So yeah, when you work at a guitar magazine, guess what?

People send you guitar albums.

When I was full-time at guitar player, I think I got like, I don't know, probably at least two or three

instrumental guitar albums a day sent over. And people often ask you, well, what stands out?

How does an album get noticed out of all those guitar albums? I don't know what the answer to

that is, but some albums you just notice.

That's the title track off, Ha, Oz Noise, First Album, H-A, Exclamation Point.

I think that hit our offices in 2005, and we definitely noticed.

It was different, funky, with weird sounds and complex harmonies and cool grooves.

He did cool twists like he twisted up Thelonious Monk.

You know the jam, Blue Monk.

Oz has a new album out.

Fresh off the presses on abstract logics, that great guitar label.

The new album is called Asian Twists.

Recorded live in Japan, I think.

There's a cool story about who recorded it.

I'll let Oz tell you that later.

The thing I love about Oz, too, is he's also just a master sonic painter with that

palette of effects. I was so excited to interview him for this. I mean, I've hung out with him

before, interviewed him before, even done a couple of solo shows with him, like double bill

in San Francisco at the boom boom room. But when I went over to the house where he was staying,

got to give mad props to Steve Ferroni, drummer of Tom Petty and the Heartbreakers. He was out of

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