My Red Dog appears on Lukas Read’s debut self-released record Ramble Man, Ramble, which he put out in late 2013. After releasing one more EP on his own, Read just put out another record Neo Age with the German label Dying for Bad Music. Though his latest release is all instrumental fingerstyle guitar and experimentation with effects, his first record is a nice blend of instrumental guitar and original singer-songwriter material. You can check out a video for the title track of Neo Age here. I knew that I was going to like this album as soon as I saw there was a tribute medley to John Fahey’s Poor Boys Long Way From Home, which is one of my favorite Fahey tunes. You can find his EP over at Bandcamp and purchase a limited edition CD from Dying for Bad Music here.
It’s as if someone opened a time capsule and found a whole new Fripp/Eno record for me to put in my ear holes. Transcendence comes off the groups 2013 release Bitchitronics put out by Drag City. The group coalesced as a solo project of CAVE guitarist/organist Cooper Crain and primarily comprises Crain, Rob Frye, and Dan Quinlivan. All three are active in the psychedelic/experimental scene in Chicago, with Frye and Quinlivan contributing to releases for Chandeliers, who came to WNUR when I worked there and rocked it, as well as appearing on small-print releases for Circuit Des Yeux, who appears on Chicago label Thrill Jockey. Crain is also an active recording engineer, working on records for Heavy Times and Circuit Des Yeux. Given that the earth is rapidly heating, if you’re not gonna get out there and try and shut down Exxon Mobil then I’d recommend loading up on fuzzy guitar drones and blasting the hell off.
This material was recorded around the end of 2015 and 2016. I had been playing a lot in open D tuning and found some simple, pleasant finger picking patterns. If there is any real-world inspiration for this it is a trip I took to Alaska in July of 2015. The sheer scale of the terrain, along with the tremendous resilience and oddity of the people who live in the more remote areas is remarkable. I felt compelled to work towards expanding my musical vocabulary from playing around with synths and Ableton effects to live recording using more traditional instruments. Somehow it made me feel like less of a hipster dickhead, though I think most would still rightly label me as such. I don’t pretend to be a gifted guitar player, but it has grown to be one of my favorite pastimes and going forward I anticipate making even greater use of the instrument.
Though I had certainly played these guitar parts before, all of these recordings are mostly improvisational in that I started with a repetitive hook and went from there. They were recorded on a single mic built into a Fostex MR-8 multi-tracker with some reverb added upon recording and some effects added in Ableton, though the only substantial edits to the audio itself was to remove some pops and clicks resulting from the primitive recording setup. I mention this setup only because I’m timidly proud of how the guitar fades out in the final two tracks since this effect was achieved only through playing and not through fading a guitar track out in post-production. I recognize that despite this feat, there is much I have to learn in the way of recording methods, but as I’ve been preparing the final release I just thought I’d mention it since it still sounds pretty good to my ear despite all the creaks of my chair while recording.
This is the title track from M. Mucci’s 2013 release put out on vinyl by Tall House Recording Co.. The distinctly medieval sounds accompanying M. Mucci’s guitar come from a Vielle, here performed by B. Grossman. The vielle is a stringed instrument somewhat resembling a violin but with five strings instead of four, and it was a popular instrument among troubadours and court musicians during the medieval period. In the 15th century the word began to be used when referring to a hurdy-gurdy which is also a stringed instrument but which is performed by a mechanical wheel turning against the strings instead of a human bowing them, in the case of the vielle.
M.Mucci has a Bandcamp page with lots more music, though I’m not sure if more medieval instruments make appearances.
Below is an image from the National Gallery in London depicting an angel playing the stringed instrument, likely painted by a contemporary of Da Vinci.
I found this track on a great post over on Dusted Magazine’s blog where American Primitive guitarist Glenn Jones laid out some of his favorite guitar pieces that don’t fit into the American Primitive mold. Despite being well respected by guitarists both of his day and since, little is known about Snoozer Quinn and very little of his playing was ever recorded. He was born Eddie Quinn in Pike County, Mississippi in 1907 and spent his young adult life touring Texas and the South as a guitarist in a number of travelling bands. He joined the popular dance band the Paul Whiteman Orchestra in 1928 and recorded with other well-known artists like Bix Beiderbecke and Jimmie Davis throughout his career, though some of those recordings have been lost. In case the sounds of Love Come Back to Me/On the Alamo weren’t mournful enough for you, this recording was made in a New Orleans charity hospital where he eventually died of tuberculosis. They are some of the only recordings that capture his playing by itself.
He was credited as a songwriter on the excellent Jimmie Davis song There’s Evil in Ye Children and perfomed on a number of other Davis recordings which survive today like Market Blues and Midnight Blues. I’d encourage you to look at Quinn’s Discogs to see where he performed, since only one compilation is dedicated to Quinn by himself. I suppose Quinn’s story serves as a reminder that if you are good at something, keep doing it because you might be forgotten and die of tuberculosis in New Orleans only to be written about on music blogs long after it can make any difference.
Wishing Well exemplifies Wil Bolton’s hypnotic blend of guitar, synths, and field recordings, looping, and other effects. I had to pick one track, but this whole release is pure ambient pleasure. Wishing Well comes from Bolton’s most recent release, February Dawn put out by elian rec. as a CD. In addition to recording music, Bolton also contributes site-specific sound art works for places like the Tate Modern Museum in London. Though I couldn’t find a video for any tracks on February Dawn, he has released videos in the past on his Vimeo page that are as blissfully beautiful in image as the audio work which accompanies them. In addition to his solo work he has ongoing collaborative efforts with Lee Anthony Norris under the name The Ashes of Piemonte and Phil Edwards under the name Ashlar. You might be too late to snatch up the CD release of February Dawn, but I’d encourage you to give the whole album a listen.
Jerry Hionis is an American Primitive-style guitar player who, when he’s not picking away, is also an assistant professor of Economics. I think that’s a first here at Orion’s Bastard. He researches fancy sounding things like conflict theory, but I’m mostly interested in the music, though some of his research does sound pretty interesting. According to his Facebook he’s got some new stuff in the works, which is very exciting. This post is a little lighter on info than usual but I think the music itself is pretty solid.