Cannibal Corpse's George "Corpsegrinder" Fisher stops by for an interview. Explore music. I love the feeling of weightlessness and suspension. I hope they take this out on the road when the world is switched back on to the UK Sky scratching, transcendent modal melodies with Sonny Sharrock and especially Tom Verlaine as guiding lights.
In fact, when this album is peaking as it does frequently it brings to mind those long ago nights when Television would make the Bowery levitate.
Great stuff. And Bill Orcutt is pure magic. Gaz somedays you need to be reminded, was that day for me onsite today, as beautiful as this music is, it can flex and push one back into the lifestream. Nick W. Stephen Snyder. Rallec Rood. Ben Pond.
Jason Dungan. John Fenn. Hitting the Pavement. Erik Ellestad. But the amplification does allow him a few new tricks, each of which makes the record seem a little brighter.
Most of these pieces start slow, plucked lightly, but at high volume. Volume and texture become new dimensions to explore. He swings from bluesy ambience to dense thickets of barely-consonant notes, diving back and forth between the two with a slippery energy because of the unpredictable shimmer of his new instrument.
Refusing to be hemmed in by quarantine, the veteran improvisers took the unusual path of recording separately: drums first, then overdubbed guitars. The results are genuinely life-affirming. Bill Orcutt spent the s as a member of the experimental hardcore trio Harry Pussy, but since returning to music in , he has mostly performed solo. But something special happens when he partners with veteran improvising drummer Chris Corsano. BUY CD. But there was a definite sense that with at least some of his live solo shows, Bill was intent turning the Great American Songbook into a massive commentary on avant garde techniques.
It always felt more like he was doing something sculptural, like Ed Keinholz or George Herms — taking objects so banal they existed almost entirely on a subconscious level, and using those as the building material for a whole new language of guitar gesticulation. By woodshedding these tunes diligently, he has succeeded in reducing their guts to a series of tone fields he can recreate in any sequence.