Bunch Of Fives: Pit Pony | NARC. | Reliably Informed | Music and Creative Arts News for Newcastle and the North East

Narc. Magazine Online

Reliably informed

Photo by Nigel John

Tyneside’s fuzz-rock five-piece (and Clue Records latest signing), Pit Pony, recently dropped their latest single Supermarket, as well as announcing the upcoming release of their debut album, World To Me (out 1st July).

The track, with its gnarly bass, boundless guitars and straight talking vocal from Jackie Purver, progressively builds in intensity, threatening to derail from its hypnotic krautrock-esque rhythms and implode under the pressure of its dense and ferocious sound. However, like a rocket re-entering the earth atmosphere in a blockbuster film the song manages to hold together (…just) and you are finally able to catch your breath as the distortion-filled fade out signals the end.

Here, the band talk about their favourite guitar pedals that help them make their big, bold sounds…

1. Space Echo:
Garth: This was one of the first pedals I ever bought and can’t remember what prompted me to get it. I was soon using it constantly and it was pretty much my ‘clean tone’ due to the fact I could hardly play and reverb + echo hid a multitude of sins. I still use it a lot, just more selectively nowadays but it’s still my favourite pedal of all and it’s rare it doesn’t feature on a track. 

Andrew: A big early influence for me as a guitarist was East Bay Ray of the Dead Kennedys. Able to achieve everything from rockabilly slap-back to full-on galactic space drones, the Roland RE-201 is an incredibly important part of that sound. Unfortunately, being a huge, heavy, clunky box full of magnetic tape and vintage gear meant getting hold of one (let alone being able to afford and maintain it) simply wasn’t feasible. I had foolishly written off the digital version until I had a chance to use Garth’s during past recording sessions and was blown away by how versatile & responsive they can be. I got one for the album sessions and used it extensively on ‘Supermarket’ – most notably as a huge self-oscillating feedback sound for the choruses. Just an incredibly fun pedal to play around with!

2. Big Muff Pi:
Potter: I use a Deluxe Bass Big Muff as a heavy fuzzy boost alongside my MXR M80 and Darkglass Microtubes X7 for the really heavy parts of the set like the end of Supermarket and Osaka. I do use it on its own for a thick fuzzy tone in Sinking which I love as it’s so big and punchy, that it always makes me think of someone stomping down the street to the tune!

Andrew: I use a Sovtek Big Muff Clone. The legendary “green box”. These models were allegedly made in a former Soviet military equipment factory and are well known for their huge bottom end & extensive use on stoner rock records. I always felt they sucked the tone a bit, so as a lockdown project I attempted to build my own clone version with a mid filter/boost. I made a lot of mistakes which led to the pedal having the unintended effect of making my guitar sound like it has humbuckers installed. This happy accident gives me a lot of versatility in sounds which were used extensively for the overdubs in ‘Supermarket’. Also, I can now nail the “American Women Guitar Tone” – much to the frustration of my bandmates every soundcheck.

3. Death By Audio (everything they do).
Andrew:  A bit of a cheat but those who know me will find I’m somewhat of a Death by Audio fanboy. I just find everything they do to be incredibly stupid but outrageously fun. They seem to get a classic design and think “how can we do the same but MORE”. Mostly unusable live (those who caught us live during my phosphene scream phase will understand) They’re capable of creating some truly bizarre, mad, unique and psychedelic sounds. A lot of song ideas spawned from some of the creative sounds you can get from their range. I currently only use the FUZZ WAR on my board (a truly brutal fuzz) yet various pedals by them have made it on the album ranging from the Apocalypse (galactic levels of gain), the Reverb Machine (William Basinski sound generator), the Ghost Delay (a delay going into a delay going into a delay going into a fuzz) and the Robot (8-bit crunchy treat). Writing music should be FUN and DBA always ensures that’s what you’ll be doing.

4. Darkglass Microtubes X7.
Potter: I was introduced to this pedal while recording the album by Chris McManus at Blank Studios. It’s so good that all the bass parts on the record are just that pedal with some re-amping and double tracking to beef them up at times. I loved it so much that I trawled eBay to find one in my price range for months after recording. I eventually found one and since then it’s changed my live sound so much and if I’m honest it could be the only pedal on my board. I love it for its high gain sound yet it doesn’t sound tinny and retains the clean punchy bass tone that I need to cut through. I never switch it off and my infamous ‘clean  tone’ is now hated by sound techs all over the country!!! 

5. EHX Pog:
Garth: Like Andrew, I would’ve said Death by Audio’s ‘Fuzz War’, but mine has been broken for a couple of years now (I really need to get it fixed!). I’ll go with the Electro Harmonix Pog, the first version of it. I got one about 12 years ago purely because Jamie Hince had two of them on his pedalboard when The Kills were touring Midnight Boom. It’s always been on my board but I still don’t fully understand it. I only use it on a couple of songs, but it makes the guitar sound like an organ, so how can you not like that? 

Like this story? Share it!

Subscribe to our mailout