Samothrace On Tones, Pedals, and the Art of Noise

"Heavy tunes for heavy times." That about says it all, doesn't it? That's how Samothrace vocalist Spinks describes his band's sound, and it couldn't be more fitting. Not only did Samothrace release one of the most heartbreakingly beautiful, unnervingly cathartic albums of the past 10 years with 2008's 'Life's Trade,' they're a powerful live force that -- if you're lucky enough to catch it -- will change your life. This writer has been lucky enough to catch them twice, first at a bar show in West Philadelphia, Pa., then on the mainstage at Kuma's Doom Fest last winter, where the hugeness of their sound blew the crowd away. Not only were they playing loud enough to wake the devil himself, but they managed to absolutely fill the room with a palpable sense of rushing emotion.

Samothrace's quiet-to-crushing-to-quiet-again dynamic makes itself even more known in a live setting -- when they went high, they shone, and when they came back down, they destroyed. I caught up with Spinks, Dylan and Joe to talk effects, pedals, and fuzz, and find out what kind of black magic they're using to get that world-ending tone of theirs.

Dylan: To be honest, I'm a little worried to answer this question. For one, I could really geek out in my answer. For two, because I don't want to be a geek. But anyways ... We all rely on distortion/overdrive pedals ... some of us more than one. Probably more important in that is the levels and quality of amplification I like to think we incorporate. A distortion pedal is nothing without the right amp receiving it, which is also nothing without the right tone it is instructed to put out. I keep the volume on my amp just under the point where it wants to naturally distort and rely on a Big Muff for all distorting on the low end and a Rat for the more mid and high range overdrive. I use a volume pedal to lay off or bring up my own sound at certain times, along with some other effects such as delays, reverbs, chorus, wah, etc. Also, I use a six-string bass, which adds an extra element to some parts, because there's an extra high and low string that I get to incorporate. On that note, the pickups in our instruments play a fairly important part. For example, the pickups in my bass distort the low end a lot more the harder I hit the notes. I'll finish here, adding 15 more geeks points to my score card!

Spinks: Thanks for the kind words. Here we go. Tone. It is the most important thing in a rig, or as I like to call, it a shrine. You can be tuned down as all hell and have 500 amps, but if your tone is shit you're nothing but dead weight. I use Sovtek, ElectricAmp, Matamp and Orange for amplification purposes in varying degrees. Headroom in amps is also very important for us. It can make or break(up) your tone. My trusty '92 Les Paul, 'Sweet Pea,' is my guitar of choice. I love her. As far as effects, I use a couple of delays from time to time as well as reverb and phase pedals. I have a Keeley modded distortion unit and a killer boutique fuzz called the ? Lady by Skreddy Effects. Pretty simple setup, but it makes for the tone I've been searching for all my days. I am always into new distortions, overdrives and fuzz pedals. The warm ones. Keep that crunchy shit away from me.

Joe: Since we are all hopping on the gear train. I play a 100 percent Maple C&C Custom kit, and it is the best investment I've ever made. Acoustically, they sound impeccable and they cut right through the wall of sound. Large, non-cracked, Sabian cymbals also sound great -- preferably the HHX series. Each persons' individual sound is very important to them and what you hear as Samothrace is just the culmination of those sounds. We have all been through plenty of s--ty gear and realized that it does matter exactly what you sound like. You can have all the nicest gear in the world, but unless you know what you are doing with it, it doesn't mean shit.