Still, the natural blonde poly finish is beautiful and marks a lovely visual link between the first blackguard Telecaster and this more deconstructed variation on the form. As a consequence, the grain in the two sections that make up our review guitar are less than ideally matched. Because boring beetles have endangered ash trees, visually perfect specimens of the wood are in short supply these days. On the new American Vintage II version, the ash body is fashioned from two solid sections of ash glued together at the guitar’s center line. To create the lighter, semi-hollow Thinline, Rossmeisl adopted the construction technique he developed for Rickenbacker: routing acoustic chambers from a solid section of ash, and then capping the back of the guitar with a thinner section of wood. ![]() The first Telecaster Thinline, which appeared in 1969, was hatched from the mind by Roger Rossmeisl, who famously designed Rickenbacker’s 300 series guitars, among others, before moving to Fender and conceiving the Coronado, Montego, and the company’s mid-’60s acoustic line. Pickups were not the only deviation from design norms that distinguished the ’72 Thinline. However, "Fire This Time," off Interiors, has the low E string dropped to A, creating unison between the neck-top two strings-something he absorbed after seeing Baroness in concert. Typically, all of Walter's guitars take Ernie Ball Slinkys (.010–.046) and he usually lives in standard or drop-D tunings. He's had the guitar for nearly 10 years, and beyond Quicksand he's used it in the studio for Dead Heavens and Vanishing Life. "Another cool thing about the Harmony is, even though I'm not a lead player, it's really comfortable and easy for me to get around the fretboard and sound like I'm doing something," admits Schreifels. While speaking with PG in 2018, he mentioned that the above mid-'60s Harmony and a Fender Kurt Cobain Jag were the heavy hitters for 2017's Interiors, but the forthcoming Distant Populations saw it paired with a Fender Player Lead III (which we'll meet in a minute). "The gold-foils in this Harmony Holiday Bobkat have a muddy, spooky, ghostly quality that really complements and fills out around the Fenders I typically use in the studio and onstage," says Schreifels. Yet they still influenced the Deftones (where Sergio now splits time playing bass), Thursday, Glassjaw, At the Drive-In, Torche, and many others. But as quickly as they rose, the band dissolved into the time capsule of N.Y.C.'s once-rich alternative music scene. Then the quartet moved to Island to release 1995's Manic Compression, an album unrelenting as a sledgehammer. ![]() (It even landed in Decibel's Hall of Fame.) Both recordings are equally abrasive and melodic. ![]() A self-titled four-song EP scored them a major-label deal with Polydor, where they released the seminal 1993 classic Slip. The Quicksand quartet rose from the ashes of New York City's late '80s hardcore scene, featuring guitarist/singer Schreifels (Gorilla Biscuits and Youth of Today), Vega (Absolution and Carnage), Capone (Beyond and Bold), and drummer Alan Cage (who was in Burn with Capone, and Beyond). "Both our bassist Sergio Vega and other guitarist Tom Capone were adding in pedals, so I earthed the band playing the straight man and opted for the more direct tone." "Originally in Quicksand, my background was coming into music through a straightforward hardcore perspective, so I took on that simplified aesthetic, similar to Fugazi," says Schreifels.
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