ST. VINCENT
St. Vincent's 2017 LP Masseduction cracked the top ten in both the UK and the US, and its electro-pop sound saw Clark rethinking the tonal palette of her guitar rather than abandoning it in favour of synths - something more typical of the genre's core sound. Masseduction's title track features heavy, fuzz-centric riffing that sounds far closer to a saw wave synth than an electric guitar, or anything obviously played by a human for that matter. Clark uses a slide to allow a continuous glide between notes that gives the riffs a pitch-bending quality, and the extremely obscure AAAAAE tuning allows her to hit multiple octaves at once for a thick, robotic sound.
Clark's most recent album Daddy's Home channels 70s downtown New York through soul-inspired vocals and a heavy use of a wah. Album highlight Down features Clark on both guitar and electric sitar-guitar, layering variant riffs atop one another before coming together for a harmonised dual-guitar solo that pays homage to psychedelia whilst sounding inventive and unique.
Not just content to stretch the boundaries of her music, Clark's penchant for a bold, original idea is on full display with her signature Ernie Ball six-string, too. The model's light weight and ergonomic shape was designed with female players in mind, whilst still being tonally beefy enough for fellow fuzz abuser Jack White to use it onstage.
As St. Vincent continues to re-write her own guitar rulebook she broadens the minds of many a mainstream pop fan in the process, proving to us all that there is life in our beloved instrument yet.
SARAH LIPSTATE
هذه القصة مأخوذة من طبعة December 2022 من Total Guitar.
ابدأ النسخة التجريبية المجانية من Magzter GOLD لمدة 7 أيام للوصول إلى آلاف القصص المتميزة المنسقة وأكثر من 8500 مجلة وصحيفة.
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هذه القصة مأخوذة من طبعة December 2022 من Total Guitar.
ابدأ النسخة التجريبية المجانية من Magzter GOLD لمدة 7 أيام للوصول إلى آلاف القصص المتميزة المنسقة وأكثر من 8500 مجلة وصحيفة.
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