#experimental guitar

[swartzet]

II (from the 3HZ album titled Landers – made with some friends in the desert – Available HERE)

[mobdividual]

decided to (finally) publish my latest EPs (with extra tracks!) as one giant album on #bandcamp :: pay what you want :: thanks everyone:: grab it when you can and listen when you need an escape :: complied and collaged from numerous improvised recording sessions in massachusetts after moving from colorado; taking inspiration from walks along the shore, to sitting quietly in the forest, to commuting hurriedly thru urban train stations - all very new experiences for me (all of which youve seen in here...) :: all songs and sounds recorded using guitars and pedals :: all photographs and edits by me https://mobdividual.bandcamp.com/album/the-e-eps-with-bonus-tracks

[sheeps-eye]

Does anyone know any bodies of work similar to Electric Guitar: One by Emma Ruth Rundle or similar to her work in general?

[dustedmagazine]

Henry Kaiser — Mahalo Nui (Metalanguage)

John Fahey was 27 years old when he recorded Requia. While parts of it play as a sincere ceremony of remembrance for people who meant something to him, it was nonetheless the work of an ornery young man. That provenance showed, especially on the spectacularly trollish, side-long musique concrete composition, “Requiem For Molly.” Henry Kaiser knows all about Fahey, guitars experimental music, and Requia in particular. He’s recorded a couple albums of his own using that title, and posed for one of them in a visual homage to Fahey’s record. But Kaiser’s also managed to live a longer life than Fahey, very different but no less astounding. He has been able to carry on a career as a boundary-straddling guitarist who gets to play whatever he wants with pretty much whoever he wants and also to work as a research diver with a specialty in under-ice video work.

Several tracks from this projectstarted out as a COVID-era project, when Kaiser included among the regular YouTube videos that he posted from lockdown with shout-outs to recently passed musicians, such as Steffen Basho-Junghans and David Lindley. Over time, the partings tend to proliferate. Kaiser found himself with ten mostly-solo tracks that shared two criteria: they memorialized fellow travelers who adventured with him upon or under the ice, or who made music, films or musical instruments; and they continued Kaiser’s decades-long determination to do more with the guitar than it previously had been able to do. These became Mahalo Nui.

Born in 1951, Kaiser has now lived long enough to know loss in ways that Fahey could not when he recorded Requia in 1967. Across its two sides, Fahey dug deep into sorrow and respect, and also let fly some ill-focused antagonism. You’ll some sorrow on Mahalo Nui, particularly on the sole non-solo performance, a slide guitar trio in honor of David Lindley. But you’ll hear a lot more joy and gratitude; the album’s title translates from Hawaiian as Thank You Very Much. “Hard Time Killin’ Spoonful Requiem For Paul Hostetter” mashes up Derek Bailey and Skip James gestures with more glee than rue; perhaps Kaiser assembled the performances from licks that the late luthier loved? The glistening tones and complex timbres of “Antarctic Requiem For Liz Sutter & Bija Sass,” which is named after two of his fellow Antarctic travelers, evoke a state of drifting wonder and weightless solace.

In 1990, I caught a Kaiser solo concert and came away as impressed with the looming height of his effects rack as I was with his music. He’s never been afraid to indulge the possibilities of technology and technique, and there have certainly been times when they have gotten the better of him. That never happens on Mahalo Nui. The occasions when he foregrounds technical interventions, such as the school of psychedelic blurs on “Mysterious Requiem For Paul Plimley” and the real-time combination of scything slide guitar and MIDI-controlled piano notes on “Some Of The Great Ancestors Inside My Guitar,” pay off real musical dividends. This record makes a strong case for both the technical and emotional aspects of Kaiser’s art. One caveat for those who prefer physical formats; if you go to Kaiser’s Bandcamp page, this title is only offered as a download. However, it is also available as a CD if you’re willing to search a bit.

Bill Meyer

[psitrend]

Tashi Dorji reveals "we will be wherever the fires are lit" for November 2024

“We will be wherever the fires are lit” arrives November 22 from guitarist Tashi Dorji Tashi Dorji has announced a new album titled “we will be wherever the fires are lit,” scheduled for release on November 22, 2024. The album’s title track debuted as the first single, accompanied by a black-and-white video created by Roberto Lange, who produces music under the name Helado Negro. The album…

[miamaimania]

Mark Mothersbaugh of DEVO (1977) by Ruby Ray - A tangle of wires and knobs transforms the guitar into an experimental sound machine.

[local-lover-boy]

My song called "Anorexia" I actually like it for the most part but hopefully I can improve it

[thisnoise]

[tam-sebs]

TROLLSONA + FLOYD (EXPERIMANTAL DRAWING)

[swartzet]

II (from the 3HZ album titled Landers – made with some friends in the desert – Available HERE)

[womenofnoise]

Naama Tsabar - Melodies of Certain Damage (2022) (x) Watch the performance composed and performed in collaboration with: Rose Blanshei, Larkin Grimm, Maya Perry, Sarah Strauss and Naama Tsabar.

[grhmwtts]

I’ve been dreaming of the maps I made on your back

You said that summer was a wish you would retract

— “Satiated” by graham watts

[giuseppebonaccorso]

My latest album, "Plastic Triode," has been released, and I'm incredibly excited!

I hope you will enjoy it.

[acebytaemin]

no matter what taemin is taemin and don’t you FORGET IT