Blake Wyland, guitar nut and the main man behind the scenes at ToneMob.com, sits down and chats with various characters in the guitar gear world. We talk good guitar tone, effects, amps, and how people go about creating the sound of their dreams.  Guests vary from boutique builders, to the musicians rocking the tools of tone. Loaded with info and buffoonery, if you love guitars, you'll love the show! Happy listening and thanks for checking it out!

field recordings and ???
hit bandcamp for more music

A page to upload my jamming sessions, backing tracks, and fully fledged works. I will generally be making blues, rock, and jazz, but I'm happy to experiment with any genres.

This page will be my musical journal. It exists as a record of my progress as a musician and a place to share work I have made. I'm not looking for popularity, but I'm happy for you to listen in and tag along. Feel free to private message me any questions you have about my playing/gear.

Guitars used: Fender American Standard Stratocaster, Ibanez JS Premium, Tanglewood Les Paul copy, Maton M80C

Amp: Hughes & Kettner Tubemeister 18

Pedals: Vox Big Bad Wah > Korg Pitchblack > Xotic SP Compressor > Mission Engineering VM2 > EHX Pitchfork > Boss Digital Delay DD3 > Hardwire Supernatural Reverb > Zcat Reverb/Hold > Boss Super Chorus CH-1

Wax Mannequin (aka Hamilton, Ontario’s Christopher Adeney) is many things to many people. A lyricist, songsmith and self-effacing showman certainly, but also a student of the human psyche, constantly finding fresh and interesting ways to frame the people we are and the things we encounter.

All of that is gloriously displayed on the seventh Wax Mannequin album, Have A New Name, the result of Adeney reuniting with producer Edwin Burnett, with whom he made some of the first Wax Mannequin recordings in the early 2000s. Working in a small east-end Hamilton industrial space containing an array of vintage and modern gear, the pair—along with percussionist Mark Raymond—crafted Have A New Name’s eight songs out of semi-impromptu sessions that eventually expanded with the addition of grand piano, gamba da viola, double bass and a 12 piece choir. The end product is the most sonically ambitious Wax Mannequin album to date, and also arguably the most powerful.

As an example, Adeney points to the album’s closing track “Longest Hour,” an atmospheric travelogue that never lags over the course of its nearly nine minutes. Other songs on Have A New Name such as “Basketball” and “Squirmy Wormy” are rooted in whimsy, while the songs “Someone Fixed The Game” and “People Can Change” display a maturity that signals Wax Mannequin is indeed more than capable of reaching wider audiences without sacrificing any of his edge.

With Have A New Name, Christopher Adeney has made a Wax Mannequin album utterly necessary for this moment in time. Challenging and earthy, funny and heartbreaking, in search of answers yet rooted in hard-earned wisdom.

This is my experimental personal page.

IF you are looking for Handsome Amber go here https://soundcloud.com/handsome-amber
If you are looking for the Kill city Kids go here https://soundcloud.com/kill-city-kids

Please read descriptions as all of these tracks are live with no dubbing, most are just me on a dxplorer drum kit and octopad triggering a Dave smith mopho. The others are me on guitar..

Rob Leishman is following