![]() “On the Banks of the Old Kishwaukee” brings a change of pace along with an injection of banjo refrains. Notice how beautifully the end of “Part 2” blends into “Clear the Sky.” Part 2 investigates more open sounds influenced by hammer dulcimer, dobro, and slide guitar. In “Twin Oaks, Part 1” and “Twin Oaks, Part 2,” Walker and company explore uptempo Appalachian influences through two acoustic guitars and great fiddle lines. Sink into the delicious 80-second instrumental ending fade. Vocals follow a mostly minor mode and sound very much like a John Martyn song from the early ’70s. You’ll discover two-, three-, and four-note harmonies throughout this piece. Walker relentlessly explores his fret board with open tunings and does not limit his thumb pick to just the lower two strings. “Clear the Sky” begins with a taste of downtempo Irish acoustic guitar and fiddle, with lyrics about the Blue Ridge Mountains. The first three tracks come from All Kinds of You, and the next two spring from Primrose Green, with the final track from Course in Fable (2021). ![]() My favorite era of Walker’s music is 2014–15, when he released the CDs Primrose Green (2015) and All Kinds of You (2014). He’s one of the leading young stylists in a crowded instrumental guitar scene.” Grayson Haver Currin praises his music in a 2018 review on : “Make no mistake: Walker is a prodigious talent. No doubt about it-Walker assembles a rich tradition of contributors to his authentic music stylizing. I also detect a whisper of influence from artists Brian Auger, John Martyn, and John Fahey, as well as contemporary acoustic guitarist William Tyler. His singing style harkens back to the sound of English artists Nick Drake (the 1970s solo artist) and duo John Renbourn & Bert Jansch, who played with UK folk-jazz band Pentangle. Through collaborative live concerts and six studio CD releases, Walker has been experimenting with a variety of genres, including folk, rock, jazz, and avant-garde. No one.Over the past ten years, 32-year-old acoustic guitarist Ryley Walker has been shaping and honing his virtuoso skills. “No one is playing acoustic guitar like Bill Orcutt right now. Chances are he’s either out trying to converse with the corpse of traditionalism or getting busy trying to revive it.” - Record Collector ![]() “Augmenting his complementary repertoire of wordless grunts and caterwauls, Orcutt also marks himself out as a strained vessel for chronic EVP activity. “True, Orcutt makes his acoustic roar, but he also wrings melodies from its din, crumpling the tin can of sad nostalgia while acknowledging that what’s inside was pretty good, after all.” - Pitchfork This is Orcutt’s first trip to Ireland and tickets are strictly limited. Orcutt manages to find a historical thread that few would even have considered to exist, adding new life to a well-worn story and expanding his already vast musical vocabulary in the process. Most would be filler on a mid-60’s Doris Day or Burl Ives LP”. ![]() The original tunes themselves are nothing special, well known, but not particularly well-regarded. His latest solo collection, ‘A History Of Everyone’, sees Orcutt re-imagining a surprising lineage of American songcraft “minstrel songs, holiday songs, hymns, marches, cowboy songs, Disney songs, work songs, delta blues. Through releases on Editions Mego and his own label, Palilalia, Orcutt pushes his guitar into new realms of sound, ending up some place Pitchfork’s Marc Masters astutely described as “equally indebted to blues legends like Lightnin’ Hopkins and abstract experimenters like Derek Bailey”. Molloy & Dowling Opticians (Below Cleo Handweavers)įirst known as the guitarist of Miami noise-rockers Harry Pussy, Bill Orcutt’s solo work has blossomed into a dark, personal take on noise, improv and the blues.
0 Comments
Leave a Reply. |