in Feeds “A musician serves an intention, a continuum, a storytelling… You need to be listening carefully to what you play”: The quintessentially French, impossibility brilliant Pierre Bensusan on the freedom of DADGAD and unpredictable magic of performance
in Feeds “The artists that are against it, you’ve got to be careful because it’s going to come and swallow you like the boogie monster at night”: Empire Of The Sun’s Luke Steele says “of course” he uses AI
in Feeds “I didn’t mean to break up my bass, but we don’t play music to get full cans of soda thrown at us”: Pearl Jam’s Jeff Ament recalls the wild night that brought his custom “NBA” bass to a brutal end
in Feeds “There’s a subtle slickness to what we do. We love session guys and have respect for Toto and the Wrecking Crew”: Meet Robert Jon and the Wreck, the rock fanatics who sound like they rolled out of Georgia in ’82
in Feeds “He’s not a great keyboard player, he doesn’t write great songs. His engineering and technical abilities are limited too. In fact, he knows very little about an awful lot”: The Edge on Brian Eno and how he influenced his own “limited” guitar style
in Feeds “We left the track and went back out on the road. Two weeks later I hear it on the radio. I said, ‘No, that was just a demo!’ They said, ‘No, it’s a hit’”: Why Keith Richards never wanted anyone to hear his Satisfaction guitar riff
in Feeds Ever lost a great idea because you forgot to hit record? GhostTape is here to make sure that never happens again
in Feeds “When Kraftwerk became an institution we stopped being contemporary. Instead we became salesmen of nostalgia”: Karl Bartos reflects on the end of Kraftwerk’s golden era
in Feeds “Steven started singing, ‘Cruisin’ for the ladies.’ I said, ‘That’s really bad. I don’t think Van Halen would put that on the B-side of their worst record’”: When Aerosmith got schooled by hit songwriter Desmond Child
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