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Alanis Morissette reveals what she thinks is “the real irony” of the fuss caused by the lyrics in her 1996 hit
By Ben Rogerson Published
“I think the 10% won over on that song,” she says

The 'secret sauce' that creates Dijon’s distinctive vocal sound isn't what you thought it was
By Ben Rogerson Published
"What you're hearing - the 'processing' - you're hearing bleed," says his collaborator Tommy King. "You're literally hearing the entire song coming through"

Burned out recording vocals? Myles Kennedy shares his top for getting the perfect take
By Jonathan Horsley Published
Kennedy says Alter Bridge producer Michael 'Elvis' Baskette knows his voice better than anyone and has worked out how to get it sounding 100 per cent on record

How Wendy Melvoin’s bass playing became the “secret weapon” on Sombr’s 12 to 12
By Ben Rogerson Published
“It doesn't matter what bass Wendy plays because it's just always going to sound like Wendy”

Roxette’s It Must Have Been Love isn’t what you thought it was, says the man who wrote it
By Ben Rogerson Published
And did you know that, long before it appeared in Pretty Woman, it was released as a Christmas song?

Sabrina Carpenter offers her songwriting advice as she accepts Variety’s Hitmaker of the Year award
By Ben Rogerson Published
“The easiest way to write a bad song is to try to write a hit,” she noted

How unquantizing your tracks can make them stand out from the AI-dominated crowd
By Roland Schmidt Published
If your music is sounding a little mechanical, maybe it deserves a sprinkle of organic nurturing. We invite you to un-click the quantize!

How Tom Morello used his guitar to drill into the off-limits domain of the turntablist
By Andy Price Published
The Rage Against the Machine axe-man’s most memorable moment saw him emulate a DJ scratch breakdown using a trick that few have fully mastered
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