Nina Garcia
Bye Bye Bird
Boomkat Product Review:
Innovative guitarist Nina Garcia (fka Mariachi) descends on Ideologic Organ with a turbulent suite of tonal/textural axe experiments, pushing the electric guitar to its limit without treading on overfamiliar ground.
It's rare to hear a solo guitar record that sounds particularly novel; the instrument's been slaughtered and resurrected so many times that we almost intuitively know what to expect. Fred Frith probably already did it on 'Solo Guitar', natch. But Garcia's been meticulously researching for a decade at this point, figuring out how to extend her technique to tease out radically different textures - she's even played with Frith himself. She brings the bare essentials to 'Bye Bye Bird' - a guitar, an amp and a single pedal - innovating by adding an electromagnetic microphone to isolate precise resonant tones from the strings, plugging and unplugging the guitar to procure unusual melodies, feedback pulses and wavering harmonics.
Garcia's real skill though is her mastery of dynamics. Working within the "noise guitar" mode, it's easy to get lost in the sheer volume. Amps are loud, loudness is fun. So her relationship with power, knowing what's under the hood, is remarkable. On the title track, it's silence or at least negative space that dominates the first few minutes, as she introduces her methodology slowly and comfortably. And this restraint makes the crippling, whammied distortion hit so much harder when it eventually arrives. The technique is versatile, too, spiking the unamplified twangs of 'Ballade des souffles' with nauseous bursts of feedback, and breaking up pulverized, Merzbow-like distortion with broken oscillator-like moans on the genius 'Pick-up tentative'.
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Boomkat Product Review:
Innovative guitarist Nina Garcia (fka Mariachi) descends on Ideologic Organ with a turbulent suite of tonal/textural axe experiments, pushing the electric guitar to its limit without treading on overfamiliar ground.
It's rare to hear a solo guitar record that sounds particularly novel; the instrument's been slaughtered and resurrected so many times that we almost intuitively know what to expect. Fred Frith probably already did it on 'Solo Guitar', natch. But Garcia's been meticulously researching for a decade at this point, figuring out how to extend her technique to tease out radically different textures - she's even played with Frith himself. She brings the bare essentials to 'Bye Bye Bird' - a guitar, an amp and a single pedal - innovating by adding an electromagnetic microphone to isolate precise resonant tones from the strings, plugging and unplugging the guitar to procure unusual melodies, feedback pulses and wavering harmonics.
Garcia's real skill though is her mastery of dynamics. Working within the "noise guitar" mode, it's easy to get lost in the sheer volume. Amps are loud, loudness is fun. So her relationship with power, knowing what's under the hood, is remarkable. On the title track, it's silence or at least negative space that dominates the first few minutes, as she introduces her methodology slowly and comfortably. And this restraint makes the crippling, whammied distortion hit so much harder when it eventually arrives. The technique is versatile, too, spiking the unamplified twangs of 'Ballade des souffles' with nauseous bursts of feedback, and breaking up pulverized, Merzbow-like distortion with broken oscillator-like moans on the genius 'Pick-up tentative'.
Boomkat Product Review:
Innovative guitarist Nina Garcia (fka Mariachi) descends on Ideologic Organ with a turbulent suite of tonal/textural axe experiments, pushing the electric guitar to its limit without treading on overfamiliar ground.
It's rare to hear a solo guitar record that sounds particularly novel; the instrument's been slaughtered and resurrected so many times that we almost intuitively know what to expect. Fred Frith probably already did it on 'Solo Guitar', natch. But Garcia's been meticulously researching for a decade at this point, figuring out how to extend her technique to tease out radically different textures - she's even played with Frith himself. She brings the bare essentials to 'Bye Bye Bird' - a guitar, an amp and a single pedal - innovating by adding an electromagnetic microphone to isolate precise resonant tones from the strings, plugging and unplugging the guitar to procure unusual melodies, feedback pulses and wavering harmonics.
Garcia's real skill though is her mastery of dynamics. Working within the "noise guitar" mode, it's easy to get lost in the sheer volume. Amps are loud, loudness is fun. So her relationship with power, knowing what's under the hood, is remarkable. On the title track, it's silence or at least negative space that dominates the first few minutes, as she introduces her methodology slowly and comfortably. And this restraint makes the crippling, whammied distortion hit so much harder when it eventually arrives. The technique is versatile, too, spiking the unamplified twangs of 'Ballade des souffles' with nauseous bursts of feedback, and breaking up pulverized, Merzbow-like distortion with broken oscillator-like moans on the genius 'Pick-up tentative'.
Boomkat Product Review:
Innovative guitarist Nina Garcia (fka Mariachi) descends on Ideologic Organ with a turbulent suite of tonal/textural axe experiments, pushing the electric guitar to its limit without treading on overfamiliar ground.
It's rare to hear a solo guitar record that sounds particularly novel; the instrument's been slaughtered and resurrected so many times that we almost intuitively know what to expect. Fred Frith probably already did it on 'Solo Guitar', natch. But Garcia's been meticulously researching for a decade at this point, figuring out how to extend her technique to tease out radically different textures - she's even played with Frith himself. She brings the bare essentials to 'Bye Bye Bird' - a guitar, an amp and a single pedal - innovating by adding an electromagnetic microphone to isolate precise resonant tones from the strings, plugging and unplugging the guitar to procure unusual melodies, feedback pulses and wavering harmonics.
Garcia's real skill though is her mastery of dynamics. Working within the "noise guitar" mode, it's easy to get lost in the sheer volume. Amps are loud, loudness is fun. So her relationship with power, knowing what's under the hood, is remarkable. On the title track, it's silence or at least negative space that dominates the first few minutes, as she introduces her methodology slowly and comfortably. And this restraint makes the crippling, whammied distortion hit so much harder when it eventually arrives. The technique is versatile, too, spiking the unamplified twangs of 'Ballade des souffles' with nauseous bursts of feedback, and breaking up pulverized, Merzbow-like distortion with broken oscillator-like moans on the genius 'Pick-up tentative'.
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Boomkat Product Review:
Innovative guitarist Nina Garcia (fka Mariachi) descends on Ideologic Organ with a turbulent suite of tonal/textural axe experiments, pushing the electric guitar to its limit without treading on overfamiliar ground.
It's rare to hear a solo guitar record that sounds particularly novel; the instrument's been slaughtered and resurrected so many times that we almost intuitively know what to expect. Fred Frith probably already did it on 'Solo Guitar', natch. But Garcia's been meticulously researching for a decade at this point, figuring out how to extend her technique to tease out radically different textures - she's even played with Frith himself. She brings the bare essentials to 'Bye Bye Bird' - a guitar, an amp and a single pedal - innovating by adding an electromagnetic microphone to isolate precise resonant tones from the strings, plugging and unplugging the guitar to procure unusual melodies, feedback pulses and wavering harmonics.
Garcia's real skill though is her mastery of dynamics. Working within the "noise guitar" mode, it's easy to get lost in the sheer volume. Amps are loud, loudness is fun. So her relationship with power, knowing what's under the hood, is remarkable. On the title track, it's silence or at least negative space that dominates the first few minutes, as she introduces her methodology slowly and comfortably. And this restraint makes the crippling, whammied distortion hit so much harder when it eventually arrives. The technique is versatile, too, spiking the unamplified twangs of 'Ballade des souffles' with nauseous bursts of feedback, and breaking up pulverized, Merzbow-like distortion with broken oscillator-like moans on the genius 'Pick-up tentative'.
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