Each of these these are solo pieces, recorded without any overdubs. Some of this material was initially thought out on an acoustic guitar, or on the flute, or while singing, while other pieces emerged while grappling with the real specifics of this instrument: alongside my electric guitar I use a
ring modulator, an analog delay, a low pass filter, and a step sequencer; the later two of which allow for a second layer of sound occasionally independent of the guitar's input signal.
While the exact structure and approach differs in each piece, one thing I have tried to bring out in all of these is a sense of movement and confluence between the sound of the guitar and that of the electronics. That sensation of convergence and divergence, or departure and return, remains one of the more satisfying aspects of creating with this particular assemblage of gear.
Of the handful of visual metaphors I've considered while developing this material, a few seem rather reflective of how I like to imagine the relationship between the guitar and electronics: as an object and its shadow, moving together with some synchronicity but all the same looking quite a bit different in form, size, color, and, texture; as the breath and limbs of a single body, easily moving at different rates but able to line up at moments of coordination or intention; or like wind blowing across river water: visible in its effect, but never stopping the current's flow. In each piece then, the guitar and the electronics get to be all these things and play all these roles: shadows, lungs, limbs, wind, water.
While all of the playing was done solo without overdubs, Slide Keeper Traffic" includes a recording of a motorcycle which was already present on the tape I used for this project. That slow swell and fade it makes is a sound I'll be working to recreate in my playing over the next few years or more. Recorded to reel to reel tape, spring 2017, Crete, IL
» READ MORE