(I'll) waltz in and act like (I) own the place
Gorgeous works for mandolin, karimba, melodica, guitars and an AM/FM portable radio by K. W. Cahill - highly recommended if yr into anything Takoma or works by Six Organs of Admittance, P.G. Six or Rick Tomlinson/Voice of the Seven Woods.
There's a refreshing lack of reverence to Cahill's approach. He's clearly instrumentally adept, and able to juggle multiple instruments without losing the plot, and despite working loosely within the boundaries of folk, he doesn't just ape the usual suspects. Structure isn't a serious consideration on opening track 'Part Chance' - fingerpicked acoustic guitar phrases flit around Cahill's shivering kalimba and it sounds like ideas colliding, not obvious references being recompiled for the hundredth time.
It's ideal material for Death is not the End, as it aligns itself with dusty American folk standards, but searches for new applications. On the long 'Frontier did drop off', Cahill's fluttering mandolin sounds almost like a banjo, and trips over itself, echoing into the distance. And when Cahill plugs in on 'Raised high a toast', his fuzzy electric guitar distortions add psychedelic weight to the meditative kalimba plucks and muffled radio voices.
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Gorgeous works for mandolin, karimba, melodica, guitars and an AM/FM portable radio by K. W. Cahill - highly recommended if yr into anything Takoma or works by Six Organs of Admittance, P.G. Six or Rick Tomlinson/Voice of the Seven Woods.
There's a refreshing lack of reverence to Cahill's approach. He's clearly instrumentally adept, and able to juggle multiple instruments without losing the plot, and despite working loosely within the boundaries of folk, he doesn't just ape the usual suspects. Structure isn't a serious consideration on opening track 'Part Chance' - fingerpicked acoustic guitar phrases flit around Cahill's shivering kalimba and it sounds like ideas colliding, not obvious references being recompiled for the hundredth time.
It's ideal material for Death is not the End, as it aligns itself with dusty American folk standards, but searches for new applications. On the long 'Frontier did drop off', Cahill's fluttering mandolin sounds almost like a banjo, and trips over itself, echoing into the distance. And when Cahill plugs in on 'Raised high a toast', his fuzzy electric guitar distortions add psychedelic weight to the meditative kalimba plucks and muffled radio voices.
Gorgeous works for mandolin, karimba, melodica, guitars and an AM/FM portable radio by K. W. Cahill - highly recommended if yr into anything Takoma or works by Six Organs of Admittance, P.G. Six or Rick Tomlinson/Voice of the Seven Woods.
There's a refreshing lack of reverence to Cahill's approach. He's clearly instrumentally adept, and able to juggle multiple instruments without losing the plot, and despite working loosely within the boundaries of folk, he doesn't just ape the usual suspects. Structure isn't a serious consideration on opening track 'Part Chance' - fingerpicked acoustic guitar phrases flit around Cahill's shivering kalimba and it sounds like ideas colliding, not obvious references being recompiled for the hundredth time.
It's ideal material for Death is not the End, as it aligns itself with dusty American folk standards, but searches for new applications. On the long 'Frontier did drop off', Cahill's fluttering mandolin sounds almost like a banjo, and trips over itself, echoing into the distance. And when Cahill plugs in on 'Raised high a toast', his fuzzy electric guitar distortions add psychedelic weight to the meditative kalimba plucks and muffled radio voices.
Gorgeous works for mandolin, karimba, melodica, guitars and an AM/FM portable radio by K. W. Cahill - highly recommended if yr into anything Takoma or works by Six Organs of Admittance, P.G. Six or Rick Tomlinson/Voice of the Seven Woods.
There's a refreshing lack of reverence to Cahill's approach. He's clearly instrumentally adept, and able to juggle multiple instruments without losing the plot, and despite working loosely within the boundaries of folk, he doesn't just ape the usual suspects. Structure isn't a serious consideration on opening track 'Part Chance' - fingerpicked acoustic guitar phrases flit around Cahill's shivering kalimba and it sounds like ideas colliding, not obvious references being recompiled for the hundredth time.
It's ideal material for Death is not the End, as it aligns itself with dusty American folk standards, but searches for new applications. On the long 'Frontier did drop off', Cahill's fluttering mandolin sounds almost like a banjo, and trips over itself, echoing into the distance. And when Cahill plugs in on 'Raised high a toast', his fuzzy electric guitar distortions add psychedelic weight to the meditative kalimba plucks and muffled radio voices.
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Gorgeous works for mandolin, karimba, melodica, guitars and an AM/FM portable radio by K. W. Cahill - highly recommended if yr into anything Takoma or works by Six Organs of Admittance, P.G. Six or Rick Tomlinson/Voice of the Seven Woods.
There's a refreshing lack of reverence to Cahill's approach. He's clearly instrumentally adept, and able to juggle multiple instruments without losing the plot, and despite working loosely within the boundaries of folk, he doesn't just ape the usual suspects. Structure isn't a serious consideration on opening track 'Part Chance' - fingerpicked acoustic guitar phrases flit around Cahill's shivering kalimba and it sounds like ideas colliding, not obvious references being recompiled for the hundredth time.
It's ideal material for Death is not the End, as it aligns itself with dusty American folk standards, but searches for new applications. On the long 'Frontier did drop off', Cahill's fluttering mandolin sounds almost like a banjo, and trips over itself, echoing into the distance. And when Cahill plugs in on 'Raised high a toast', his fuzzy electric guitar distortions add psychedelic weight to the meditative kalimba plucks and muffled radio voices.