Oh, hey. Nice of you to join us. You might remember we used to run a weekly track roundup around these parts – Essential Guitar Tracks, as it was known. Well, say your goodbyes, for EGT is no more.
Now dry those tears – preferably from the heat of some pre-warmed 6L6 tubes – and say hello to Guitar World Editors’ Picks, our brand-spanking-new, monthly guide to the songs our editors are digging very much indeed, yessir.
We’ll have a Spotify playlist, updated weekly, for you to tuck into, then we’ll round up our favorites of the month in an article just like this – where our editors will wax lyrical on the playing, tones, and songwriting that had their six-string senses a-tingling.
Make sense? It will do. Anyway, without further ado, let’s hand things over to our EIC MAB to get things started…
Michael Astley-Brown – Editor-in-Chief
Full disclosure: I went to NAMM, took a vacation, and I’ve been catching up on music (and emails… mostly emails) up until roughly 10:37 a.m. this morning. So forgive me if I allow one or two late-January releases into my picks of the musical litter.
My month has mostly been dominated by Radiohead offshoot The Smile’s sophomore effort. It’s the sound of Thom Yorke and Jonny Greenwood finally shaking off the chains of expectation surrounding their best-known gig, and it’s all the better for it. Read the Room is an absolute jam, Greenwood’s angular riff snaking around your consciousness, before the trio go full Sonic Youth. Yes. Yes, please.
Then there’s the small matter of a new Pearl Jam single. Dark Matter fizzes with the energy emblematic of producer Andrew Watt’s latest efforts with the Rolling Stones and Iggy Pop. And dang, it’s good to hear Mike McCready dial up the fuzz for that pull-off-heavy solo.
In fact, I’ve been struck by the quality of latter-day releases across the board: Kerry King’s long-awaited solo debut is pure kinetic freneticism, the returning Kittie sound as vital as ever; and Judas Priest have no right delivering riffs this lithe so many decades into their career.
My guitar highlight of the month, however, comes from nu metal survivors Alien Ant Farm, of all bands. I’ve long maintained the band’s first two records are criminally underrated, just for the tonal and technical diversity of guitarist Terry Corso alone.
Comeback single So Cold harks back to that era with its incisive riffs and heavily modulated extended chords, but it’s the triumphant ’80s-vibed solo – whammy wiggles! taps! legato! – that steals the song, and presents a kind of revisionist history where guitar solos were cool after all in the early noughties.
Jackson Maxwell – Associate Editor
First off, as a Radiohead fanboy for life, I’m with Mike – The Smile’s Wall of Eyes has some of the most agile, inscrutable riffs in Jonny Greenwood’s already lofty catalog, giving the album some of that Radiohead ‘x-factor’ we’ve been so sorely missing. Ok, fanboying over.
Though it comes from a genre that, admittedly, isn’t my usual bag, I found it impossible not to be awed by Felix Martin’s dizzying neoclassical tapping clinic, Thundertap. Having witnessed his double-neck wizardry in person at NAMM last year, Thundertap – which also features double-neck bass tapping, to boot – feels like the culmination of Martin’s development as a player and composer to date.
On a very different note, Khruangbin keep going from strength to strength, as evidenced by their new tune, May Ninth. A perfect balm for a hard day, this easy-strolling song finds Mark Speer getting incredible melodic miles-per-gallon. Kept surprisingly low in the mix, his dreamy, movie score-like arpeggios and clipped single-note statements are colorful and integral to the song’s charm, but never once overshadow the band’s always air-tight rhythm section.
What I’m most excited about as February comes to a close, though, is the return of Mdou Moctar, the Nigerien guitarist who took the world by storm with his breakthrough 2021 album, Afrique Victime – a thrilling record that mixed traditional assouf guitar music from West Africa with Western influences, particularly the flash and fire of Jimi Hendrix.
Funeral for Justice – the lead single and title track from Moctar’s forthcoming album – takes things to another level, turning up the distortion and volume and adding a touch of meat-and-potatoes riffing, especially in the intro. Moctar’s Strat fingerpicking, though, remains the star attraction, and is as driving and hypnotic as ever.
Matt Owen – Staff Writer
NAMM festivities aside, it’s been a very busy start to the year indeed – and as far as new music goes, I personally have been eating especially well in February.
For starters, Julian Lage is one person who endlessly inspires me to continue exploring new ways of navigating the fretboard. The jazz extraordinaire’s latest slew of releases – culminating in Nothing Happens Here – have put a firm focus on his acoustic prowess, and in turn I have found myself picking up my own Fender Paramount over the past few weeks as I look to learn from Lage’s limitless creativity.
To satiate my hunger for blues, soul and some more electric-leaning soundscapes, St. Vincent, Gary Clark Jr., and Marcus King have been on hand to deliver the goods, providing masterclasses in dynamics, feel, and phrasing with Broken Man, Along Together (feat. Keyon Harrold), and Mood Swings, respectively.
It’s also been a big month for indie rock. Social media sensation-turned-recording phenomenon Towa Bird put in an early claim for my highlight of the month with B.I.L.L.S – yet another home run from the D’Angelico-toting titan.
But it was the return of Catfish and the Bottlemen – one of the finest indie guitar acts of its type – for which I will be remembering February. The band, which unofficially disbanded a few years ago after some personnel departures, has been AWOL for the past few years, but returned this month with Showtime – their first new music in five years.
Who’s in the band now? Well, frontman Van McCann (the beating heart of the group) is back, but beyond that we’re not quite sure. What we are sure of, though, is that Catfish are here for round two, and – if the new track’s Springstreenian leanings are anything to go by – the album that follows their revival looks poised to be their best yet.
Matt Parker – Staff Writer
May I be the first second to say that the big news for me this month is the return of Mdou Moctar?
God knows how many words I have read (and, yes, written) about the guitar heroes of yore – wielding blazing guitars in the face of (sometimes violent) authoritarianism and inspiring a counter-cultural movement that shredded the social fabric of the era.
Well, Moctar does all of that – and, more importantly, he’s doing it right now. So if, like me, you’ve spent time staring at pictures of Hendrix and wondering what it’s like to see a living, breathing guitar hero who plays with wild abandon in the service of something much bigger – look to Niger and Moctar.
Elsewhere, I’m currently cycling between the crushing brutality of Knocked Loose’s newbie Blinding Faith and Hermanos Gutiérrez’ sun-kissed psychedelic beauty Sonido Cósmico (which dropped a few weeks ago), both of which offer first tasters of forthcoming albums.
The former is blowing out the winter cobwebs with some vicious near-percussive hardcore riffing and I love those blink-and-you-miss-them shreddy central licks. Points are also gained for the use of a wall of amps, matching guitar finishes and getting an Ibanez Iceman in the video.
Hermanos Gutiérrez, meanwhile, are helping to reset the blood pressure after all of the above overexertions. I’m a massive fan of that country-inspired muted clean tic-tac tone and Sonido Cósmico is absolutely laced with it, albeit in the dreamy context of a sort of cosmic spaghetti western. It’s a stunning ride.
