It takes only a split-second to figure out that Swedish quintet H.E.A.T are completely and utterly obsessed with all things ‘80s.
It’s not just how they dress, it’s everything from the key changes and vocal hooks to the scorching guitars and celestial keyboards – the kind of musical references that can only come from a keen interest in the works of vintage greats such as Europe, Scorpions, and Whitesnake.
Their latest full-length, Welcome To The Futurehowever, sounds anything but dated, with a modern sheen that gives their ideas a contemporary edge regardless of how far back the influences may date. For founding guitarist Dave Dalone, who briefly left the group in 2013 before returning three years later, it’s a love-letter to a time when driving riffs, soaring melodies, and ambitious leads ruled the world.
“I grew up listening to players like John Norum and Kee Marcello from Europe,” he tells Guitarist. “Both of them have this melodic nature that really sets them apart from the usual shredders, but at the same time you can’t really argue with the technique aspect. In my band, we’re trying to play a similar kind of melodic rock.”
It all started when he was 11 years old and his older brother presented him with an ’80s mixtape along with a stack of old magazines that effectively served as a time capsule. Something clicked and he quickly realized he’d found his true calling.
“The songs sounded so cool to me,” Dalone continues. “I would go up into my parents’ attic and feel a bit like one of those people who would dig for dinosaurs. It was the mid-’90s by that point, so this era of music already felt quite old. I didn’t really have any friends who shared the same kind of interest until we started this band.”
Who was the first guitarist that impressed you?
“The first guitarist I was obsessed with was Gary Moore. His tone was simply magical. There was something really special about how he attacked the blues. I didn’t start off listening to blues; the old stuff came to me much later on and that was all because of Gary. He was my gateway into the genre. He had this sense of melody that was out of this world. I think that’s what really set him apart as a guitarist and composer.
“He’d write things that anybody could listen to and enjoy – you didn’t have to be a guitar player to appreciate the things he’d come out with. And that was such a massive strength, being a guitar player who could impress everyone, not just other guitar players.
“After Gary Moore, it was people like Yngwie Malmsteen, who I discovered completely by chance. I heard his name somewhere, went to the record store, bought an album, and felt like I’d hit the jackpot.”
You own a 1972 Marshall ‘Plexi’ that’s been heavily featured on your recordings of the past. Is that what we’re hearing on the new album?
“In the studio, I swear by that head. It’s on pretty much every recording I’ve done because it’s such a monster amp. I bought it 15 years ago and it was one of my first real amps. Before that, I had solid-state combos, which didn’t sound as good. So I would say, for my first valve amp, it’s definitely served me well.
“It’s been around a lot – I used to tour with it. I think it was traveling with me for about 10 years before I made the decision to go digital for our live shows. That’s what you’re hearing on this latest album, as well as a 100-watt Mesa/Boogie Triple Rectifier. That’s another great amp that pairs up really well with the Marshall.”
A vintage Marshall amp with a pedal in front is as classic as it gets. What kind of overdrives do you tend to rely on, on your pedalboard?
“I’m a big fan of the yellow Boss SD-1. Mine is the classic version, though I might invest in the Waza Craft one at some point. Frequency-wise, they do something very special. The character of the distortion is very nice. I find some overdrive pedals don’t have a particularly nice sound, but this one just has this midrange warmth. I guess it’s a very classic circuit that’s been copied to death.
“I also like how it takes a little bit of the bass out – when you’re palm-muting on a Marshall, things can get pretty muddy. For our kind of ’80s hard rock, you want a bit less bass and a bit more clarity. I also like the Revv G3 distortion, it’s another one that works super well in front of my Marshall. Chorus is important for our sound, so I’ve used one of the blue Boss pedals for that in the past.”
You mainly seem to be using Kramer guitars these days. What made you switch from Les Pauls?
“The new album is 90 percent Kramer, I would say. I grew up obsessed with the ’80s, which is obvious from our music. It’s a strange obsession, but I just love everything about the ’80s, from art and film to music and design.
“And I think Kramers are the peak of ’80s innovation. It’s the pinnacle of guitar building from that period, at least in my eyes. That’s what caught my interest. I’m in love with the brand and the whole history behind it. So around six years ago, I stopped playing Les Pauls and started collecting vintage Kramers.”
Well, they were good enough for Edward Van Halen…
“Exactly. I guess he was the one who helped turn them into such a global brand. At one point they were the biggest guitar company in the world. Can you imagine Kramer being more successful than Fender and Gibson?
“It sounds crazy, but Eddie made that happen. It’s quite an interesting story, I think, how a company can go from nothing to on top of the world and then just fade out. I think Eddie had the same kind of effect on Peavey amps. Whatever he touched became valid; people realized it was good gear because he made it sound phenomenal.
“Now Gibson owns Kramer, but in my eyes it’s not really the same thing. I have one Kramer from the Gibson factory, but it’s a 1985 reissue from 2005 that’s American-made. It’s solid maple, so it’s too heavy for me to use live.”
We’ve seen you playing a Strat copy made by FranFret Guitars in Spain. How did you hear about the company?
“It’s a small business, just one luthier [Francisco Rodríguez] building everything in his own custom shop, basically. He ended up sending me this Strat-style guitar that I’ve been using quite a bit at home. It’s a really good instrument and I’ve actually used it on some of our tracks.
“There are a lot of great companies making Strat copies out there, but this one felt like a cut above the rest. And it’s in one of my favorite finishes, Olympic White, which for me is up there with Fiesta Red. I just love Strats.
“There’s something about that single-coil sound. I grew up with that kind of tone and it’s very hard to get that from another style of guitar. Strats have this very special sound and feel – they make me play a certain way.”
Do you own many Fenders, then?
“I don’t really collect them. I have a couple lying around – there’s an old Road Worn Strat, made in Mexico, which I upgraded with DiMarzio HS-3 pickups. It’s the old Yngwie Malmsteen set; I’d probably say they are my favorite pickups of all-time.
“In my house, you will find a lot of parts just lying around: a neck here, a body there, loaded pickguards, and so on. I like collecting different parts and then building them into something unique. It’s fun to have a never-ending project that’s always going.”
What else felt new for you on this latest album?
Recording guitars can be pretty time-consuming. Having your own studio means you don’t stress about it as much. You can take as long as you want
“Apart from the drums, everything was done in our own studio. Which was nice because we got to make all the decisions, from what mics to use and what cabinets to use them on. We could choose how many overdubs were needed and that brought this creative freedom that we all ended up loving.
“Recording guitars can be pretty time-consuming. Having your own studio means you don’t stress about it as much. You can take as long as you want and not be too bothered about how much it costs. And less stress means better performances. As a result, my playing is a little different on this album.”
In what sense?
“If you compare it with our other recordings, I feel like there’s more focus on the melodies. Before this point, I would play and play and play, until I found the right angle to build on.
“On this album, I went in having composed my solos and melodies. I was less worried about showing off or playing fast. There’s a maturity in my playing that wasn’t there before. I’m playing what fits the song best and that kind of focus only comes as you get older.”
