"Anita Dechellis turns her soprano voice into an instrument on this ethereal recording that features the muted acoustic guitar atonality of Ernesto Diaz-Infante, electric guitar drone from Chris Forsyth, stark piano tracings from Dan De...
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Sealed new copy
Catalog ID: sca9357
Squidco Product Code: 19889
Packaging: Jewel Case
Recorded by Ross Bonadonna.
This is a USED (previously owned) item
Dan Dechellis-piano. keyboard
Ernesto Diaz-Infante-acouostic guitar, voice
Chris Forsyth-electric guitar
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• Show Bio for Chris Forsyth
"Guitarist Chris Forsyth's hypnotic instrumentals assimilate art-rock textures with vernacular American influences culled from a lauded career as a composer, improviser, and inveterate collaborator. Long active in the international improv/experimental underground, he's released a series of acclaimed records as a solo artist that demonstrate a resolute engagement in making corporeal/cerebral music that transcends such subterranean realms, reaching instead for a bleeding-edge physicality and lyricism that he deems "cosmic Americana." The fascinating tension manifest in Forsyth's playing between often long-form, rarefied abstraction and percolating rhythms and rock/roots structures animates notable recent works such as his 2011 LP Paranoid Cat on Family Vineyard and Early Astral, a 2012 duo LP with Koen Holtkamp (Mountains) on Blackest Rainbow.
His 2012 Kenzo Deluxe LP/CD on Northern Spy, which features "The First Ten Minutes of Cocksucker Blues," a stunning conceptual soundtrack piece for Robert Frank's banned Rolling Stones documentary film, has been described as "resonant [and] incisive... a cosmic abstraction of the American guitar tradition, reducing blues, rock, folk and improvisation into their spare, hypnotic base elements." Aptly, Forsyth credits a Keith Richards interview in a 1988 issue of Guitar World with introducing his teenage self to the banjo-derived open G tuning, which Forsyth now employs almost exclusively. The Wire has praised him as "an erudite and farsighted guitar stylist, mapping a path that's hip and scholarly in equal measure." Uncut calls him "an emergent master."
Forsyth has toured throughout Europe and the U.S., sharing stages with such like-minded travellers as fellow PoB artist Steve Gunn, Bill Orcutt, Rhys Chatham, Sic Alps, Grouper, Loren Connors, Mind Over Mirrors, PG Six, and Träd Gräs och Stenar, and, from 2002 to 2011, as a member of Peeesseye. He studied with guitarist Richard Lloyd of Television and has also collaborated with diverse artists including Meg Baird, Tetuzi Akiyama, Nate Wooley, and choreographers Miguel Gutierrez and RoseAnne Spradlin. Forsyth was awarded a 2011 Pew Fellowship in the Arts and resides in Philadelphia."-Paradise of Bachelors (http://www.paradiseofbachelors.com/chris-forsyth/)
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^ Hide Bio for Chris Forsyth
1. Dedicated 7:16
2. Foreward 5:23
3. Acknowledgements 6:46
4. Contents 4:20
5. List of Plates 8:35
6. Introduction 10:04
7. Body 9:03
8. Index 4:29
descriptions, reviews, &c.
"Anita Dechellis turns her soprano voice into an instrument on this ethereal recording that features the muted acoustic guitar atonality of Ernesto Diaz-Infante, electric guitar drone from Chris Forsyth, stark piano tracings from Dan Dechellis, and subdued percussion from Jeff Arnal. Within this metaphysical world of tonal sterility, these musicians sink deeply into an introspective haze where notes hang in a heavy atmosphere, and the movements often dissolve with abrupt twists and turns. Anita Dechellis sings at an ultra-slow pace, encouraging the others to interject short sound spurts covered in subdued pastel colors. The music reaches layers of extreme quietude, but like an awakening giant, it begins to scamper about, producing an irregular heartbeat of sudden bursts of sound before retreating to the depths of the subconscious. The material on this program was created as a collective endeavor, with all five musicians discovering new sound inspirations as the pieces unfold.Diaz-Infante employs his noted scratching and scrapping techniques to coax all manner of unusual sound from his guitar. He has been known to make music from the sound of crackling wood, and there is the sensation here that it is occurring at varying points. The near-abrasive tones become a backdrop for the mystical voicing of Anita Dechellis and the stealthy improvisations from the others. Dan Dechellis cautiously explores the piano keys, expanding the concept of pensive moodiness that often accompanied the playing of Paul Bley. Static electric guitar sounds creep into the mist, while the drums establish an asymmetrical pulse line. Most of all, the music conveys a sense of peace and tranquility, even with the occasional outbursts of rawness. This recording is for contemplative souls seeking a higher order through the pathways of absolute sound. The key to the mystery is internal."-Frank Rubolino, One Final Note
Sealed new copy
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