A Quote by Johnny Christ

You really have to play with the space in a riff so it can be allowed to breathe. — © Johnny Christ
You really have to play with the space in a riff so it can be allowed to breathe.
I don't want you to play me a riff that's going to impress Joe Satriani; give me a riff that makes a kid want to go out and buy a guitar and learn to play.
When you think of rock and roll and metal, a lot of it is based around the riff. If you can sing over the riff and what the arrangements are going to be like, you have to leave space for what most people consider one of the most key essential parts, which is the vocalist.
No matter where you go, no matter how many gifts you give and receive this holiday season, unless you are actually present, it all flies by as if in a dream. Satisfaction in anything--a meal, an interaction, a gift, a sunset--depends on your willingness to take it in. Breathe. Feel your arms and your legs. You are allowed to love every little thing about yourself and your life. You are allowed to take up space and be all that you are. Really you are.
You can have the best riff in the world, but if the drums behind it just ain't vibing it, it's not gonna be the greatest riff, right? So you've gotta have someone there that can really bring that to life.
I became insular because at home there was no space to grow or to evolve, everything was tight and there was no room to breathe. People don't realise how that affects you as a kid. I wasn't allowed to speak, so my expression was football.
Hearing your voice and your instrument kind of breathe in the room, it affects the way you perform the songs. For instance, if you have that reverb, you can give the songs a little more space. You can play them a little slower or you can play less of the guitar part and just let it open up, which I really love. It's so nice to play a listening room, because the audience feels a certain way too.
It was really different this time, because we did everything in the studio and thought out the writing and song structures. Before this album ["The Black Crown"], we used to just write riff after riff and then worry about the rest of it later.
If you take the riff from the song 'Cowboys From Hell' and really break it down, it's almost a hillbilly guitar riff: dekka dekka dekka dekka dekka dekka dekka dek.
When I write a song, it's all about the riff - the riff first, then the words come later.
With 'Acid Rap,' I allowed myself to be really open-minded and free with who I allowed into my musical space. I wanted to make a cohesive product, but I also just want to make a bunch of dope songs inspired by whatever sounds I liked.
I sleep music. I wake up, and there's a riff in my head. Every step I take, there's a riff, a beat, or something.
'The Cabin at the End of the World' is my riff on the 'home invasion' subgenre of horror/suspense. Hopefully it's a big, loud, dark riff.
To me, the hook of the riff is what makes a great guitar recording. It's the backbone of the whole song. When you have a strong riff, it's the rocket fuel for the track.
If you can allow colour to breathe, to occupy its own space, to play its own game in its unstable way, it's wanton behaviour, so to speak. It is promiscuous like nothing.
If you have a good riff with a vocal as well, then it becomes a devastating song. That's why people love riff-rock: it's the ultimate air guitar music.
When I was living in New York, I tried to make it work for a year, but I didn't really have my own space to be creative. It was really inspiring, but I think that coming to L.A. has allowed me to take a breath.
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