In the annals of guitar virtuosity, few figures stand as enigmatically and creatively apart as Buckethead. Known for his virtuosic shredding, genre-bending compositions, and the iconic KFC bucket perched atop his head, Buckethead’s guitar playing is as much a spectacle as it is a sonic adventure. Diving deep into the mind of this instrumental guitar icon, we uncover a fascinating glimpse into his unique inspirations, directly from the pages of Guitar Player Magazine, July 1992. In this rare piece penned by Buckethead himself, he unveils his childhood fascination with a Japanese robot named Giant Robot and how it fuels his innovative guitar techniques, which he playfully terms “binge splinters.”
Buckethead’s article, simply titled “Giant Robot,” is a charmingly direct expression of admiration. He begins, “I LIKE JOHNNY SAKO, but I-I-aghh like Giant Robot better.” This immediately sets the tone – unfiltered enthusiasm and a childlike wonder that permeates his artistic approach. For Buckethead, Giant Robot isn’t just a character; he’s a source of profound inspiration. He describes Giant Robot with simple yet evocative language: “He’s neat. He’s a big feller. He can shoot rockets from his fingers, he can fly. He’s got eye lasers that will make the gargoyle monsters die.” This isn’t just fandom; it’s the wellspring of creative energy that translates into his distinctive guitar work.
The core of Buckethead’s piece lies in his description of “binge splinters.” These aren’t your typical guitar exercises; they’re sonic interpretations of Giant Robot’s powers and the monsters he battles. “For each of his powers I came up with a binge splinter. Each of the monsters he fights, I’ve charred up binge splinters for them too,” Buckethead explains, revealing a deeply imaginative process of translating visual and conceptual ideas into guitar techniques.
He details a few examples, starting with the “atomic punch” – a “brooming augmented wedge” designed for speed and power. This translates to a guitar technique described as a “slapping technique like you would do on the base, except it’s guitar.” Buckethead elaborates, “I use my protruding thumb bone side to slap, index stem to pluck,” offering a tangible insight into his percussive and dynamic playing style. This “binge splinter” for the atomic punch embodies the force and impact he envisions from Giant Robot’s attack, translated directly to the guitar.
Next, he describes the “shooting rockets from his nubs” binge splinter, again utilizing the slapping technique. And for “eye lasers,” Buckethead outlines a two-handed technique using the first finger and pinky on both hands, creating an “augmented forehead bone protrusion.” These descriptions, while quirky, offer a fascinating glimpse into how Buckethead visualizes actions and transforms them into unique guitar maneuvers. He even creates “binge splinters” for Giant Robot’s adversaries: Emperor Guillotine, Gargoyle Vine, and Torazon, encouraging readers to “match them up” – eye lasers against Gargoyle Vine, hand rockets against Torazon – further emphasizing the narrative and imaginative dimension of his guitar practice.
Buckethead’s “binge splinters” are more than just technical exercises; they are a manifestation of his imaginative world, directly influencing his groundbreaking guitar playing. This connection between childhood inspiration and advanced guitar techniques is a hallmark of Buckethead’s artistry. His ability to channel the fantastical world of Giant Robot into concrete guitar techniques underscores his unique approach to musical creativity. For aspiring guitarists and Buckethead aficionados alike, understanding these “binge splinters” offers a valuable peek behind the mask and bucket, into the imaginative heart of a true guitar innovator. It reveals that even the most virtuosic and unconventional guitar styles can be rooted in simple, childlike wonder and the power of imagination. Buckethead’s guitar, therefore, becomes a conduit for these fantastical battles and robotic powers, making his music a truly unique and engaging experience.
