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"The founder and leader of Bay Area thrash stalwarts Exodus, Holt isn't always listed among the metal greats. Perhaps because Exodus never enjoyed the consistent mainstream success like other bands of its ilk -- notably its buddies from Metallica. Still, Holt is one of the most severe metal guitarists around (especially when it comes to his solo work)."

"The so-called “wrong notes” people might tell you to not play are sometimes the ones that sound amazing against the riff and really make your playing stand out. Take Marty's playing on Megadeth's "Rust In Peace." He is throwing in all kinds of exotic scales and interesting note choices all over the place."

"I must admit, I'm happy with the guitars I use already. To be honest, it sort of does what it says on the tin type of thing. I've tried lots of different guitars over the years, but I just always loved Fender Precision. I tried different ones. I tried the Jazz and I tried loads of basses over the years, and they all got their own elements and good things about them. It's not like whatever. But I think you just have to find your own thing, really. And the position just always felt right for me."

"Like several names among the boutique crowd, Dave Friedman established his reputation by modifying and hot-rodding amps, particularly Marshalls, and had several prominent clients (Steve Stevens and Edward Van Halen among them) before establishing his own line of ground-up amp designs. As you might expect, Friedman’s offerings therefore follow a generally Marshall-inspired theme, often incorporating as standard equipment the modifications that he added to original amps for more than 25 years."

"Tom Oberheim had been working on a module called the Synthesizer Expander Module, or SEM for short. While overtly monophonic, Oberheim placed four of them in a keyboard housing to create the Oberheim 4-voice."

"In 1973, the Yamaha Corporation decided to enter the fray [synthesizer market], with the incredibly large and organistic stylings of the GX-1. Also described as the dream machine, it became an enormous hit with artists such as Keith Emerson and Stevie Wonder, with Stevie using it as a mainstay of his classic album Songs in the Key of Life."

"In 1972, a new company called Roland Corp. appeared, with the very first product in the shape of a drum machine. It was styled to include a music stand made of wood, the concept being that you could place it on top of your home organ or piano, and provide a drum-box accompaniment for your ivory-based noodlings."

"Whilst the 808's place in history is undisputed, it's worth noting that several other drum machines drove early hip hop and house music, notably the E-mu SP1200, Oberheim DMX, and others, and though these are held in esteem, none ever became household names in the same way. Clearly there's something about the way these Roland machines sounded. As ever, there's something about Roland!"

"If you listen to Iron Maiden’s “Powerslave,” you can hear this scale in action."

"The TR-909, with it's harder sound, found a home in the nascent Detroit techno (or Detroit House as it was initially called) where the soulful vocals and vibes of house were replaced by a harder edged futurist sensibility. And which commenced the near fetishisation of the instruments that made it, including especially the TR-909."

"A truly modern classic, the BigSky reverb brings heavenly-sounding reverb down to earth and places it firmly at the feet of guitarists. Underneath the bonnet the BigSky boasts a whopping 12 studio-quality reverb machines ranging from the traditional Hall, Room, Spring, and Plate to more progressive modes such as Chorale, Shimmer, and Nonlinear."

"The ES-335 has gone on to become the benchmark in which all other semi-hollow body guitars are measured. [...] Now, while it's true that the ES is perfect for blues and jazz, this massive semi-hollow is actually a lot more versatile than it may first seem – in fact, we'd go as far to say that it's one of the most adaptable guitars in Gibson's extensive lineup. The elegant ES-335 can be seen fronting stadium rock bands, laying down the foundations for pop punk, playing away the blues in a smoky club and so much more."

"To understand the pull of the Wavestation, you have to take yourself back to 1990. Analogue was dead and FM was on life-support. Sample-playback instruments had taken hold and the biggest sellers of the day were seen as little more than glorified organs, capable of calling up a reasonably convincing sampled ensemble for the Holiday Inn crowd: "Thank you ladies and gents, I'll be here all week. Don't forget to tip your waitresses". It was into this very environment that Korg dared to release the Wavestation. The product of a US-based team of designers rescued from the now-defunct Sequential Circuits, the Wavestation shared the vector synthesis of Sequential's Prophet-VS. The onboard samples were of a decidedly electronic nature, with none of the usual drum kits, pianos or nylon guitars (for the moment, anyhow). They could be stacked, layered, filtered and processed by a still-impressive selection of effects. Better still, you could crossfade and blend your sounds with the joystick mounted above the pitch and mod wheels. That might have been enough to shake synthesists out of their doldrums, but it was the inclusion of wavesequencing that tipped the scales. The Wavestation gave users the ability to string any of the onboard waveforms together in a row with individual control over pitch, volume, and crossfade time. Using this technology, it was a breeze to fashion sounds that shifted and evolved over time. Complex rhythmic passages could likewise be created. It was, and is, brilliant, though it is seen as being difficult to program. Fortunately, there are software editors available for the thing even to this day, not to mention an utterly convincing virtual incarnation from Korg itself."

"Robert Godin began making guitars by himself in Quebec, Canada, and after a relatively short time, has grown the company to one of the biggest manufacturers of acoustic guitars in the world."

"Music Man is one of the legendary instrument brands that helped shape the future of electric guitar and bass. Today many players count on Music Man to express themselves. Everyone from St. Vincent to John Petrucci, Steve Lukather and Albert Lee aren't seen too far away from their beloved Music Man signature models."

"Yamaha is a towering presence in the musical instrument game. From pianos to ukuleles, keyboards, drum kits and guitars, it's possible to kit out your entire band with Yamaha products. Yamaha began producing guitars in 1966 and since then has gone on to become one of the most trusted names in the industry - especially among beginners."

"Most known for their rich and retro tone [...] Martin is one of the most famous and long-lasting family-owned brands in American history and easily one of the most influential forces in the guitar industry. The acoustic guitar giant has a legacy that stretches back close to 200 years and is responsible for shaping how everyone else builds and designs acoustic guitars. From popularizing X-bracing to inventing the iconic dreadnought shape, Martin is one of the most important guitar brands to ever exist."

"The Firebird was Gibson's first forte into neck-through construction. Gibson needed a guitar that would pull them out of the trouble caused by Fender's new-fangled offset guitars, and thus the Firebird was born – the one guitar that was going to help Gibson rise from the ashes. Now, while it may not be a household name such as the Les Paul or SG, the Firebird has gone on to garner somewhat of a cult following since its debut in 1963. [...] The distinctive pickups continue the theme of oddities for this offset guitar, providing a bright, shimmery tone that is definitely more articulate when compared to the LP, with a grunt that's not too dissimilar to a P-90."

"The idea that Jews threaten the world is deeply embedded in Western culture, so deeply in fact, that this category is automatically evoked when the Israeli state sometimes breaks the law, as many states around the world do. There is no doubt that in recent decades, Israel has acted in defiance of international law (and its own as well) and that its military response in Gaza has been disproportionate. But I have trouble believing that under the same circumstances other countries would have acted differently."

"Ben Koller is an absolute unit. Remember the first time you heard “Dark Horse”? The “holy shit” moment still resonates on every subsequent listen, as the quickfire drumming kicks off perhaps the strongest A-side of Converge’s career thus far."

"Ibanez, the shredder's weapon of choice. [...] Ibanez are renowned for their fast-playing necks and super-strat style designs – with the likes of Joe Satriani, Steve Vai, Paul Stanley, Nita Strauss and Mick Thomson counted as Ibanez loyalists. Ibanez guitars tend to focus on playability, with wide and often flatter neck profiles, high-output pickups and trem systems. So, if you are seeking to indulge in the more extreme areas of guitar playing, from super-fast legato licks to down-tuned riffage, then Ibanez may just be the best guitar brand for you."

"Mercyful Fate won a large cult following thanks to their dramatic lyrics, showing a Gothic obsession with evil and the occult, and Diamond's amazing vocal range, which shifted from a low growl to a banshee scream, plus the interplay of Shermann and Denner."

"Big Black had noise-rock down to a science. The band essentially had no midrange. Bassist Dave Riley held down the low-end, while Steve Albini and Santiago Durango opted for extreme treble, which was made all the more piercing thanks to a penchant for playing with metal picks. With the industrial thump of drum machine “Roland” keeping rhythm, and a habit of setting off firecrackers on stage before playing, Big Black essentially created misanthropy you could sing along to."

"In a musical realm where scale of influence has little to do with commercial success, few originators of the extreme metal arts evoke as deep a sense of mystery, or incite such hushed, reverential tones of admiration, as Sweden's Bathory. Essentially a one-man operation helmed by the mysterious Quorthon, Bathory's development from the rawest form of embryonic black metal, to thrash, death, and back to its self-devised Viking-themed black metal, has mirrored and regularly defined the genre's very evolution. Indeed, along with Switzerland's Celtic Frost, Germany's Kreator, and Denmark's Mercyful Fate, they easily qualify as one the most important European extreme metal acts of the '80s and '90s."

"I’m gonna shine out in the wild kindness and hold the world to its word."

"[Glassjaw] ushered the genre out from the underground with a unique iteration of the NY hardcore sound, claiming their audience with their rowdy, unforgettable live shows and thoughtful songs that continue to enthrall us today."

"Players have been chasing "that Gretsch sound" for decades, and frankly, they'll be pursuing it for many more to come. The high-end piercing sparkle, bellowing mid-range, and rich, warm lows culminate in a tone that has more than stood the test of time. [...] These large-bodied, Bigsby-clad guitars will instantly transport you back to a simpler time with their charming good looks, fantastic playability, and retro-inspired tones. Gretsch has become a staple of both country and rockabilly, with their stylish hollowbody guitars laying down the foundations on which the rest of the music is built."

"In the late 1970s, Jackson was there to help usher in a new breed of guitar player – the glammed-up hair metal virtuoso. Priding themselves on high-performance instruments that would allow players to achieve new heights on the instrument, Jackson quickly established themselves as a force to be reckoned with in the shred guitar game. By the middle of the '80s, the once small Southern California guitar repair shop was now at the forefront of the pointy headstock, gassed-up super guitar movement – and today, their instruments are just as popular as ever with modern metalheads such as Misha Mansoor, Mark Heylmun, Chris Broderick and Rob Caggiano all having signature models."

"Lyrically, Doug Martsch let his Charlie Brown pessimism run rampant, yet he offsets his downbeat quips with genuinely comforting reassurances that we all feel overwhelmed and off-balance sometimes, finding solace in shared misery."

"His guitar tone is both beefy and filth-ridden, setting a bar in 2004 that many hardcore bands have still been attempting to clear over the last 20 years."

"It's not a stretch to deify The Cure's Robert Smith. As The Cure's vocalist, guitarist and voicebox, Smith, set the gold standard for post-punk, goth rock, new wave, and art rock. With his skillful blending of melody and a never-ending desire to genre hop, Smith found himself an unwilling critical and commercial success, exploding to worldwide fame in the mid to late '80s. As one of indie rock's first "influencers", Smith evoked an emo aesthetic using lipstick, black eyeliner and a nasty habit of scribing depressing lyrics, bookended by classically influenced, detuned-yet-poppy guitar stylings."

"What does the strange irrational hatred called antisemitism consist of? I am not a historian of this vast topic, but personally I define it as the theory that holds Jews responsible for the spilling of the blood of non-Jews."

"Rock and Roll Hall of Famer and original-era Telecaster elder statesman James Burton boasts a straight, no-nonsense tone and impeccable phrasing as one of the first practitioners of the electric guitar solo. Telecaster chicken pickin’ basically starts with Burton, who lent his considerable Tele talent to artists including Emmylou Harris, Gram Parsons, John Denver, Elvis Costello and, most famously, Elvis Presley."

"If you can plug your guitar into an amp and make it sound good, that’s what it’s all about. The amp I really enjoy playing, especially when I’m traveling, is the Fender ’65 Twin Reverb. It’s got everything you need for live playing and it has great tone. That amp just works for me and it’s real trustworthy. When I travel on the road, I do use a little digital delay and maybe a little chorus, but I just like the sound of the guitar and playing something that I think people will appreciate and understand."

"Taylor is a forward-thinking company that produces some of the finest six-strings available today. Recognized as a flat-top trailblazer with strong and passionate views on sustainability, Taylor offers modern players a contemporary guitar that feels and sounds just as good as it looks. Taylor is beloved for their crisp, contemporary tone. These guitars deliver a singing upper mid-range that can cut through even the densest of mixes."

"While most see Guild as a traditional brand, they were innovators in their time. Guild was the first to manufacture a dreadnought with a cutaway. The famed D-40C gave players access to notes that were simply out of reach before, and well, the rest is history. Guild guitars are beloved for their full-bodied, well-balanced tone that perfectly compliments a vocal – so singer-songwriter, take note."

"Adopted by the punks with open arms, this once-student model has gone on to become one of Gibson's most revered instruments. Beloved for its no-nonsense approach to tone, simplified layout and dynamic pickup, this is easily the best Gibson guitar for those who are seeking a straightforward axe that thoroughly rocks."

"Okay, so we all love the tone of the Les Paul, but not everyone needs the high-end cosmetic embellishments such as binding, flame maple and mother-of-pearl inlays – well, that's where the Gibson Les Paul Studio comes in. [...] The name originally comes from the idea that it doesn't matter what your guitar looks like in the recording studio, it's what it sounds like that counts."

"From the "scary music" idea Sabbath had in 1970, through to bands who took that idea and really ran with it, to funereal dirges and explorations of doom where it feels like you're on a different planet to Sabbath altogether, doom is a genre as wide as it is long. Often a truly underground thing full of lost relics and hidden gems, the influence of doom metal stretches far further than its small success stories suggest."

"Meat Puppets were never your average punk band. [...] By the time they made Meat Puppets II, they really didn’t care about remaining within anyone else’s definition of punk rock. On [that album], they embraced their love of bluegrass, jazz, psychedelia, the Grateful Dead, Frank Zappa, and really whatever else piqued their interest. The result is an album that’s punk as fuck, regardless of how little it sounds like the Ramones."

"The line between doom and death metal can seem to some as simply a matter of tempo. But what needs remembering is the intent. As titles go, Rotting Misery from Paradise Lost’s Lost Paradise debut set out the distinction clearly. It also defined a new subgenre: doom-death."

"It’s nearly impossible to guess how the alternative rock boom of the ’90s would’ve sounded without the direct influence and ripple effect of My War."

"The EP, short for extended play, is more than a single but less than an album. The format really came into its own in the late-’70s/early-’80s with punk, post-punk and independent labels, offering an affordable sampler for new and exciting music."

"The punk rock scene started to get a little stodgy, and a little bit demanding in terms of like laying down the parameters of what was ok to do. And that was not punk rock to us. I got off on doing whatever the fuck I wanna do, period."

"My parents were academics and not thrilled about me joining a thrash metal band. They were older than most of my friends’ parents so didn’t even have that rock’n’roll background. Their wishes for me were to get a PhD, just like them. There were a few points that convinced them I hadn’t made a terrible choice, though. The first was when Testament supported Judas Priest at the Oakland Coliseum [in 1990], which showed that this was more than just a neighbourhood band. They were also happy when I started writing columns for guitar magazines, because they always respected writing."

""Wizard of Gore" as quoted by"

""Bodily Dismemberment," as quoted by Jon Wiederhorn of"

""Demons" as quoted by Loudwire"

""Intracranial Butchery," as quoted by Jon Wiederhorn of"

"The whole body, full of pumps Bubbles are seeping, pus is dripping Pouring acid, sulphuric acid Embalmed body, no escape Skin is falling, pain is stabbing Pure naked flesh, acid-blood mash Burning skin, soring flesh Embalmed in sulphuric acid trash"