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The Aristocrats Announce North American “Defrost” 2022 Summer Tour

The ten-week, 50-show run will mark their first live performances since the FREEZE! Live In Europe 2020

The Aristocrats, (guitarist Guthrie Govan, bassist Bryan Beller and drummer Marco Minnemann) will make their long-awaited return to the stages of North America this summer, for the DEFROST tour. The ten-week, 50-show run will mark their first live performances since the FREEZE! Live In Europe 2020 album was captured, more than two years ago. Audiences starved for some trademark Aristocratic musical mayhem will be treated to a debut of select new material not yet released on any album, as well as a carefully curated collection of fan favorites and deep cuts.

The ultra-power-trio issued a joint statement to mark the occasion: “We’re beyond thrilled to get back out there and do what we do best – playing together, live and loud, in the same room – for our amazing fans who’ve been so generous with their support of what we do as a band. Even though modern technology is great, we wanted to wait until we were physically together before playing any new material, because that’s just how we do it. That’s finally going to happen right before we head out on the road, so it will be really fresh and exciting. We can’t wait!”

In addition to The Aristocrats’ return to the live stage, the band will soon share news of a collaboration project one year in the making, which is slated for release in the spring. More details will follow on this project soon.

Over the past ten years The Aristocrats have released critically acclaimed albums, toured the world, and established themselves as one of the most musically original, refreshingly irreverent, and astoundingly entertaining instrumental rock-fusion acts on the planet. Anyone who’s witnessed their live musical high-wire act – employing random amounts of rock, jazz, pop, metal, and even traditional country – can attest that it is informed by the spirit of a true band, one whose improvisational soul allows for anything to happen onstage at any moment…including the occasional wink and nod at the audience. 

The Aristocrats DEFROST North American Tour

July 1, 2022 Alvas Showroom San Pedro, CA July 2, 2022 Alvas Showroom San Pedro, CA July 3, 2022 Ramona Main Stage Ramona (San Diego), CA July 6, 2022 The Mob Mexicali, MX July 7, 2022 Rhythm Room Phoenix, AZ July 8, 2022 Club Congress Tucson, AZ July 9, 2022 Rockhouse Bar & Grill El Paso, TX July 10, 2022 Launchpad Albuquerque, NM July 13, 2022 The Parish Austin, TX July 14, 2022 Guitar Sanctuary McKinney, TX July 15, 2022 Guitar Sanctuary McKinney, TX July 16, 2022 Scout Bar Houston, TX July 18, 2022 Southport Music Hall New Orleans, LA July 20, 2022 Jack Rabbits Jacksonville, FL July 21, 2022 Will’s Pub Orlando, FL July 22, 2022 Boca Black Box Boca Raton, FL July 23, 2022 The Brass Mug Tampa, FL July 26, 2022 Aisle 5 Atlanta, GA July 27, 2022 City Winery Nashville, TN July 28, 2022 Isis Music Hall Asheville, NC July 29, 2022 Neighborhood Theatre Charlotte, NC July 30, 2022 The Pour House Raleigh, NC August 1, 2022 Rams Head On Stage Annapolis, MD August 2, 2022 Sellersville Theater Sellersville, PA August 3, 2022 Gramercy Theatre New York City, NY August 9, 2022 The Middle East Boston, MA August 11, 2022 Imperial Bell Quebec City, QC August 12, 2022 Café Campus Montreal, QC August 13, 2022 Café Campus Montreal, QC August 14, 2022 Opera House Toronto, ON August 16, 2022 This Is Red Pittsburgh, PA August 17, 2022 Beachland Ballroom Cleveland, OH August 18, 2022 The Magic Bag Detroit, MI August 19, 2022 Irving Theater Indianapolis, IN August 20, 2022 Reggie’s Chicago, IL August 22, 2022 Amsterdam Bar And Hall St, Paul, MN August 23, 2022 xBk Live Des Moines, IA August 24, 2022 RecordBar Kansas City, MO August 26, 2022 The Black Sheep Colorado Springs, CO August 27, 2022 Marquis Theater Denver, CO August 28, 2022 Mesa Theater Grand Junction, CO August 29, 2022 Urban Lounge Salt Lake City, UT August 30, 2022 The Shredder Boise, ID September 1, 2022 Rickshaw Theatre Vancouver, BC September 2, 2022 Neumos Seattle, WA September 3, 2022 Star Theater Portland, OR September 4, 2022 Sessions Music Hall Eugene, OR September 6, 2022 Harlow’s Sacramento, CA September 8, 2022 1720 Los Angeles, CA   September 9, 2022 Great American Music Hall San Francisco, CA 

Full details for all shows, including ticket links as they become available, can be found on the Aristocrats website at: http://the-aristocrats-band.com/shows/

Website: http://the-aristocrats-band.com/

Facebook: https://www.facebook.com/aristocratsband

Twitter: https://twitter.com/acratsband

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The Aristocrats

Guthrie govan | marco minnemann | bryan beller.

(For album artwork, press releases, and more promo downloadables ,   click here .)

THE ARISTOCRATS – SHORT BIO

“More fun than fusion has any right to be.” – Rhythm Magazine (UK)

Over the past 12 years, The Aristocrats – guitarist  Guthrie Govan  (Steven Wilson, Hans Zimmer, Asia/GPS), bassist  Bryan Beller (Joe Satriani, Steve Vai, Dethklok), and drummer  Marco Minnemann  (Steven Wilson, Joe Satriani, Steve Hackett) – have established themselves as one of the most musically original, refreshingly irreverent, and astoundingly entertaining instrumental rock-fusion acts on the planet. Anyone who’s witnessed their live musical high-wire act – employing random amounts of rock, jazz, pop, metal, country, and anything in between – feels the spirit of a true band, one whose improvisational soul allows for anything to happen onstage at any moment…including the occasional Frank Zappa-influenced wink and nod at the audience.

The buzz from their supposedly one-off debut gig at the Anaheim NAMM show in 2011 led to The Aristocrats self-titled debut album. Tracked in just eight days, The Aristocrats  [2011] was hailed as an instant classic in leading music publications worldwide, appearing on many of that year’s top ten lists. The Aristocrats then proceeded to make three more critically acclaimed studio albums over the next decade, two of which landed in the Billboard Top 10 Jazz Chart. (Jazz? Ok, sure.) Four world tours and three live albums later, the band is known on five continents as a must-see whirlwind musical experience.

In the midst of breaking the lockdown seal with their worldwide 2022/2023 DEFROST TOUR, the band produced their fifth and most ambitious studio work to date – a concept album. Duck is the story of a web-footed Antarctic island native fleeing a penguin policeman all the way to New York City…where considerable misadventure and danger await. The new album releases on February 16, 2024, coinciding with the DUCKLING tour, a series of five select USA west coast dates to celebrate the occasion. Duck takes The Aristocrats’ collective artistry to a whole new mindblowing – albeit ridiculous – level. More touring is sure to follow.

The Aristocrats: Instrumental Rock/Fusion’s “Rowdy New Democracy”

Over the past ten years The Aristocrats have released critically acclaimed albums, toured the world, and established themselves as one of the most musically original, refreshingly irreverent, and astoundingly entertaining instrumental rock-fusion acts on the planet. Anyone who’s witnessed their live musical high-wire act – employing random amounts of rock, jazz, pop, metal, country, and everything in between – can attest that it is informed by the spirit of a true band, one whose improvisational soul allows for anything to happen onstage at any moment…including the occasional Frank-Zappa-influenced wink and nod at the audience.

Let’s get the requisite individual credentials out of the way:

* Guthrie Govan is arguably the hottest guitarist on the international music scene today, and his 2006 solo album Erotic Cakes was widely recognized as an instant classic. His top-level touring experience (Asia/GPS, Steven Wilson, Hans Zimmer) complements his busy schedule as one the most in-demand guitar clinician/educators in the world. Guthrie was featured on the cover of Guitar Player Magazine in July of 2011 and Guitar World Magazine in April 2015.

* Bryan Beller ’s numerous credits include guitarists Steve Vai, Joe Satriani, Mike Keneally (Frank Zappa), and the hugely popular metal “band” Dethklok, borne of the Adult Swim (U.S.) animated series Metalocalypse . His solo artist catalog includes three studio albums (including 2019’s rave-reviewed progressive double concept album Scenes From The Flood ), two DVD’s, an instructional DVD for Alfred Publishing, and he was featured on the cover of Bass Player Magazine in October of 2012.

* Marco Minnemann is widely seen by fans and peers as one of the most gifted, innovative, cutting-edge drummers in the world. He’s graced the covers of several drum magazines (including Modern Drummer ) and enjoys an ultra-versatile sideman career (Adrian Belew, UKZ, Steven Wilson, Joe Satriani, Necrophagist, Steve Hackett). Marco is also a multi-instrumentalist and compulsively productive composer with over twenty CD & DVD solo releases to date, including two albums with his most recent collaboration McStine & Minnemann .

* * * * * * * * Despite their individual followings, The Aristocrats ’ formation was a matter of happenstance on a barely-paying gig. Beller and Minnemann had a trio slot scheduled at the Winter NAMM show in Anaheim, CA in January of 2011, and their guitarist was a late dropout. Govan was a last-minute replacement who they met for the first time in rehearsal, the night before the show. The electricity was immediately obvious, with their unbeknownst-to-them shared influences infusing a high-energy instrumental fusion with an aggressive, playful, even cheeky edge. The audience response was overwhelming, and the band formed practically by demand on the spot. “The chemistry was so great,” recalls Govan, “that when we came offstage we all said to each other, ‘This is working. We should record this.’”

Three months later, the band convened in person – eschewing the usual remote file sharing method in favor of actual live band chemistry – to track the album. Consisting of nine tracks (three contributions from each member), the material was a melting pot of their respective influences, ranging from the seminal ’70s jazz-rock fusion of Return To Forever and Mahavishnu Orchestra, to the progressive rock of King Crimson and UK, to guitar heroes like Steve Vai and Joe Satriani, to the absurdly complex and satirical music of Frank Zappa and Mike Keneally, and even to ’90s groove metal like Rage Against The Machine.

The ever-mischievous Minnemann’s song titles – such as “Boing!…I’m In The Back” (borne from a publicly indescribable incident in Russia) and “Blues Fuckers” (in which a typical blues form is violated in every way imaginable) – along with Beller’s “Sweaty Knockers,” prompted Govan to wonder if the band shouldn’t be named The Aristocrats, after the infamous dirty joke and movie of the same name. It stuck, and The Aristocrats were born.

Tracked in just eight days, The Aristocrats [BOING, 2011] was hailed as an instant classic in leading music publications worldwide, appearing on many of that year’s top ten lists. Guthrie Govan suddenly found himself on guitar magazine covers across the globe. Music schools in particular felt the impact, as a wave of students took to covering Aristocrats tunes much in the same way Steve Vai’s Passion And Warfare inspired players a generation ago. In less than a year, The Aristocrats went from doing a single pickup gig to becoming one of the most sought-after live instrumental rock/fusion acts in the world.

The next 18 months saw the band successfully tour both coasts and the Midwest/mid-south of America, eastern Canada, the U.K., Benelux, France, Spain, Sweden, Italy, Germany, Poland, Croatia, Turkey, Greece, Israel, Korea, and Japan. The band’s live energy and otherworldly chemistry was captured on the DVD/2CD release BOING, We’ll Do It Live! The Aristocrats At Alvas Showroom [BOING, 2012] .

In 2013, the band released their long-awaited sophomore album, Culture Clash , whose title is an allusion to the multi-national makeup of the band (Govan is British; Beller is American; Minnemann is German), as well as a sly reference to a scene from the Coen-brothers film A Serious Man . They used the same formula – three songs from each band member – but weaponized it with the collective experience of eighteen months of touring as a unit. The resulting material became more aggressive, adventurous, and intense, embodying a refusal to rest on the laurels of the debut album’s surprise success. Culture Clash debuted on the Billboard Contemporary Jazz Chart at #8 …though no one would immediately classify the band as jazz. (They’re having way too much fun for that!)

Another more ambitious 109-date world tour followed, bringing the band across the entire U.S., to Europe, and this time to all of Asia. Some of the more exotic tour stops included Vietnam, Thailand, and Iceland. The around-the-world madness was documented on the live CD/DVD Culture Clash Live , which was released in early 2015. The universally positive reviews reflected the accurate capturing of the band’s madcap live show, with equal parts virtuosity and absurdity. One particularly perceptive UK reviewer (Echoes And Dust) noted it as follows: “There is so much good humour infused in every bar that every track is a delight, a charging rhino in a pink tutu.”

* * * * * * * *

Fresh off the wildly successful Culture Clash world tour, The Aristocrats proceeded to rewrite their own rules for their third studio album, Tres Caballeros , which was released in late June of 2015. After two fairly raw trio albums, the band set up camp in February of 2015 at legendary Sunset Sound studios in Hollywood, CA, where Led Zeppelin, The Rolling Stones and Van Halen all recorded landmark albums. The result: Nine new compositions of greater sonic depth and breadth than ever before, with unique textures and lush layering augmenting the band’s preternatural ability to improvise both individually and as a group at the highest levels possible. But not to worry – it was all still tempered with a steadfast refusal to take themselves too seriously, and The Aristocrats were still having more fun than a fusion band has any right to have.

“We’d learned a lot since we started this band and I think this particular offering reflected this in all kinds of ways,” says guitarist Guthrie Govan. “The decision to road-test the material in front of a live audience before commencing the recording process; the choice to record in a studio which had some thoroughly inspiring rock’n’roll “mojo”; our sudden urge to become more bold and experimental with overdubs rather than feeling any pressure to record exclusively in a strict “trio” format… all of this had some kind of positive effect on the way the new record came out. Plus, I think the material on this album is some of the most interesting stuff we’ve ever written for each other, so…here’s hoping our noble listeners liked the finished product as much as we did!”

The Tres Caballeros world tour began in summer 2015 with an 8-week stint across North America, followed by a winter European leg, a short landmark stint as the third “G” in a G3 tour with Steve Vai and Joe Satriani (the first time any “band” became a “G” on that bill), and tour dates in 2016 throughout Asia, Australia and South America.

After a brief European tour in 2018, the following year saw The Aristocrats record their most ambitious and exploratory album to date. Their fourth album,  You Know What…?  [BOING, 2019] was recorded at Brotheryn Studios in bucolic Ojai, CA. The band found themselves rejuvenated by their short break, and dove deeper than ever into new sounds and richer songwriting to produce their deepest, most diverse work yet. From the filthy, greasy rock of “D Grade F*ck Movie Jam” and “Terrible Lizard”, to the quirky anything-goes madness of “Spiritus Cactus” and “Spanish Eddie”, to the lavishly arranged “Burial At Sea” and “When We All Come Together”, and to the timeless melodies of “All Said And Done” and Last Orders”,  You Know What…?  was an album full of addictive grooves, high energy jamming and seemingly impossible musical twists and turns.

In a stroke of calendar luck, the band was able to complete another successful tour of both North America and Europe, the latter of which concluded on March 6, 2020, just five days before trans-Atlantic flights were shut down and the COVID lockdown began. Just three weeks before then, the band was peaking and played some of their best shows of the tour. These shows were captured to become the source for the band’s third live album , FREEZE! Live In Europe 2020  [BOING, 2021]. Leaning hard on the You Know What…? material, it was a way to remind fans around the world just how electrifying the band would be when live shows were once again possible.

The band also marked the lockdown era with another creative first: The orchestral collaboration project  The Aristocrats With Primuz Chamber Orchestra [BOING, 2022]. The album reveals a lush and lavish musical reimagination and sonic reinvention of compositions from throughout the band’s storied catalog.

“This project began when we randomly stumbled upon a YouTube video of Poland’s Primuz Chamber Orchestra performing one of our songs, as reimagined by composer/arranger Wojtek Lemański,” the band says in a unified statement. “Their flawless execution of a highly challenging arrangement (which was startlingly inventive and yet remained entirely faithful to the spirit of the original composition!) inspired us to reach out and propose a collaboration.”

The complete work comprises nine trio performances taken from the band’s previous studio albums, remixed from the ground up by award-winning engineer Forrester Savell and utterly transformed and reinvented by the orchestra’s stirring rendition of Wojtek Lemański’s string arrangements.

But the spirit of The Aristocrats has always been as a live band, and they couldn’t wait to get back out on the road. When regular touring resumed in the summer of 2022, they kicked off another year-long worldwide jaunt, The DEFROST tour. Their triumphant return to over a hundred stages across North America, Asia and Europe showed the band was hungrier than ever. Their fans were even hungrier, marking the tour with some of the group’s biggest shows to date.

Being able to travel and gather once again also meant they could resume their studio mission as well – because the band has always believed in gathering and collaborating in person to make albums. So four years after You Know What , and in the midst of the DEFROST tour, the band began work on their most ambitious studio project to date: a concept album . Duck is the story of a web-footed Antarctic island native fleeing a penguin policeman all the way to New York City…where considerable misadventure and danger await. The new album releases on February 16, 2024, coinciding with the DUCKLING tour, a series of five select USA west coast dates to celebrate the occasion. Duck takes The Aristocrats’ collective artistry to a whole new mindblowing – albeit ridiculous – level. More touring is sure to follow.

The key thing to remember is that The Aristocrats are a true band. Whether it’s about the music, the touring plans, the record artwork and sequence, the business decisions, or what have you, everyone has an equal say. Perhaps Guthrie said it best when he used the phrase “a rowdy democracy of musicianship.”

It’s not just fusion. It’s not just shredding. It’s not even meant to be taken seriously at times. It’s just the sound of three guys who did a single pickup gig and suddenly discovered they had something musically deep going on together…along with a propensity for employing R-rated song titles.

So what do you call an act like that?

The Aristocrats.

Additional Aristocrats Publicity Materials

*Click here for The Aristocrats short bio or The Aristocrats extended bio in PDF format

* Click here for a press release on The Aristocrats fifth studio album DUCK

* Click here for hi-res cover art of The Aristocrats’ fifth studio album DUCK

* Click here for a press release on The Aristocrats’ orchestral collaboration  The Aristocrats With Primuz Chamber Orchestra

* Click here for hi-res cover art of The Aristocrats’ orchestral collaboration  The Aristocrats With Primuz Chamber Orchestra

* Click here for a press release on The Aristocrats’ third live album FREEZE! Live In Europe 2020

* Click here for hi-res cover art of The Aristocrats’ third live album FREEZE! Live In Europe 2020

*  Click here for a one-sheet on The Aristocrats’ fourth studio album  You Know What…?

*  Click here for hi-res cover art of The Aristocrats’ fourth studio album  You Know What…?

* Click here for a one-sheet on The Aristocrats’ third studio album  Tres Caballeros

* Click here for hi-res cover art of The Aristocrats third studio album  Tres Caballeros

* Click here for a one-sheet on The Aristocrats’ second live album  Culture Clash Live

* Click here for hi-res cover art of The Aristocrats’ second live album  Culture Clash Live

* Click here for a one-sheet on The Aristocrats’ live “official bootleg” album  Secret Show: Live In Osaka

* Click here for hi-res cover art of The Aristocrats’ live “official bootleg” album  Secret Show: Live In Osaka

* Click here for a one-sheet on The Aristocrats second studio album  Culture Clash

*  Click here for hi-res cover art of The Aristocrats second studio album  Culture Clash

* Click here for a one-sheet on The Aristocrats live CD/DVD release BOING, We’ll Do It Live! The Aristocrats At Alvas Showroom

* Click here for hi-res cover art of the  BOING, We’ll Do It Live  Deluxe Edition DVD+2CD

* Click here for hi-res cover art of the  BOING, We’ll Do It Live  Regular Edition 2CD

* Click here for hi-res cover art of their debut CD  The Aristocrats  

* Click here for a one-sheet on their debut CD The Aristocrats

* Click here for live shots of The Aristocrats

* Click here for the Tres Caballeros  gig poster, with blank space at bottom for fill-in details

The Aristocrats Publicity Photos

The Aristocrats 2022 publicity photo

The Aristocrats You Know What…? official publicity photo by Manuela Häußler

The Aristocrats 2019 publicity photo by Daniel Work

The Aristocrats “Tres Caballeros” official publicity photo by Mike Mesker

( click here for the hi-res version of the shot above )

The Aristocrats: Culture Clash Live official promo shot – photo by Tore Kersten

Click on any other shot for page with hi-res version

The Aristocrats (L to R: Marco Minnemann [drums], Bryan Beller [bass],Guthrie Govan [guitar]

Official  Culture Clash Promo Shot (pic by Jennifer Young)

The Aristocrats backstage in Sacramento, CA (pic by Jennifer Young)

Live album cover shot, November 2012 (pics by Jessi Ramone, collage by Mike Mesker)

Group shot – November 2012, Legnano, Italy (pic by Paola Curatolo)

The Aristocrats Gear

If you’re interested in the instruments and other musical equipment that we each use, just click here !

Aristocrats Store

JamTrackCentral

Official backing tracks, booking info, upcoming shows.

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More dates…

Guthrie Govan on finding an orchestra as weird as The Aristocrats to rework their material – and how he convinced Hans Zimmer to buy a 9-string

The virtuoso's virtuoso on his supergroup's unexpected orchestral collaboration, and his continued sonic experiments with the legendary composer

The worlds of guitar-based noise and classical music have collided many times over the years, from Metallica’s S&M collaboration with the San Francisco Orchestra and conductor Michael Kamen in 1999 to Kiss recruiting the Melbourne Symphony Orchestra in 2003 for Kiss Alive IV and, more recently, Opeth teaming up with the Plovdiv Philharmonic Orchestra in 2015.

All of these recordings were able to demonstrate how new layers of classical sophistication could further embellish the fiery fretwork fans were already familiar with, yielding some truly staggering results. For The Aristocrats’ latest live release with the Primuz Chamber Orchestra, however, it all ended up happening under more unusual and extraordinary circumstances...

“It’s slightly aside from the other rock band plus orchestra projects I can think of,” explains guitarist Guthrie Govan, who formed the genre-hopping instrumental trio with bassist Bryan Beller and drummer Marco Minnemann in 2011, and recently launched his new Charvel MJ San Dimas SD24 CM .

“Normally, the recipe would be you’re a rock band and want to do something a bit more bombastic and expensive-sounding, so you look for an orchestra to play live with. But this is an example of the orchestra finding us!”

The group had been made aware of an arrangement of their song Culture Clash by Wojciech Lemański thanks to a live performance by the Primuz Chamber Orchestra that had been filmed and uploaded onto YouTube back in 2020. The footage made them start to wonder what a collaboration across tracks from their four studio albums would sound like. And so the seed was planted…

“We were thinking, ‘Wow, of all the bands they could have chosen to zoom in on, they somehow found us!’” continues Govan, speaking in between a run of arena dates with Hans Zimmer’s group and more intimate appearances with virtuoso pianist Tomasz Bura and his own Chelmsford jam band, The Fellowship.

Clearly it was meant to be… because this is no normal orchestra; they’re obviously just as weird as we are!

“It’s a completely different field of musical endeavor and yet there they were listening to one of our songs, deciding it warranted a full arrangement to be performed live. Clearly it was meant to be… because this is no normal orchestra; they’re obviously just as weird as we are!

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“We also liked the fact they were a really young and fiery, playing like they meant it rather than just decoding the pages in front of them,” he continues. “There was a passion in how they played. The arranger is insane, in all of the best possible ways. Some of the ideas he brought to this project were very out there and very much fit in with our whole musical worldview. It was a fortuitous meeting of minds!”

We have to say, the guitar player in the footage – Jacek Królik – did an incredible job in keeping up with your devilish runs.

“Yes, he’s great. I actually discovered him many years ago when we were gigging in Poland. We were having lunch in one of these traditional Polish roadside restaurant places and they were playing suitably traditional music. And this crazy pop fusion came on, I think it was a band called Brathanki – this really fun pop but everyone could really play. They had weird time signatures and crazy changes and stuff like that. I later discovered it was the same guitar player, so that’s another strange link behind the scenes!”

How did you go about choosing the right Aristocrats tracks to collaborate on – were there any obvious choices and others that were perhaps less so?

“Well, we’ve been a democracy from the very start with this band. So we decided to be an even bigger democracy, each making our own list of songs we’d like to hear with strings and also inviting Wojciech to come up with his own bucket list of songs that he’d like to arrange. 

“A lot of it overlapped, some of it didn’t. So we just looked at the Venn diagram and saw about 15 tunes in the middle that we all agreed would work well as this band-plus-strings combo. Then we ping-ponged a lot of video arrangements – once we heard some of the ideas, we had a little more to work with. Rather than just choosing the song we thought we wanted to hear with strings, we choose the songs that illustrated this combination working well.”

As a collection of pre-existing songs, it flows very well...

I’m too biased to know how this album will sound to the rest of the world, but I love it. The experiment worked better than we deserved!

“I guess the other thing we bore in mind was how to sustain interest across a whole album to avoid listeners getting to track four or five and thinking, ‘OK, I get it, cute gimmick, what else have you got?’

“We wanted to cover a broad spectrum of flavors. Hopefully we achieved that, every one of the songs bringing out a different side of the orchestra. I’m too biased to know how this album will sound to the rest of the world, but I love it. The experiment worked better than we deserved!”

Was there any temptation to do this as a live release, as was the case with S&M and Kiss Symphony ?

“Obviously there was a lockdown going on. It’s not like two American citizens and one UK citizen could fly over to Poland to jam with this orchestra.

“We thought if we stuck with the studio performances, not only are they the versions our fans are most familiar with, there’s a lot of stuff we played on the originals that was totally spontaneous and a product of us interacting and trying to throw ideas and surprise each other.

“But when you send a recording like that to Wojciech or any arranger like that, they have the option of taking those improvised parts and treating them as if they were completely composed.”

Which ones do you mean, exactly?

“The end of Last Orders springs to mind as a good example. We’re just a band in a room going for it and having fun, because we assume the song is going to fade out and what we played could only have happened once.

“But then Wojciech gets his hands on it and thinks, ‘Oh, that’s a triplet displacement there which will sound great with all the strings joining in!’ And suddenly it becomes this composed thing, even though it wasn’t when we first played it. I love that meeting of real-time and slow, deliberate composition coming together.”

Stupid 7 feels like one of the most radical departures from the original version...

“It ended up being one of the orchestra’s favorite tracks because that arrangement is preposterously unplayable with crazy time signatures, manic tempos and a bunch of impossible notes. They really threw themselves into it, and I know for a fact they were proud of the fact they survived that session! 

“Also, bonus points for the end where we made a special request. The last chords in the song are deliberately ugly and horrific so we said, ‘We know you’re all classically trained, but could we persuade you to play them out of tune to make them even more disgusting?’ And they were completely into the idea, so that’s what you hear!”

The Ballad of Bonnie and Clyde has a new extended intro. It’s become a fan favorite since the original release – mainly because it’s incredibly musical, but also perhaps because it’s on the easier side of The Aristocrats’ catalog...

“I’ve met a fair number of people who have singled that song out and many of them have used the word ‘cinematic’, which is a reasonable summary of its vibe. Bryan wrote that song and it was him trying to conjure up the soundtrack to a very vivid chapter in his life. All the way through the compositional process, he was trying to tell this story.

People might assume our mission statement is to play confusing and impossible music at all times. But actually we prioritize things and try to tell a story that means something with each song

“It’s cool how it all came across. I know people might look at the lineup of this band and assume our mission statement is to play confusing and impossible music at all times. But actually we prioritize things and try to tell a story that means something with each song. If we get to be naughty and play preposterous things over the top, so be it. But we do care about the compositional side of it all.”

Jack’s Back is another one that lent itself well to the orchestral treatment, with plenty of big gaps in the opening motif for mischievous film score melodies...

“It’s always wrong to pick a favorite child, but I do have a special soft spot for that one. I remember writing it. I’d just come back home after a long spell on the road with Hans Zimmer.

“Every night I was hearing an enormous rock band and an enormous orchestra. Then I got home and realized I had to write some Aristocrats songs. It can be really challenging changing your sense of scale, going from all the musicians in the world to just three musicians who need to be able to replicate everything live.

“I remember trying to condense all the ideas for that song into something that could be performed by three humans. Sending that to Wojciech and hearing him flesh it out and fill in the gaps, without him knowing what I’d initially imagined, was really special. Because there’s a lot of stuff I was thinking and he guessed it and put it in there.

“Then he took the ball and ran further with it, adding lots of other stuff in the same spirit that I'd never have been able to come up with. So I’m really happy with how it turned out.”

Speaking of Hans Zimmer, were there any new challenges on this latest tour? 

“In terms of the setlist, it was a whole new set. I seem to have more to do than I did on previous tours, and of course I welcome that.

“The main challenge was the Covid thing. The people who’d organized and invested in the tour said we all have to stay in a bubble. And it was a bigger bubble than most bands would muster, because there were so many crew members, the orchestra, all the people in the band and more.

“It was essentially a spaceship and we all had to stay on the spaceship in a desperate bid not to get sick. And of course some people did get sick, anyway.

Every night of the tour there was this grim specter hovering over us, making us wonder how long it would be until we were shut down

“Every night of the tour there was this grim specter hovering over us, making us wonder how long it would be until we were shut down, how long could we maintain this streak of luck.

“Miraculously, we made it the whole way through the tour. Quite a few people caught the plague, but nobody caught it horrifically badly. Every time someone did get infected, they had to quarantine and other people in the band would have to try and cover for them.

“It was a pretty intense experience, so you can imagine the sense of triumph at the end was all the greater because not only had we come back from the grim silence of the preceding couple of years, but we’d also prevailed over something.”

Is the Strandberg eight-string still in the set?

“Yes, it’s still being used. Any time The Dark Knight stuff is involved, I feel like I have to be playing a black guitar with eight strings.

“Hans loves it. The first time he found out an eight-string even existed was when I turned up to rehearsals for the first tour. As soon as he knew that was possible, he had to go one better. So the next time I saw him, he’d bought a nine-string guitar.

“He’s very much a ‘Wagner with electricity’ kind of guy… more is definitely more in Hans Zimmer’s vision of how things should be!”

• The Aristocrats With Primuz Chamber Orchestra is out now.

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Amit has been writing for titles like  Total Guitar ,  MusicRadar  and  Guitar World  for over a decade and counts Richie Kotzen, Guthrie Govan and Jeff Beck among his primary influences as a guitar player. He's worked for magazines like  Kerrang! ,  Metal Hammer ,  Classic Rock ,  Prog ,  Record Collector ,  Planet Rock ,  Rhythm  and  Bass Player , as well as newspapers like  Metro  and  The Independent , interviewing everyone from Ozzy Osbourne and Lemmy to Slash and Jimmy Page, and once even traded solos with a member of Slayer on a track released internationally. As a session guitarist, he's played alongside members of Judas Priest and Uriah Heep in London ensemble Metalworks, as well as handled lead guitars for legends like Glen Matlock (Sex Pistols, The Faces) and Stu Hamm (Steve Vai, Joe Satriani, G3).

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Guthrie Govan tour dates 2024

Guthrie Govan is currently touring across 1 country and has 1 upcoming concert.

The final concert of the tour will be at Ronnie Scott's Jazz Club in London.

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• May 15, 2022 Setlist

Guthrie Govan Setlist at Twenty One, Southend-on-Sea, England

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Guthrie Govan Gig Timeline

• Jun 08 2019 Guitarfest Chile 2019 Santiago, Chile Add time Add time
• Jun 09 2019 WoMu Bar Quillota, Chile Add time Add time
• May 15 2022 Twenty One This Setlist Southend-on-Sea, England Add time Add time

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Guthrie govan’s captivating collaboration with hans zimmer: exploring unique guitar sounds.

Guthrie Govan, a true guitar virtuoso, has carved a prominent place for himself in the music industry with his exceptional talent and versatile style. Over the course of his extensive career, spanning several decades, he has collaborated with illustrious artists across diverse genres and undertaken remarkable projects. Notably, he has lent his musical prowess to the creation of film scores, including those composed by the legendary Hans Zimmer. In this captivating journey, Guthrie delves into his experiences on tour, sheds light on his pivotal role in crafting extraordinary sounds for Zimmer’s iconic Dune soundtrack, and offers unique insights into his musical world.

Touring with the Aristocrats and Collaborating with Hans Zimmer

Guthrie’s focus over the past decade has primarily been on writing, touring, and recording with the instrumental rock-fusion power trio known as the Aristocrats. Alongside bassist Bryan Beller and drummer Marco Minnemann, Guthrie has captivated audiences worldwide with their exceptional performances. Additionally, he has contributed his exceptional guitar skills to several projects by the acclaimed composer Hans Zimmer. Notably, Guthrie was involved in Zimmer’s Dune soundtrack, which required the creation of unusual sounds and textures. His duties involved not only playing “normal” guitar parts but also using the Fractal Axe-FX III to produce distinctive and captivating sound effects. Furthermore, Guthrie was tasked with approximating string sections using non-orchestral instruments, adding a unique and otherworldly dimension to the score.

From Guitar to Bagpipes: Unconventional Guitar Sounds

In a fascinating turn of events, Guthrie found himself undertaking a rather unusual request from Hans Zimmer for the Dune soundtrack. Hans sent him an audio file and asked him to replicate the melody in the style of “a thousand drunk bagpipers staggering home after the pub.” Although challenging, Guthrie saw it as an opportunity to explore new sonic territories. Using the monophonic synth block on the Fractal, combined with a touch of fuzz, Guthrie stacked up multiple takes while subtly adjusting the EQ for each pass. To add a touch of authenticity, he intentionally created sonic artifacts by momentarily confusing the pitch-tracking module. The end result was a choir of “drunk” guitar approximations that convincingly mimicked the unique sonic properties of bagpipes. Surprisingly, Guthrie initially assumed that the bagpipes in the final soundtrack were real until Hans informed him that it was, in fact, his guitar work that set the tone for the scene.

A Diverse and Acclaimed Career

Guthrie Govan’s musical journey is a testament to his versatility and undeniable talent. Throughout his career, he has ventured into various genres, recording and touring with acts spanning melodic rock, techno, progressive rock, and grime. Guthrie’s exceptional guitar and bass work has graced hit singles by artists such as Gotye, the Sugababes, and Cee Lo Green. His debut solo album, “Erotic Cakes,” released in 2006, received widespread acclaim and high praise from legendary guitarist Joe Satriani. Guthrie’s ability to effortlessly navigate different musical styles while maintaining his distinctive voice as a guitarist has solidified his status as one of the most respected and sought-after musicians in the industry.

In conclusion, Guthrie Govan’s remarkable career showcases his extraordinary talent and unwavering dedication to his craft. From his early achievements as a young guitar prodigy to his collaborations with Hans Zimmer and contributions to the Dune soundtrack, Guthrie continues to push the boundaries of what is possible on the guitar. Whether he’s touring with the Aristocrats or exploring unconventional sounds, Guthrie’s musical prowess knows no limits. With each endeavor, he captivates audiences with his unique approach and leaves an indelible mark on the world of music.

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“There Are Some Bizarre, Nebulous Forces At Work”: Guthrie Govan on Gigging

With a new album in the bag – ‘Freeze: Live in Europe 2020’ – the Aristocrats guitar virtuoso delivers a faithful account of touring his rock-fusion supergroup.

If you’re a gigging musician, or simply one who enjoys live shows, you know that some nights are just better than others. For Aristocrats guitarist Guthrie Govan , a range of variables are involved when it comes to performance.

“Obviously, it’s more inspiring when the venue has great acoustics and quality monitoring,” the British electric guitar virtuoso says. “Also, for me, the ‘cleanness’ of the electrical supply is a surprisingly significant factor. If the venue has a lot of in-house hum, that will be a major distraction whenever I’m using a high-gain tone.

“Then there’s the matter of how alive we musicians feel by the time we actually hit the stage, because a bumpy six-hour van ride on show day can take a toll on a band. On the other hand, great feedback from the crowd acts as a kind of fuel that can sustain us throughout a show, even when we’re heavily jet-lagged.

“But that’s just the obvious stuff,” Govan continues. “There are also some more bizarre, nebulous forces at work. It’s fascinating to listen back to recordings of shows and hear what really happened. It will occasionally transpire that a show that felt like a real struggle actually turned out really well.”

Luckily, in February 2020, just before the pandemic shut the world down, Govan and his bandmates in the Aristocrats – bassist Bryan Beller and drummer Marco Minnemann – thoroughly multitracked a string of shows throughout Spain. The result is Freeze: Live in Europe 2020 (Boing! Music), a collection of live Aristocrats songs that allows you to hear in the highest fidelity those “nebulous forces” at work. Govan took time out to reflect on how one of the world’s most exciting prog-rock bands created one of 2021’s most exciting live instrumental albums.

What were the venues like in Spain where Freeze! was tracked?

As I recall, they were rock clubs. I personally prefer the feel of playing in a rowdy club, rather than a more dignified theater, particularly with the Aristocrats, where the whole concept is about being a rock-fusion band, with the emphasis on “rock.”

It’s easier than ever for bands to digitally repair musical goofs – not that I hear you guys making mistakes – or even re-record parts. How much, if any, editing did you do in post?

We really wanted Freeze! to be a faithful audio account of what happened at those shows, so we kept the cheating to a bare minimum, and we certainly didn’t re-record anything. The tweaks we made were things like level adjustments, or adjusting for the gremlins that invariably appear at live shows – mic stands getting knocked out of place, kick drums wandering to the front of the stage, et cetera.

It certainly helped that we had many versions of each song in our archive after that tour. If we heard a performance that we didn’t like for some reason, it generally made more sense just to look for an alternative version rather than use technology to disguise our musical transgressions.

What was your rig on the Freeze! shows?

My Aristocratic rig is actually very simple. I fly with my Victory V30 MkII head as carry-on luggage, and I tuck a Fractal FX8 – which covers all of my effects needs – in my suitcase. That’s it! My two [signature model Guthrie Govan] Charvels live in an ENKI double case. And wherever we play, I request a 2x12 or 4x12 cabinet fitted with Celestion Vintage 30 speakers.

I also took two of my Red Bear signature picks on that tour – one as “the tour pick” and one as a spare – and you can see that the main tour pick has gotten a little smaller than it used to be, but it’s still eminently usable. Red Bear picks last a very long time and become personalized as you wear them in over the months. Alas, explaining all of that stuff to someone who wants a pick isn’t always practical – especially while you’re onstage, with sign language serving as your only means of communication!

How do you achieve those sustained feedback notes, like at the 3:05 mark on “D Grade Fuck Movie Jam”?

That’s just the Victory head cranked up and doing its thing, with maybe a little clean boost from the FX8. I like to use a lot of gain onstage. It might not sound like much gain, but that’s because I’m using a relatively low-wattage amp, so the power stage gets to work quite hard, which somehow tends to smooth out the potential fizziness of high preamp gain. Proximity to the speaker cabinet is also very important to me. I’m always much happier when the guitar strings can physically “hear” what’s coming out of the amp .

“The Ballad of Bonnie and Clyde” features a dazzling, soaring solo, during which you seem utterly uninhibited by the constraints of mortal hands. What inspired that solo?

Thank you! You’re too kind. I remember hearing Bryan’s original demo for that song and immediately being able to imagine what kind of character I wanted to hear playing the guitar part. My mental picture was very much that of a ’70s rock god brandishing a Les Paul, so I suppose my nightly task was to act that character as best I could.

I can add that this is the only Aristocrats song that ever prompted me to buy a guitar. When we toured the U.S. in 2019, I was determined to find something that, strangely enough, I had never previously owned – a real Les Paul. So I kept my eyes open and eventually stumbled upon a Nik Huber Orca ’59, which felt and sounded exactly like the “Bonnie and Clyde” voice I had been hearing in my head. Needless to say, I had no choice but to buy it! I should add that what you’re hearing on this live version is in fact just my regular Charvel. It would have made no sense to fly an extra instrument all over Europe purely for the sake of one track.

Of course, a lot of stuff like this is largely psychological. I think having a Les Paul mindset probably added more to the song than actually using any specific instrument would.

You’re one of the most well-known guitarists, yet you strike me as a bit of a recluse. If that’s true, how do you balance your need to not be mobbed by fans with your need to create and perform music on the road?

I’ll certainly plead guilty to the charge of being a bit of a recluse. I’m decidedly at the introverted end of the spectrum, so I can sometimes get easily overwhelmed by large gatherings of excited people. That said, I do understand the apparent paradox in the notion of a relatively shy, retiring individual going out on the road when the whole world of touring is essentially the antithesis of my comfort zone.

However, pretentious though this may sound, playing live makes me feel like I’m acting as a conduit for something, so I suppose, subconsciously, I might be telling myself that the crowds have come to experience the something I’m channeling when I play, rather than coming to see normal, everyday me.

At any rate, playing music feels to me very much like speaking a different, more universal language. Perhaps I’m just more comfortable in that medium, as it allows a different side of my personality to come to the fore.

Buy the Aristocrats' Freeze: Live in Europe 2020 album here .

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Whether he’s interviewing great guitarists for Guitar Player magazine or on his respected podcast, No Guitar Is Safe – “The guitar show where guitar heroes plug in” – Jude Gold has been a passionate guitar journalist since 2001, when he became a full-time Guitar Player staff editor. In 2012, Jude became lead guitarist for iconic rock band Jefferson Starship, yet still has, in his role as Los Angeles Editor, continued to contribute regularly to all things Guitar Player . 

Watch Jude play guitar here .  

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Closure In Moscow Announce ‘The Singularity’ Tour

By John Ritchie

It seems that fans of Melbourne’s Closure In Moscow just can’t get enough. Days after wrapping up their Supreme Turbo Facilitator Tour (selling out all but one of the shows) the popular five piece have announced their Singularity Tour featuring headline dates in all capital cities.

The tour marks the beginning of what plans to be a super massive travel cycle for Closure In Moscow as they head across to the U.S on the Warped Tour playing all 44 shows.

Support on the tour is from good buddies, Secrets In Scale. Tickets for all shows are on sale now.

Closure in Moscow ‘The Singularity Tour’ plus guests Secrets In Scale

Thursday 27th May Mona Vale Hotel, Sydney 18+ Tix: www.moshtix.com.au/closureinmoscow

Friday 28th May 28th Gaelic Theatre, Sydney 18+ Tix: www.moshtix.com.au/closureinmoscow

Saturday 29th May The Civic Hotel, Perth 18+ Tix: www.moshtix.com.au/closureinmoscow

Sunday 30th May YMCA HQ, Perth U18 2pm 5pm Tix: www.moshtix.com.au/closureinmoscow

Thursday 3rd June Republic Bar, Hobart 18+ Tix: www.moshtix.com.au/closureinmoscow

Friday 4th June Fowlers Live, Adelaide Lic/AA Tix: www.moshtix.com.au/closureinmoscow

Saturday 5th June East Brunswick Club, Melbourne 18+ Tix: www.moshtix.com.au/closureinmoscow www.eastbrunswickclub.com / The East box office – PH: 9388 9794

Sunday 6th June Phoenix YouthCentre, Melbourne U18 2pm -6pm Tix: www.moshtix.com.au/closureinmoscow

Thursday 10th June The Fort, Brisbane U18 6pm 9pm Tix: www.moshtix.com.au/closureinmoscow

Friday 11th June The Zoo, Brisbane, 18+ Tix: www.moshtix.com.au/closureinmoscow, http://zoo.oztix.com.au

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