This is great music to listen to while you paint. It is soothing yet surprising. Unexpected twists and turns.
http://nodepression.com/album-review/various-artists-imaginational-anthem-volume-7-guitar-soli
Various Artists - Imaginational Anthem Volume 7: Guitar Soli
Tompkins Square’s
Imaginational Anthem
series has become a standard for presenting solo instrumental acoustic
guitar music in the “American Primitive”, or “Guitar Soli” style. Since
the first volume 10 years ago, the series has included new artists as
well as bringing back to light influential and important guitarists of
yesteryear. Partly as a result, solo acoustic guitar has been enjoying a
revival of sorts lately, with artists such as William Tyler, Daniel
Bachman, and James Blackshaw attracting fairly widespread attention.
Hayden Pedigo (featured last year in
Vogue, of all places) is one of this new breed and has been chosen to curate the latest,
Volume 7: Guitar Soli. Pedigo is an inspired choice, as his most recent album
Five Steps
features collaborations with a menagerie of adventuresome guitarists
ranging from Fred Frith and Peter Walker to Acid Mothers Temple’s
Kawabata Makoto.
Even though the
Imaginational Anthem
albums showcase just one instrument, a lot of ground is covered.
Beethoven didn’t call the guitar a miniature orchestra for no reason.
“Culverts”, by Sean Proper and “Red Bud Valley” by Dylan Golden Acock
recall the “Takoma School” of playing (Leo Kottke, John Fahey) with
bright, clean lines. Conversely, Chuck Johnson’s “On a Slow Passing
Through a Ghost Town” is more contemplative, it’s haunting melody line
stark and cinematic.
Things get experimental on “Trees Return to
Soil”, by Simon Scott (best known as the drummer for Slowdive) - an
atmospheric piece with subtle background noise and the close-miked sound
of fingers on strings. Similarly, Jordan Norton’s “Araucaria” delves
into ambient territory with an echoing sound landscape evoking empty
spaces, with gentle percussive fingerpicking, almost banjo-like. “0/3”,
by M. Mucci features an accompanying tapping on the guitar body
creating a duet between strings and wood.
Kyle Fosburgh’s “The
Great North American Wilderness” is stately and grand, the deep
resonance of the notes conveying a deep reverence for the wilderness of
the track’s title. Some of the song names on the collection are more
vague, playful (Christoph Bruhn’s “Something, or Oil Paintings”) or
seemingly at odds with the music than Fosburgh’s. With a title like
“Shadow Study at 6 am”, you might expect Mariano Rodriguez’ piece to be
mellow and moody. Yet Rodriguez is wide awake in this greet-the-morning
song, his confident playing ringing in the day.
Each of the tracks on
Volume 7
tell a story and, though some of the playing is rooted in the sounds
and styles of trailblazing guitarists of yore, there’s always a
striving to see what new things can be done with this “miniature
orchestra” called the guitar. Based on the evidence here, the future is
bright for guitar soli.
(Imaginational Anthem Vol. 7 is out Feb. 17)