FEATURE > THURSDAY
Left: Pedulla reaches to the nether regions of his Tele’s fretboard. Photo by Elise Shively Right: Keeley (left) engages his bridge pickup and barres high on
the neck as Thursday’s keyboardist, Andrew Everding, strums . . . you guessed it—a Telecaster with a Duncan Hot Rails bridge pickup. Photo by Elise Shively
get some of the more out-there sounds on the
record. The first track, “Fast to the End”, has
a wild noise solo—a warped, Tom Morello-
esque skittering across fluctuating pitches. “It
was a lot of fun to do—and I’m actually won-
dering how I’m going to recreate it live—but
I know I’ll figure it out,” Pedulla says. “I had
set up various filter and modulation settings
on one of those Line 6 M13s, and I also put
some parameters into the expression pedal to
control each one. So I would hit a chord and
switch back and forth between the different
settings and also work the expression pedal.
On some of the takes, I wasn’t even aware of
the guitar—I would have it on the floor, hit
the note, and then just play the pedals with
my hands and kind of go for it. We started to
realize that when you go to this effect, it does
this thing and that’s a good opening, and
then when you go to this, that’s a great mid
section, and this is a good closing. So it was
almost directed improv.”
In comparison, Keeley contributes a beau-
tiful, slightly atonal melody to the skeletal
and haunting ballad of loss, “Empty Glass.”
But while the duo envisioned the type of
vibe you hear on the album, the way they
got it was actually a mistake.
78 PREMIER GUITAR MAY 2011
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