Bill Orcutt
Jump On It
Boomkat Product Review:
Utterly beguiling solo acoustic material from Bill Orcutt, a follow-up of sorts to 2013's 'A History of Every One'. If you wanna hear what Orcutt sounds like when he's breathing in the influence of Jack Rose and Erik Satie, this one's for you.
Orcutt might be best known for his freeform attack on blues, but his technique is equally as enthralling when mapped to rootsy American folk. 'Jump On It' is a relatively restrained set from the ex-Harry Pussy shredder, and benefits from its resistance to Orcutt's usual starkness. Here, he records with faint room reverb and a level of closeness that feels almost romantic. 'What Do You Do With Memory' is so pretty it's hard to work out what happened, but Orcutt's idiosyncratic twangs are still just about visible beneath the ornate fretwork, spilling out around the edges like cookie dough on a sheet pan. It's sentimental music, but it's not polished - Orcutt's breaths and fretboard wipes are just as important as the notes themselves and while he's not focusing on improv tropes like he did on 'A History of Everyone', he's still sounds charged and impatient.
Even when he slows down considerably, like on the heartmelting 'Some Hidden Purpose', you can hear Orcutt's frenetic spirit ooze through the notes in-between. 'A Natural Death' is formally straightforward, but when Orcutt lets go on the angular runs, it's clear that he's coming from a different place from most folk or classical guitarists. His sounds might be relatively similar, but Orcutt shows no sign of a desire to be part of the post-Fahey Tompkins lineup. Every time the album veers too close to elegance, the guitarist disrupts the flow with a spirited action that pulls the focus back for a moment. On the title track, his fast and frenzied approach is balanced with rhythmic, archaic proto-blues riffs, and on the unassuming closer 'Before I Go', he builds from order into chaos, ending on a flurry of notes and scrapes. So good.
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Boomkat Product Review:
Utterly beguiling solo acoustic material from Bill Orcutt, a follow-up of sorts to 2013's 'A History of Every One'. If you wanna hear what Orcutt sounds like when he's breathing in the influence of Jack Rose and Erik Satie, this one's for you.
Orcutt might be best known for his freeform attack on blues, but his technique is equally as enthralling when mapped to rootsy American folk. 'Jump On It' is a relatively restrained set from the ex-Harry Pussy shredder, and benefits from its resistance to Orcutt's usual starkness. Here, he records with faint room reverb and a level of closeness that feels almost romantic. 'What Do You Do With Memory' is so pretty it's hard to work out what happened, but Orcutt's idiosyncratic twangs are still just about visible beneath the ornate fretwork, spilling out around the edges like cookie dough on a sheet pan. It's sentimental music, but it's not polished - Orcutt's breaths and fretboard wipes are just as important as the notes themselves and while he's not focusing on improv tropes like he did on 'A History of Everyone', he's still sounds charged and impatient.
Even when he slows down considerably, like on the heartmelting 'Some Hidden Purpose', you can hear Orcutt's frenetic spirit ooze through the notes in-between. 'A Natural Death' is formally straightforward, but when Orcutt lets go on the angular runs, it's clear that he's coming from a different place from most folk or classical guitarists. His sounds might be relatively similar, but Orcutt shows no sign of a desire to be part of the post-Fahey Tompkins lineup. Every time the album veers too close to elegance, the guitarist disrupts the flow with a spirited action that pulls the focus back for a moment. On the title track, his fast and frenzied approach is balanced with rhythmic, archaic proto-blues riffs, and on the unassuming closer 'Before I Go', he builds from order into chaos, ending on a flurry of notes and scrapes. So good.
Boomkat Product Review:
Utterly beguiling solo acoustic material from Bill Orcutt, a follow-up of sorts to 2013's 'A History of Every One'. If you wanna hear what Orcutt sounds like when he's breathing in the influence of Jack Rose and Erik Satie, this one's for you.
Orcutt might be best known for his freeform attack on blues, but his technique is equally as enthralling when mapped to rootsy American folk. 'Jump On It' is a relatively restrained set from the ex-Harry Pussy shredder, and benefits from its resistance to Orcutt's usual starkness. Here, he records with faint room reverb and a level of closeness that feels almost romantic. 'What Do You Do With Memory' is so pretty it's hard to work out what happened, but Orcutt's idiosyncratic twangs are still just about visible beneath the ornate fretwork, spilling out around the edges like cookie dough on a sheet pan. It's sentimental music, but it's not polished - Orcutt's breaths and fretboard wipes are just as important as the notes themselves and while he's not focusing on improv tropes like he did on 'A History of Everyone', he's still sounds charged and impatient.
Even when he slows down considerably, like on the heartmelting 'Some Hidden Purpose', you can hear Orcutt's frenetic spirit ooze through the notes in-between. 'A Natural Death' is formally straightforward, but when Orcutt lets go on the angular runs, it's clear that he's coming from a different place from most folk or classical guitarists. His sounds might be relatively similar, but Orcutt shows no sign of a desire to be part of the post-Fahey Tompkins lineup. Every time the album veers too close to elegance, the guitarist disrupts the flow with a spirited action that pulls the focus back for a moment. On the title track, his fast and frenzied approach is balanced with rhythmic, archaic proto-blues riffs, and on the unassuming closer 'Before I Go', he builds from order into chaos, ending on a flurry of notes and scrapes. So good.
Boomkat Product Review:
Utterly beguiling solo acoustic material from Bill Orcutt, a follow-up of sorts to 2013's 'A History of Every One'. If you wanna hear what Orcutt sounds like when he's breathing in the influence of Jack Rose and Erik Satie, this one's for you.
Orcutt might be best known for his freeform attack on blues, but his technique is equally as enthralling when mapped to rootsy American folk. 'Jump On It' is a relatively restrained set from the ex-Harry Pussy shredder, and benefits from its resistance to Orcutt's usual starkness. Here, he records with faint room reverb and a level of closeness that feels almost romantic. 'What Do You Do With Memory' is so pretty it's hard to work out what happened, but Orcutt's idiosyncratic twangs are still just about visible beneath the ornate fretwork, spilling out around the edges like cookie dough on a sheet pan. It's sentimental music, but it's not polished - Orcutt's breaths and fretboard wipes are just as important as the notes themselves and while he's not focusing on improv tropes like he did on 'A History of Everyone', he's still sounds charged and impatient.
Even when he slows down considerably, like on the heartmelting 'Some Hidden Purpose', you can hear Orcutt's frenetic spirit ooze through the notes in-between. 'A Natural Death' is formally straightforward, but when Orcutt lets go on the angular runs, it's clear that he's coming from a different place from most folk or classical guitarists. His sounds might be relatively similar, but Orcutt shows no sign of a desire to be part of the post-Fahey Tompkins lineup. Every time the album veers too close to elegance, the guitarist disrupts the flow with a spirited action that pulls the focus back for a moment. On the title track, his fast and frenzied approach is balanced with rhythmic, archaic proto-blues riffs, and on the unassuming closer 'Before I Go', he builds from order into chaos, ending on a flurry of notes and scrapes. So good.
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