Riff ov the Week: The Solo-Accompanying Riff Edition
Nobody ever pays any attention to the poor rhythm guitarist during the solo. They might be playing the most killer riff of all time, but you wouldn’t know because you’re too busy trying to make hand contact with the lead guitarist’s genitals under the guise of that stupid finger-weedly thing everyone does. I see right through that shit. To Maik Beninton, this is an injustice that will not stand. Which is why he claimed this riff of the week in the name of solo-accompanying riffs everywhere.
Last week, Coolstorybro managed to tie with the ToH’s ex-President current-President of Skronk W. with 8 votes.
Well done to both of them, but the official rules state that the first one to overnight me a case of Mane n’ Tail conditioner may claim the win for himself. If neither does, the win defaults to Schubert our god. It makes sense.
- We’re going to try something special. Originally, Riff ov the Week was designed to highlight some of the best riffs that came out during the week, but it evolved into the clusterfuck you’re familiar with (and I like it). Next week, however, we’re going to do it. We’re only taking riffs released between March 8th and March 13th. I’ll go easy on you – they can be from new singles or from any album that drops during the week. Our weekly feature Toilet Tuesday might be a good place to start if you get stuck.
- Send your riff of the actual week to firstname.lastname@example.org.
- If you have an idea for a theme, let me know.
- Have a great Saturday, friends.
The riff at 1:45 in Darkthrone’s “Summer of the Diabolical Holocaust” kicks off one of the nastiest extended moments in all of black metal. By the time the solo shows up an entire minute later, it still hasn’t overstayed its welcome. I’d listen to a full length album built around nothing but this fucking riff right here. Let’s die.
The riff that starts around 2:30 goes great with the solo.
Nevermore spends 7 minutes moodily churning through an array of emotions, riffs, and leads until we reach the atomic bomb of riff/solo riffs. While the rhythm guitar is just following the root note, the chord progression is what makes this riff, and consequently the solo, so powerful. Obviously, the riff works best if you listen to the entire song building up to it, but you’ve got a riff of the week to choose, so I’ll help you out: It starts at 7:08. [W. is going to be so conflicted. — Masterlord]
Riff starts at 3:40, solo starts after the verse. It’s a fucking monster of a riff that makes me want to throw down in the pit.
This is my favorite song from one of my favorite bands, Kyuss. After a killer pause, a tasty riff starts at 3:04, and gets repeated all the way through the druggy solo starting at 3:17. If you know any true sons of Kyuss, tell them to go to Windhelm and vote for me.
Formerly Known As Oli Sykes
Cliche, I know, but a solo like this needs a kickass riff, and At The Gates‘ best song, “Cold” provides badassery in spades. The riff appears earlier in the song at around 1:30, but its at its best when the solo starts at around 1:54, and the double bass starting at around 2:06 just adds to the insanity. A brilliant riff for a brilliant solo.
At 7:00, Iced Earth deliver thrashy chug under a Maiden-esque melody, bringing the The Omen inspired “Damien” to an epic close.
I am not a Sabbath fan. But, I do like Dio-Sabbath’s The Mob Rules. The opening riff for “Country Girl” is CRUSHING (for 1981) and proceeds to accompany the solo like you wouldn’t believe.
The riff that starts this song is such a head banging brute that by the time the solo kicks in at the 0:38 mark the neck is already reckt. GO!
I’m not the most devoted of Scar Symmetry fans, but the song “Deviate from the Form” on their album Pitch Black Progress is, to me, their crowning achievement. While it would be easy to miss the rhythm section underneath the gorgeous solos sections, if you pay attention to what’s going on, it’s flawless. Simple chord changes combined with tight syncopation perfectly support the blistering stringwork of the soloist. Every time it kicks in I get goosebumps, and the best part of it all is it happens twice: 2:40 and 3:59.
Don’t let the somewhat lolbuttz band name fool you, this album is pretty beastly. This riff is nothing fancy but who cares, it is incredibly heavy, creating one of the heaviest moments on the album. Solo starts at 2:03.
Some don’t like this era of Anthrax and that’s almost alright, but the underlying riff that brings back the song’s main theme to help conclude the solo is glorious. Starts at 3:08.