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Home Entertainment Rig Rundown: Spirit Adrift | Premier Guitar

Rig Rundown: Spirit Adrift | Premier Guitar

Going through a compulsory shelter-in-place ordinance to restrict the unfold of COVID-19, PG enacted a hybrid method to filming and producing Rig Rundowns. That is the 28th video in that format.

Guitarist Nate Garrett earned his stripes within the Arkansas steel scene alongside sludgy contemporaries Pallbearer and Rwake. He toured the States and past with Gatecreeper and Take Over and Destroy. He at all times performed the assist position. (Garrett claims in a Consequence of Sound interview to have performed in 29 bands earlier than Spirit Adrift.) He hammered away on his 6-string within the shadows, bringing to life different folks’s visions. It was time for his personal story to be informed. So, within the mid 2010s, he began Spirit Adrift as a private inventive house.

Garrett admits that when he began Spirit Adrift as a private endeavor two issues by no means entered his thoughts. First, he by no means deliberate on taking part in gigs. Then, he went full Spector and layered dozens of guitars, bass elements, and synth colours in his 2016 debut, Chained to Oblivion, making it almost unimaginable to totally recreate with a band smaller than Skynyrd.

In 2017, he fashioned a 4-piece band and took his riff portfolio to the stage. The sonic consolidation and incorporation of others enter pushed the band from its doomy, swampy roots and broadened it with a Grasp of Puppets-meets-Vol. 4 realm that featured chugging rhythms, guitar harmonies, and slicing solos. Later that yr they put out the extra svelte, menacing Curse of Conception and the additional polished juggernaut Divided by Darkness in 2019. 

Simply after Spirit Adrift’s fourth (and most eclectic) album Enlightened in Eternity was launched, Nate Garrett nearly welcomed PG’s Chris Kies into his dwelling jam house simply outdoors of Austin, Texas. On this Rig Rundown, the previous one-man band opens up about turning to his heroes for gear steering, formulating workarounds for dreaded bunk backlines, and explains (and demos) how somewhat refrain and reverb goes a great distance in heavy music.


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