Revolt of the ILX Brigade: New Post-Fahey Folk For PPL that post in the Takoma & Tompkin's Square Threads

Sounds good! Sound and songwise. Really pretty. What kind of guitar do you have?

a seagull (got it off of craigslist for $85 cuz it had a badly repaired crack that doesn't seem to affect sound or playing etc)....but they are pretty nice guitars! made in canada...but MUCH cheaper than martins, etc....def worth keeping your eye out...but it was a great deal, i think it was originally like $500

they have dumb looking headstocks tho

basically seems like martin's don't go for less than a grand anymore hardly so i just wrote them off :/

Not much time to post right now, but I came to check in and damn UMS, that track sounds great! As global states, the tune and the recording, good job man. Keep em coming.

Nikolaus, I dig that Dove Azima thing, as you call it. Definitely on the weird end of the spectrum, which is refreshing. Has a mysterious sound to it, kind of reminds me of a primitive take on some of the stuff Steven R. Smith gets up to, or like acoustic demos of early Sonic Youth.

Here is the Bronze Horse release by Zachary Hay

https://www.youtube.com/watch?v=8W4U_0t25Eg&list=PL5FFB4988942C174C

I would like to listen to the "acoustic demos of early Sonic Youth". could you please give me a hint for what I have to look for?
I only know thurston moore's "12 string meditations for Jack Rose"

not really sonic youthy but Paul Metzger (mentioned upthread) would be highly recommended for the more "out" side of this thread....

https://www.youtube.com/watch?v=EuM4wGrENzI

Hah hah, the acoustic demos of early Sonic Youth don't exist as far as I know, sorry to be confusing. I meant that Dove Azima sounded something like what I imagine that would sound like. I'd perhaps like to hear it as well, but Dove Azima may have to suffice.

Metzger is cool, what a crazy dude.

i spoke w/him once (detailed upthread i think) but anyway he is a super nice guy

Dude that song is my jam! a) I am a sucker for bowed guitar/banjo pretty much all the time (barring Sigur Ros who I know does this but I am not really interested, no offense Sigur Ros fans) and b) Metzger does it better than about anyone I have heard do it, amongst his many other talents. Cool that he is a nice guy as well.

I'm with you- Sigur Ros is too much melodrama.

Can't deal with Sigur Ros either, but more to the point... everyone within ten posts of this post needs to check out R. Keenan Lawler. This isn't my usual smuggo "fuck you, you forgot xxxxxx!" hyperbole - Lawler has a completely otherworldly sound that's part mad scientist experiment, part rusted metal in a sandstorm.

http://soundcloud.com/r-keenan-lawler
http://pitchfork.com/reviews/albums/9590-music-for-the-bluegrass-states/

Gonna check out more of that R. Keenan Lawler, have seen his name around forever and listened to a track here or there, but never got to see him live or pick up a record. Like what I have heard so far, definitely a cool sound.

Also, I will post some Hopscotch stuff at some point as far as how the show was, a little too much going on to do so now, but here is part of the Christ Forsyth set, which was definitely the most successful/rocking and overall best sounding set of the day: https://www.youtube.com/watch?v=i2I5R7Wogx8

You'll get a sense of how beautiful and cool the venue was for a nice Saturday afternoon, as well as my soon to be very sunburned bald(ing) head. I am pretty much 4 rows back in a blue shirt next to the center aisle. Had no idea it, or me, was being filmed, so a little embarrasing. I had been up since 5:30 a.m., so I was a little delirious at this point, which kind of suited the music very well. Some woozy guitar sounds in this passage especially. He played the whole record to be release on Paradise of Bachelors in sequence.

Interesting Forsyth playing fact: he uses a pick, but also appeared to have a metal finger pick on his middle finger, which is a setup/playing style I've never seen before.

Here's MFB's Hopscotch rundown, including some words on a few thread heavy-hitters: http://adhoc.fm/post/hopsctoch-music-festival-2013/

So in order to rid myself of my over-fussing tendencies, I decided to do a little improv and record the first take.

It is full of mistakes but whatever that's the point of the exercise.

Tuning: DGDGmBE

More established tunes with that tuning to follow.

https://soundcloud.com/factual-1/feels-like-8

Abrupt ending & all. I'm not sure if it is bad, but overall an uncomfortable exercise because I am both fussy & lazy so up to this point I've barely gotten anything done. I have so many songs I've been playing for 4+ years that need to be recorded properly. Not much as far as lyrics go, but this thread doesn't require that at least.

I like it

:) Thanks.

I can do better though, all the tons of sloppy notes make me wince.

Look forward to listening to this Evan, but no sound at work today. I like the look of that tuning though.

Yeah I've been kind of stuck on that tuning for a few years! It was an accidental discovery too.

Hah, we really would make an interesting band perhaps. I play in a tuning I discovered by accident (well, one I adopted from one I found by accident) by leaving an electric sitting for a while with a broken string. I have been playing it for years.

Neat! What are the notes?

I discovered mine by finding an existing one somewhere I wanted to try out then I literally stopped tuning it halfway (in the middle of changing the G string) and got used to it.

Dflat/Aflat/Dflat/Aflat/Aflat (I play w/ 5 strings and tune the highest 2 to the same octave). I also vary it by tuning the highest string to C, so Dflat/Aflat/Dflat/Aflat/C.

I have a couple of other minor variations on it, but mostly I play those two these days. Originally I left the low string tuned to E, but that was when playing with other people playing in standard tuning. Now that I don't do that I have mostly abandoned it. Really I feel silly about my tunings/5 string setup at times, but when it happened years ago it freed up my playing in ways that were kind of astounding, as far as getting me out of a rut and feeling like everything I played in standard tuning sounded lame, so I have a real affinity for it. Kind of a "don't spook the horse" thing I guess.

I discovered mine by finding an existing one somewhere I wanted to try out then I literally stopped tuning it halfway (in the middle of changing the G string) and got used to it.

I love facts like this, and hope stuff likes this always creeps into my music, i.e., accidents and just deciding stuff sounds good even if it came outta nowhere. I think every musician has stuff like this, but as far as having personality in music I think it helps to indulge this kind of urge.

Yes! After playing in standard for so long it got stale for me. New tunings really make everything feel fresh.

Huh, had no idea there was an album about to come out, but apparently you can stream the new Daniel Bachman record right now:

http://www.fretboardjournal.com/audio/exclusive-stream-preview-daniel-bachmans-jesus-im-sinner

Looks like he plays some traditionals, but I can't listen right now so I haven't really dug into it yet. No info on the label either.

ha yeah, hadn't heard a thing about this!
looks like it's tompkins sq.
http://www.amazon.com/gp/product/B00E00GBV8/ref=as_li_ss_tl?ie=UTF8&camp=1789&creative=390957&creativeASIN=B00E00GBV8&linkCode=as2&tag=fretbjourn-20

Hah definitely sneaky if no one on this thread had heard about it, and yeah should have figured Tompkins Square, though folks jump around labels a lot these days.

totally borrowed your tuning for the afternoon, grandavis. but since i play with six strings, i also jacked your idea to tune to C for the remaining string haha. think i've worked up the skeleton of a nice little ditty, though! may post it in here some day.

Hah that is great global, would love to hear it! Would be a little strange, as I might just think it sounds like me (though you are a better player than I am), but yeah very interested to hear what someone else would do with it. I am sure it is close to some kind of commonly used tuning (obviously not too far off from DADGAD or something, just the half-steps lower), but I haven't spent much time looking into it.

By the way, did you double the high Aflats or double on the C? I just pulled out my wife's acoustic, so I might play around with a six-string version of the tuning.

http://www.factmag.com/2013/08/02/bill-orcutt-announces-new-lp-a-history-of-every-one-hear-him-take-on-zip-a-dee-doo-dah/

ok this record is sick

legend of blind derek bailey

imo every orcutt track is a cover of zip a dee doo dah

Be interested to see how much this "Zip a dee doo dah" track is a bait and switch or not. There is a track posted in this thread somewhere where Orcutt is playing it a little straighter (maybe his national anthem run-through, can't remember), and it is a good look for him. I don't think I can listen to a whole album of him doing the "blind derek bailey" thing again, as much as I appreciate it in principle. Might become a live proposition only for me, though for a track/song at a time I can be pretty into what Orcutt is up to.

i don't know what you mean by 'bait and switch', but most of the album is in that vein, with a couple few more placid/ballady numbers as well. i haven't listened enough yet to have any sense for how recognizable any of the songs are, but i don't care about that anyway.

new nathan salsburg record is out today, btw.

if you can get there (they've been having website issues), i wrote up a bunch of these things for aquarium drunkard today: http://www.aquariumdrunkard.com/2013/09/17/transfigurations-2013-recent-recommended-guitar-soli/

new marisa anderson!!

from a couple months back, but i guess they're just getting the vinyl issue together...! it is amazing, maybe my fave LP of the year.

Man I am psyched, Marisa is playing here next month, really excited to see her live.

i don't know what you mean by 'bait and switch': Wasn't trying to be confusing here, just meant that the rest of the record, which uses the titles from popular songs, may actually contain recognizable parts of those songs, as opposed to "zip a dee doo dah", which bears no resemblance to the original. I haven't heard it so I don't know.

ah, well my first impression was that it is like bailey's 'ballads' in that regard. i thought i heard some resemblances here and there, but they weren't necessarily strong ones, and of course i don't know all the songs that well anyway. i'll have to test it on 'onward christian soldiers'.

i did notice on 'white christmas' that i was like, 'white christmas??'.

Hey grandavis,

Thanks for shouting me out above. Of possible interest to those on this thread is an interview with Nathan Bowles I just published:

http://adhoc.fm/post/nathan-bowles-talks-pingy-banjos-black-dirt-studio/

My guess is that it is mostly "???" moments in relation to the Orcutt cover songs, which is fine but not as interesting to me unless there is some real thought behind the uses of the names/song titles etc., which may come out in the press surrounding the record. I'll give it a shot, as he can be an exciting player to me, but not sure I can take a whole record of it.

And sure thing MFB, obviously I am a sucker for all of this stuff, so I appreciate it getting some press. Also of course dig the stuff people bring to this thread, so thank you man. Just read the Bowles piece, good stuff. Interesting guy, glad to have gotten to open for him and share a state.

great interview. found this particularly exciting:

“That's the first time I've played that. I came up with the tuning first, and then I wrote that when I was on vacation. It's not so melodic-- little clusters of chords, and more textural. There's a section where I repeat one chord over and over.”

Pretty sure that I saw this song last time he played live, or at least something similar. He did a long one that sat on a figure for a long time, and it sounded like a country-kraut hybrid. But yeah, last time I saw him the room was really quiet and he played a lot of textural shit that was really cool, highlighting that "not pingy" aspect of banjo tonality, and just tonality in general, which completely my thing.

Uh, is completely my thing that is.

Salsburg songs I have heard are really good, his techinque and taste are airtight, but maybe a bit dry to me. Need to dig in more.

country-kraut hybrid

Holy shit this is the most intriguing combination to me.