ILX Gonna Shine in My Backdoor Someday (new post-Fahey folk for ppl posting in Takoma/Tompkins Square threads Pt II)

And on that note; the playlist is updated for the month of September.

found this while building; it's great
https://www.youtube.com/watch?v=0AU6y8N_Unk

I need to get some of his stuff. His track on the new IA comp has quickly become my favorite on there.

I find that I increasingly enjoy the more melodic side of guitar soli, the guys who could really write. That's why I love Crandell, and the early de Grassi LPs: the compositions. Kinda tired of ragas and blues, and alternating thumb, and Travis picking. Wanna hear more stoned impressionism-type stuff! What else is in this vein that I may not be aware of?

I should probably try again with Cromarty. People who like this sort of thing love him, but I've always found him a bit too stately or something. I dunno. I'm probably too picky.

haven't had much luck recording lately, i went through this whole phase with strictly acoustic playing where i was listening to glenn jones and kind of getting depressed like his compositions and playing are so perfect but perfectly at ease with themselves and everything he does just feels like he's so comfortable in his own skin as a player like why bother if you're not as good as he is?

i dunno

anyway this came together really quickly, i wrote this thing then when i put this digital delay plugin preset on it it seemed to just come alive, then i added some analog synth to it, anyway i'm pretty excited about this one at the moment

https://soundcloud.com/matthew-lee-helgeson/oceanic

sounds awesome

yeah i like this! almost moving into a dustin wong-y territory ...

nice recording of a recent william tyler band set here: http://sweetblahg.tumblr.com/post/150968314573/william-tyler-band-constellation-2016

Imo "Why bother" mentality is toxic. If you've got something to say/play, you gotta say/play it. Censorship sucks :)

thank yall - la lechera i know yr right, it's a bad frame of mind to go into hard not to sometimes

I find that I increasingly enjoy the more melodic side of guitar soli, the guys who could really write. That's why I love Crandell, and the early de Grassi LPs: the compositions. Kinda tired of ragas and blues, and alternating thumb, and Travis picking. Wanna hear more stoned impressionism-type stuff! What else is in this vein that I may not be aware of?
― Wimmels, Sunday, September 25, 2016 2:27 PM (yesterday) Bookmark Flag Post Permalink

he did a fair amount of blues stuff but i think peter lang is underrated in this regard, and also he apparently came to solo guitar before ever being discovered by fahey

The only Lang I know is that one album everyone has with Fahey and Kottke. His brother's track on that Numero comp a few years back was excellent too. What's good?

His Yakima debut The Thing At the Bedroom Window is up there with any Fahey or Kottke for me

yeah he has some jams

https://www.youtube.com/watch?v=By4YOVrhj90

also ogmor should curate an imaginational anthem comp

yeah, i was thinking a good IA comp would be focused on the international side of things (though maybe that's getting too far afield from the imaginational mission statement). but either way, exploring the volk guitarist world would be a cool comp for sure.

oops thing at nursery room window! xpost

ogmor IA would be sweet

yeah lang has some more intricately composed, melodic things that i love -- this one is amazing:
https://www.youtube.com/watch?v=CteLJ5XmmZI
has a total of 19 views of YouTube! let's get it to 25, people.

lang like kottke unfortunately later on felt like he needed to try singing, which isn't necessarily bad but never more than mediocre trad folk

thanks for the vote of confidence guys, I hope there's appetite out there for a broader range of hot instrumental guitar playing. the way IA has built up an audience is impressive, I'm amazed that making compilations like that is financially viable, but I am always open to offers...

also going wayyy back upthread to those who wondered if dbh was a single human or had never seen footage, here's some melodic & impressionistic proof <spoilers>:

https://www.youtube.com/watch?v=0jm-HQEoRr8

he is at least something of a fahey fan; the yellow princess makes it on to the records on his site alongside the more common anglo favs like nick drake, chic, mf doom etc. his bandcamp is more up-to-date

it makes some kind of sense that the yellow princess would be his fahey album

see millions now living will never die, i remember also doug from tortoise interviewing wm tyler who was a big fan, but in general i've always felt the renewed interest in this type of music is at least partially an outgrowth of post rock

the bridge on his guitar is really big
confirming that he plays a classical as i assumed

he's very cagey. he posted some video of a track on his latest 'bog dance' but it got removed, presumably by the man himself

should have been parenthesis on (bog dance)

I love the acoustic stuff on Mood; the other stuff not as much. he's obviously a great player, though

How is Time Flies?

Loved that track UpperMississippi - nice one.

And it's probably terribly pretentious but this quote from Eliot (Four Quartets) is a thing I always return to:

And so each venture
Is a new beginning, a raid on the inarticulate
With shabby equipment always deteriorating
In the general mess of imprecision of feeling,
Undisciplined squads of emotion. And what there is to conquer
By strength and submission, has already been discovered
Once or twice, or several times, by men whom one cannot hope
To emulate—but there is no competition—
There is only the fight to recover what has been lost
And found and lost again and again: and now, under conditions
That seem unpropitious. But perhaps neither gain nor loss.
For us, there is only the trying. The rest is not our business.

You guys put me on a dbh binge today. What a terrific player, and great songs, too. Again, I sorta wish he wasn't so darn ambitious / eclectic, because I much prefer his solo acoustic pieces to his post-rock or electric blues pieces. I respect the reach, and I appreciate that he acknowledges shit like Slint and Tortoise as formative influences, but find that these detours occasionally spoil the mood (no pun intended).

I think, after two listens, that I slightly prefer Time Flies to Mood; the first song, alone, is just magnificent, and the stylistic detours I mention are especially good detours. I mean, listen to this one:

http://dbhmusic.bandcamp.com/track/climb-and-descend

xpost thanks chinaski & thanks for sharing that's a nice quote & well said

i think i tend to agree w/you on DBH, the little more experimental pieces are fine, but i would say that there are very many people who do things in that vein just as well but his guitar playing, guitar tone and general compositional voice is very singular and special

that said maybe all these guys feel like they have to shake things up to avoid the pitfalls of becoming too trad or just elevator music

yeah i kinda like the eclectic approach

I think the variety of Mood makes the stronger tracks/melodies stand out more, honestly. Distinct moments become more eventful and the album has a more identifiable flow to it overall. He isn't exactly mid period Bibio either, I feel like despite the variety there isn't any "mood" ruining or overly jarring shifts in sound or genre.

Bibio is an interesting mention. I wonder how he fits into this? A lot of discussion about him centers on his production (which would be the common thread from his lo-fi start to his more electronic albums) but I think there are some great acoustic numbers on a lot of his albums:

(tried to find youtube of 'bewley in white' to put here but could only find a cover version so you'll just have to imagine it/sing it in your head)

xp I definitely don't want it to appear I'm slagging him off or anything. I'm actually a pretty tough crowd when it comes to the glut of solo guitar players these days, and I've been listening to nothing but dbh for the past three hours; I think he's terrific. He's a really unique and distinctive player, and that's a quality that comes across most in his solo guitar tunes (no mean feat; I certainly wouldn't want to submit to a guitar soli blindfold test). I just don't think the banjo, piano, or electric songs are quite as distinctive. That's fine. There's plenty of solo guitar pieces on these two records to keep me interested.

somehow i've never seen this:

https://www.youtube.com/watch?v=oEhpk7i_1w4

AND, from the uploader:

happycyclings 3 years ago
I contacted the guy who originally uploaded these and he told me there were plans to release the whole thing. So the whole show still exists somwehere in the universe.

it comes to the glut of solo guitar players these days

i think it's hard to say if there's more or just getting more attention, also like i dunno is there a glut of rock bands? rappers? jazz saxophonists?

Well, there's a glut of everything, I guess, or seems to be, but it certainly seems like guitar soli is a "thing" at the moment, and the fact that a lot of these guys and gals are in their early twenties leads me to believe this is a newer phenomenon rather than something that was happening all along when suddenly NPR discovered it or whatever

The cynic in me feels like any halfway talented indie rocker can tune an acoustic to DADGAD and spend a few months on the sofa studying Fare Forward Voyagers and come out with a reasonable facsimile, which is why I think you hear a lot of people aping Fahey and not a ton aping Kottke. As long as I'm being cynical, I feel the same way about contemporary doom metal: much easier to turn it up to 11 and let the guitars drone in C through expensive Orange amplification than try to figure out what the hell Death or Atheist were doing. I'm not suggesting that doom metal (or American Primitive) provides the easiest entry point for the charlatan, but...well, maybe that's what I am saying, but I certainly don't want to generalize, or shortchange any of the great players in these subgenres. It just gets difficult to separate the wheat from the chaff sometimes.

I get what you're saying in the sense that, like say the Color Field Painting movement of abstract expressionism, the "anyone can do it" criticism becomes more of a thing where its up to the listener to determine what subtle details suggest the artist has an original approach/vision/intention. And those details are definitely more subtle than they might be when you're looking at genres that aren't as niche or restricted in their ingredients/recipes.

my girl and I have been loving mood today; thanks for that

i think there are plenty of dudes aping kottke, they're just like, old guitar magazine dads and no 'cool' publication would write about anything they do. honestly some of them are probably repped on this IA8 comp

In the spirit of the aforementioned blurring of lines in regards to legitimacy there is also the blurring of lines in regards to coolness. Plenty of old guitar magazine dad music could probably make it's way onto the next James Elkington & Nathan Salsburg or William Tyler record without us knowing the difference. Cass McCombs was flirting with some elevator muzak not too long ago. I feel like you can rebrand something dorky as long as you are an interesting cool looking character. Also on the flip I feel like some avant garde music would not be taken seriously if it were produced by some guy who lives in a mcmansion and works as an accountant. But I guess we have to resort to those outside attributes in order to read into the intentions the artist has. Boring seeming people who make avant garde music are more likely doing it because they're mangling a Clapton tune but bearded dudes from BK making very similar sounding music are probably doing it because they're "pushing the boundaries of the typical conventions of song structure" or something.

Plenty of old guitar magazine dad music could probably make it's way onto the next James Elkington & Nathan Salsburg

probably why i don't really feel grabbed by these guys at all

Wimmels might like them, it's pretty melodically driven stuff. I love it.

i love their records, but it is (intentionally i think) pretty far away from the fahey scene

We're just talking solo guitar scene broadly though, right?

ha, i'm not sure what we're talking about. that there are too many guitarists?

it does seem like some of these cats should be on fiddle or harmonica or accordion or something

Reread last Wimmel post and realized the premise was more that Fahey is easier to fake. So yeah, I think I just went off on my own tangent.

It took me like 2 years of pretty hard practice to get even decent at fingerpicks so I guess I really don't understand the "easy" thing, I feel like getting good technique is actually really hard

in my jack rose piece a few weeks back, chris forsyth talks about how rose brought chops back into the underground -- he definitely made a lot of the folkier players up their games, anyway. i can barely figure out fingerpicking too. i suck, of course, but it does seem like it takes dedication.

Doing syncopated stuff over the straight alternating bass on the thumb kinda requires retaining your brain...I will agree that certain tunings like dadgad or open c have a pretty district sound and generally are pretty friendly to sounding good while doing improv

All of Evan's posts here otm. I think we are arguing some of the same things, only he writes more eloquently!

FWIW I like the new Imaginational Anthem comp a lot more than any previous volume (except maybe 6) for exactly the reasons global mentions (that many of these guys are more 'guitar dads' than guys who used to share bills with Black Dice or something, and it sounds it). I also regularly pull out the ol' Windham Hill Guitar Sampler on grim winter mornings, if that tells you anything about my tastes!

also otm about me really liking Salsburg / Elkington, and part of the reason is how removed they are from the Fahey sound / tradition / whatever. I think Salsburg, in particular, is coming from almost completely the other side. It might also have something to do with American vs the UK and European school of playing (I know Salsburg is American btw, just saying he plays more like Davy Graham than Fahey).