to hear some less-common tracks and to feel like even more a part of the show than the typical Fear Factory fan frenzy allows. Last week I caught up with riffmaster Dino Cazares to chat about the tour and, of course, guitars.

So you’re letting fans have a say in the setlist. Read More …

INTERVIEW: The Peep Tempel

Peep Tempel

Word on the street is that when Mariachi El Bronx – the alter ego of The Bronx, natch – asked for the best Australian garage band to support them on their recent Aussie tour, there was really only one option: The Peep Tempel.​ Known for their no-fuss approach, catchy songwriting, animated vocal delivery and sweetass guitar work, their sound is immediately identifiable as Australian but with that indefinable thing that transcends geography and makes them a contender for “Aussie band who can make it overseas” rather than “Aussie band who never gets a break.” They’re currently wrapping up an Australian tour (check out current and future dates here) and I caught up with guitarist/vocalist Blake Scott to geek out about guitar.  Read More …

INTERVIEW: Jeff Hughell

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By Daniel Gonzalez

For 20 years, Jeff Hughell has quietly been gaining recognition as one of today’s most innovative bass players.  Equipped with his custom made 7-string bass guitar, Hughell’s arsenal of technique and chops can cover a range of genres stretching from death metal to jazz.  Here we sit down with Jeff to discuss his debut LP, Chaos Labyrinth, how it all started, and some future plans.   Read More …

INTERVIEW: Ace Frehley

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Ace Frehley. Just the mere mention of his name is enough to send a jolt through the veins of those with even a passing knowledge of KISStory. Whether you subscribe to the mythology of ‘Space Ace’ being a visitor from the planet Jendel or you tend to go with the less colourful version of the story (he’s from the Bronx), Ace represents a certain combination of earthiness and exoticness. In his days with KISS his iconic Spaceman character brought comic book mystique to established guitar hero tropes. His post-KISS career has seen him explore material that’s generally a little more ‘street,’ with more overt nods to his bluesier inspirations. But that doesn’t mean Ace is averse to an occasional trip back to his home planet: last year he released Space Invader, a self-produced album of mostly original tracks along with a very Ace-ian cover of Steve Miller’s “The Joker” which enjoyed a #9 debut on the Billboard 200 charts – the only time a solo album by any past or present KISS member has hit the US top 10. And Ace returns to Australia in April and May with his triple-pickup Les Pauls in tow. Tickets here. Read More …

INTERVIEW: Yngwie Malmsteen

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Yngwie Malmsteen is the undisputed master of neoclassical guitar. Other players like Richie Blackmore and Uli Jon Roth had explored elements of the style but none pushed it to quite the extremes that Yngwie did. A million guitarists arose in his wake to try to copy what he was doing but none have managed to capture Yngwie’s pure power and dazzling technique. As Yngwie himself puts it when discussing the various Yngwie clones who sprung up over the years, “And that’s why I call myself Yngwie J Malmsteen, not to be confused with all the other Yngwie Malmsteens.” And Yngwie will hit Australia in June for his first concert tour since 2006 (tickets here). Read More …

INTERVIEW: DragonForce’s Herman Li & Sam Totman

The mighty DragonForce have always brought the epic energy, triumphant power-metal riffage, anthemic choruses and intense shred to their work, but what makes their new album Maximum Overload stand out a little from the rest of their catalog is their willingness to step outside of their established sound just far enough to keep it fresh. Vocalist Marc Hudson has well and truly settled in now (he joined prior to the recording of previous album The Power Within, and Trivium’s Matt Heafy contributes his vocal power to three tracks as well. And for the first time DragonForce have worked with an outside producer, Jens Bogren, who has also produced, mixed or mastered the likes of Soilwork, Symphony X, Pain of Salvation, James LaBrie, Devin Townsend. Throw it all together and you have Dragonforce’s biggest-sounding album yet. Read More …

INTERVIEW: Nergal of Behemoth

Behemoth The SatanistThere was a time when it looked like we might not get another Behemoth album. Frontman Adam ‘Nergal’ Darski was diagnosed with leukaemia in August 2010, and an urgent bone marrow transplant was needed. The surgery was ultimately successful, but Nergal was re-admitted after developing an infection. Then when the band finally returned to the road, he found himself exhausted, pushed to the brink by the exertion and intensity required to play a Behemoth show. “I knew I was pretty much fucked and there was a battle to be won, and I had no fucking idea if it was going to take six months or twelve months or maybe four years, because with cancer you never know,” Nergal says. “I learned from being in the hospital that there are things in life that you can control and things that you can’t control. The sooner you realize which is which it’s going to make your life so much easier, and since then I started to focus on the right things. I could be determined, I could have discipline, I could have faith, but everything else is not under my control, and it really was a case of just crossing fingers for the best possible outcome.” Read More …