Daniel Wayne Sermon (born June 15, 1984) is an American musician, songwriter, and record producer. He is the lead guitarist for the pop rock band Imagine Dragons.
Wayne Sermon first met Dan Reynolds after hearing him perform at a club in Utah and approaching him afterwards about his musical interests.
Reynolds invited him to join his band and move to Las Vegas. Sermon th invited B McKee to join the band on bass, and drummer Daniel Platzman, also a frid of Wayne's from Berklee College of Music, became the last member to join the group at the invitation of McKee. In Las Vegas, the band performed and honed their craft nearly nightly as a lounge act.
Stream Imagine Dragons Whatever It Takes (electric Guitar Cover Solo) #bestcoverever By Vadimscurtu
And more st the band on a positive trajectory. In November 2011 they signed with Interscope Records and began working with producer Alex da Kid.
In 2012 their debut album Night Visions brought the band mainstream success. It reached 2 on the Billboard 200 chart and won the Billboard Music Award for Best Rock Album (2014). Single It's Time became the band's first single reaching #15 Billboard Hot 100 and certified multi-platinum by the RIAA. Second single Radioactive reached #3 Billboard Hot 100 and was certified diamond by the RIAA, becoming the best selling rock song in the history of Niels SoundScan. Third single Demons reached #6 Billboard Hot 100 and was certified multi-platinum by the RIAA. Their album made the highest debut for a new rock band in six years (since 2006) and single Radioactive set a record for longest time atop the Billboard Hot Rock Songs chart with 23 consecutive weeks.
Tracks from the album topped the Billboard Rock Songs, Billboard Alternative Songs, and Billboard Pop Songs charts. Radioactive was also nominated for two Grammy Awards, winning the Grammy Award for Best Rock Performance.
Imagine Dragons' Wayne Sermon: Life In The Fast Lane
Sermon has chronic insomnia and will oft record songs during the middle of the night, sleeping only a couple of hours a day.
He is one of five childr and grew up a member of the Church of Jesus Christ of Latter-day Saints but has since left the church.
As a youth, Sermon learned to play both cello and guitar. He was determined to be a guitarist ev as a child. His father had an audio-phile quality amplifier, a record player, and all of The Beatles albums on vinyl, which Sermon joyed listing to.Sermon has developed an affinity for Bilt Guitars' offset, effect-laden wares. Instead of finding ways to say no to things, they find ways to say
Wayne Sermon's Guitars, Amps, Pedals & Other Gear
Growing up in Salt Lake City, Wayne Sermon was surrounded and entranced by music of a different time. While his millennial friends consumed the hits of the day, Sermon dug deep into his dad's record collection and became enamored with the classic rock hits of yesteryear. “He had a pretty awesome vinyl collection and a really nice tube amplifier, like audiophile quality, remembers Sermon. “When I was 6 or 7, I'd grab a tennis racket, put on a Boston record, and mimic one of Tom Scholz's amazing guitar solos. That was my introduction to guitar—to music, really.
Once Sermon got a taste of huge hooks and intensely melodic solos, he began exploring the music of über-shredders Joe Satriani and Steve Vai. “I'd buy all of the notation books and learn a lot of the shredders solos, he says. “I could do note-for-note Satriani solos from Surfing with the Alien when I was 19, but there's no chance I could do that now.
After graduating from Berklee College of Music, Sermon moved back to Utah and met up with singer Dan Reynolds. Soon after, Reynolds invited Sermon to move to Las Vegas to form a band that evolved into Imagine Dragons. Now seven years in, that quartet has become one of the few acts in recent memory to combine guitar-fueled dance-rock with a Top 40-level of success. In 2012, Imagine Dragons released Night Visions, a hook-filled call to action that spawned the insanely successful single “Radioactive and led to a globe-crossing tour.
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While on the road, the band began writing songs for their latest album, Smoke + Mirrors. “This album was done on tour buses, hotel rooms, and green rooms across the world, says Sermon. The resulting songs cover everything from trippy EDM-style grooves with huge anthemic choruses to the stomping percussiveness that is a cornerstone of their live shows. PG spoke with Sermon about his shred-guitar phase, his live rig, and how studying jazz has influenced his musical development.
I'm intrigued by how you sneak guitar parts into songs on the new album. In some ways, you use effects to mask the natural sound of the guitar. I think there are a lot of sounds on the record that you probably wouldn't identify as guitar. As a whole, there are a lot more guitars on this record—which I'm pretty excited about—than our last record [Night Visions] because of the way it was written. I have a little Apogee Duet, and I'd use Guitar Rig or something to craft these really simple ideas and then send them to Dan [Reynolds]. Once he sang over them and added some other instrumentation, they became songs like “Shots, “It Comes Back to You, and “I'm So Sorry. There were a handful of songs that started with a very simple guitar part and that hasn't been something we've done in the past, so it's kind of exciting.
“I feel like I succeed in some ways on this record, because on a few of the tracks there are only one or two guitar parts.
Rig Rundown: Imagine Dragons
For sure, yes. I figure, if you can't really sing along to it … don't get me wrong, I went through a phase where I learned Joe Satriani and Steve Vai stuff, but that was more of a phase. For me, it all comes down to a strong melody. I think that's not only true for the main melodies of what I'm singing, but also my guitar playing. I don't really play anything that you can't sing back. That has been my rule as a guitar player. I'm probably a worse guitar player, technically, than I have been in the past, but I feel like I'm getting a little tighter with time and rhythm. Hopefully, my choices are a little better and I'm a little more tasteful as I get older. I understand what I want to hear and what other people want to hear.
Yeah, for sure. It comes back to my time in college. I had a huge jazz phase as well, where everything was about jazz for four years when I went to Berklee. It's almost like you learn these things so you can then forget about them. There's something about acquiring the skills and then being able to let them go.
Definitely. There are players who can play leaps and bounds over what I'll ever be able to play. There's a place for all different kinds of musicians. In Imagine Dragons, I found that sometimes what resonates most with people is simpler or more melodic.
Radioactive Imagine Dragons Fingerstyle Guitar Cov
I hear the influence of guitarists who were more about a sound than a riff. When did more textural players, like The Edge and Andy Summers, catch your ear?
It was ingrained in me as a kid. Before I listened to jazz or any shredder stuff, I listened to classic rock from the '60s, '70s, and '80s. For me, it all comes down to that. George Harrison, Eric Clapton, Jimi Hendrix—all the classics. The Edge is incredible. He has such a defined sound and I think that influenced a lot of guitar players. At the end of the day, it's about serving the songs. As I grow older, it's something I think about more and more.
Some bands can go into the studio and write 10 songs that are all incredible, and that's just a lucky gift they have. But when you write 100 or 150 songs for an album cycle, there's not a lot of pressure on any single song, so you can write a lot more freely. The kind of output we have reduces those feelings of self-doubt when you write.
Original Versions Of The River [imagine Dragons] By Guitar Tribute Players
We knew we didn't want to come to the studio with nothing. There are bands that come into the studio with no ideas, and they write together and that works for them. We knew that wouldn't work for us. We have to have a starting place—we don't like to go into the studio with a blank canvas. We like to have etchings and sketches of ideas to work on.
For Night Visions, there were moments of collaboration with all four of us in the room, but not nearly as many as on this album. On the first album, I cut a lot of my guitar parts alone and then brought in the band to pick them apart, talk about the sounds, and maybe improve on some parts. Somehow I felt a little more self-conscious or, for some reason, more unwilling to collaborate in a face-to-face way. I needed isolation or seclusion to write.
But on Smoke + Mirrors,
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