Bill Orcutt takes on 20th century minimalism on this surprisingly Reichian electro-acoustic rumination, bound by his expectedly arresting and unique axe virtuosity. RIYL Glenn Branca, Fred Frith, Sonic Youth.
Since 2009's jaw-unhinging "A New Way to Pay Old Debts", Orcutt has been churning out solo and collaborative plates at an alarming rate, retaining a level of quality that's almost superhuman. Most of his material adheres to a ruff blues template, but Orcutt rips traditional structures apart to zero in on raw improvisational blood and spittle. His electronic music is just as chunky, developed using 'Cracked', a DIY app he wrote to emulate the cheap 'n direct quality of his favorite guitars. On "Music for Four Guitars", Orcutt tries something different, using the robotic experimentation of his electronic music and the rugged power of his solo guitar work to approach an almost Reichian collection of overlayed, rhythmic, multi-guitar minimalism.
Conceptually it isn't completely new, and there are clear links to be made with Glenn Branca's influential 'Lesson No.1', as well as Sonic Youth's excellent tribute to the avant canon "Goodbye 20th Century", but Orcutt assembles these flavors into a blues-damaged portrait that frames his output majestically. There's still the pain and lightly dissonant damage of his usual skronk on 'Two things close together', but the overdriven riffs are woven together into a chiming ensemble of notes that create distinct and original percussive forms. Each track approaches roughly the same formula, overlaying phrases to create brain-tweaking harmonies and kora-like rhythms that link Orcutt's Delta-rooted performance with a wider spread of styles and traditions. It's an invigorating listening experience, another essential piece of the Orcutt puzzle.
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Bill Orcutt takes on 20th century minimalism on this surprisingly Reichian electro-acoustic rumination, bound by his expectedly arresting and unique axe virtuosity. RIYL Glenn Branca, Fred Frith, Sonic Youth.
Since 2009's jaw-unhinging "A New Way to Pay Old Debts", Orcutt has been churning out solo and collaborative plates at an alarming rate, retaining a level of quality that's almost superhuman. Most of his material adheres to a ruff blues template, but Orcutt rips traditional structures apart to zero in on raw improvisational blood and spittle. His electronic music is just as chunky, developed using 'Cracked', a DIY app he wrote to emulate the cheap 'n direct quality of his favorite guitars. On "Music for Four Guitars", Orcutt tries something different, using the robotic experimentation of his electronic music and the rugged power of his solo guitar work to approach an almost Reichian collection of overlayed, rhythmic, multi-guitar minimalism.
Conceptually it isn't completely new, and there are clear links to be made with Glenn Branca's influential 'Lesson No.1', as well as Sonic Youth's excellent tribute to the avant canon "Goodbye 20th Century", but Orcutt assembles these flavors into a blues-damaged portrait that frames his output majestically. There's still the pain and lightly dissonant damage of his usual skronk on 'Two things close together', but the overdriven riffs are woven together into a chiming ensemble of notes that create distinct and original percussive forms. Each track approaches roughly the same formula, overlaying phrases to create brain-tweaking harmonies and kora-like rhythms that link Orcutt's Delta-rooted performance with a wider spread of styles and traditions. It's an invigorating listening experience, another essential piece of the Orcutt puzzle.
Bill Orcutt takes on 20th century minimalism on this surprisingly Reichian electro-acoustic rumination, bound by his expectedly arresting and unique axe virtuosity. RIYL Glenn Branca, Fred Frith, Sonic Youth.
Since 2009's jaw-unhinging "A New Way to Pay Old Debts", Orcutt has been churning out solo and collaborative plates at an alarming rate, retaining a level of quality that's almost superhuman. Most of his material adheres to a ruff blues template, but Orcutt rips traditional structures apart to zero in on raw improvisational blood and spittle. His electronic music is just as chunky, developed using 'Cracked', a DIY app he wrote to emulate the cheap 'n direct quality of his favorite guitars. On "Music for Four Guitars", Orcutt tries something different, using the robotic experimentation of his electronic music and the rugged power of his solo guitar work to approach an almost Reichian collection of overlayed, rhythmic, multi-guitar minimalism.
Conceptually it isn't completely new, and there are clear links to be made with Glenn Branca's influential 'Lesson No.1', as well as Sonic Youth's excellent tribute to the avant canon "Goodbye 20th Century", but Orcutt assembles these flavors into a blues-damaged portrait that frames his output majestically. There's still the pain and lightly dissonant damage of his usual skronk on 'Two things close together', but the overdriven riffs are woven together into a chiming ensemble of notes that create distinct and original percussive forms. Each track approaches roughly the same formula, overlaying phrases to create brain-tweaking harmonies and kora-like rhythms that link Orcutt's Delta-rooted performance with a wider spread of styles and traditions. It's an invigorating listening experience, another essential piece of the Orcutt puzzle.
Bill Orcutt takes on 20th century minimalism on this surprisingly Reichian electro-acoustic rumination, bound by his expectedly arresting and unique axe virtuosity. RIYL Glenn Branca, Fred Frith, Sonic Youth.
Since 2009's jaw-unhinging "A New Way to Pay Old Debts", Orcutt has been churning out solo and collaborative plates at an alarming rate, retaining a level of quality that's almost superhuman. Most of his material adheres to a ruff blues template, but Orcutt rips traditional structures apart to zero in on raw improvisational blood and spittle. His electronic music is just as chunky, developed using 'Cracked', a DIY app he wrote to emulate the cheap 'n direct quality of his favorite guitars. On "Music for Four Guitars", Orcutt tries something different, using the robotic experimentation of his electronic music and the rugged power of his solo guitar work to approach an almost Reichian collection of overlayed, rhythmic, multi-guitar minimalism.
Conceptually it isn't completely new, and there are clear links to be made with Glenn Branca's influential 'Lesson No.1', as well as Sonic Youth's excellent tribute to the avant canon "Goodbye 20th Century", but Orcutt assembles these flavors into a blues-damaged portrait that frames his output majestically. There's still the pain and lightly dissonant damage of his usual skronk on 'Two things close together', but the overdriven riffs are woven together into a chiming ensemble of notes that create distinct and original percussive forms. Each track approaches roughly the same formula, overlaying phrases to create brain-tweaking harmonies and kora-like rhythms that link Orcutt's Delta-rooted performance with a wider spread of styles and traditions. It's an invigorating listening experience, another essential piece of the Orcutt puzzle.
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Bill Orcutt takes on 20th century minimalism on this surprisingly Reichian electro-acoustic rumination, bound by his expectedly arresting and unique axe virtuosity. RIYL Glenn Branca, Fred Frith, Sonic Youth.
Since 2009's jaw-unhinging "A New Way to Pay Old Debts", Orcutt has been churning out solo and collaborative plates at an alarming rate, retaining a level of quality that's almost superhuman. Most of his material adheres to a ruff blues template, but Orcutt rips traditional structures apart to zero in on raw improvisational blood and spittle. His electronic music is just as chunky, developed using 'Cracked', a DIY app he wrote to emulate the cheap 'n direct quality of his favorite guitars. On "Music for Four Guitars", Orcutt tries something different, using the robotic experimentation of his electronic music and the rugged power of his solo guitar work to approach an almost Reichian collection of overlayed, rhythmic, multi-guitar minimalism.
Conceptually it isn't completely new, and there are clear links to be made with Glenn Branca's influential 'Lesson No.1', as well as Sonic Youth's excellent tribute to the avant canon "Goodbye 20th Century", but Orcutt assembles these flavors into a blues-damaged portrait that frames his output majestically. There's still the pain and lightly dissonant damage of his usual skronk on 'Two things close together', but the overdriven riffs are woven together into a chiming ensemble of notes that create distinct and original percussive forms. Each track approaches roughly the same formula, overlaying phrases to create brain-tweaking harmonies and kora-like rhythms that link Orcutt's Delta-rooted performance with a wider spread of styles and traditions. It's an invigorating listening experience, another essential piece of the Orcutt puzzle.
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Bill Orcutt takes on 20th century minimalism on this surprisingly Reichian electro-acoustic rumination, bound by his expectedly arresting and unique axe virtuosity. RIYL Glenn Branca, Fred Frith, Sonic Youth.
Since 2009's jaw-unhinging "A New Way to Pay Old Debts", Orcutt has been churning out solo and collaborative plates at an alarming rate, retaining a level of quality that's almost superhuman. Most of his material adheres to a ruff blues template, but Orcutt rips traditional structures apart to zero in on raw improvisational blood and spittle. His electronic music is just as chunky, developed using 'Cracked', a DIY app he wrote to emulate the cheap 'n direct quality of his favorite guitars. On "Music for Four Guitars", Orcutt tries something different, using the robotic experimentation of his electronic music and the rugged power of his solo guitar work to approach an almost Reichian collection of overlayed, rhythmic, multi-guitar minimalism.
Conceptually it isn't completely new, and there are clear links to be made with Glenn Branca's influential 'Lesson No.1', as well as Sonic Youth's excellent tribute to the avant canon "Goodbye 20th Century", but Orcutt assembles these flavors into a blues-damaged portrait that frames his output majestically. There's still the pain and lightly dissonant damage of his usual skronk on 'Two things close together', but the overdriven riffs are woven together into a chiming ensemble of notes that create distinct and original percussive forms. Each track approaches roughly the same formula, overlaying phrases to create brain-tweaking harmonies and kora-like rhythms that link Orcutt's Delta-rooted performance with a wider spread of styles and traditions. It's an invigorating listening experience, another essential piece of the Orcutt puzzle.