The 3rd issue from Elliott Sharp's compiled series of guitar work in the 21st century, demonstrating new sounds, processes, techniques, melodies, riffs and gestures from a who's-who of modern improvising guitarists, a must-have release for all guitar fans and players.
Label: Clean Feed
Catalog ID: CFG 007
Squidco Product Code: 20348
Packaging: Cardboard Gatefold
Recorded in various places.
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1. Overtones For The Underdog 3:52
2. Top Of The World 4:11
3. The Gremlin 4:04
4. Sasquatch/Happening 3:33
5. Pollinator 2:40
6. Dressed Up Like a Church 2:22
7. Snack Food 4:05
8. Variazoini Su Un Monologo Funambolico 4:05
9. Fractura 4:03
10. Song For Katsu 4:01
11. Willie 3:37
12. Terlingua 3:21
13. For Alexander Cockburn 3:59
14. Mystery Love Company 3:38
15. Thank U 2 4 The Uke 3:05
16. Fingertupper 4:04
17. Untitled 3:58
18. Free Involution 3:58
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Various Artists & Compilations
sample the album:
"Here is Part 3 of the "I Never Meta Guitar" series compiled by Elliott Sharp.
John King, Indigo Street, Joel Peterson, Kirsten Carey, Cristian Amigo, Adam Brisbin, Sandy Ewen, Anders Hilsson, Peter Maunu, Bruce Eisenbel, Simone Massaron, Lily Maase, David Fulton, Jim McCauley, Angela Babin, Brandon Seabrook, Alessandra Novaga and Ed Ricart are the musicians chosen for this volume to confirm Sharp's idea that the guitar is a continuously reinvented instrument, with new sounds, processes, techniques, melodies, riffs and gestures coming from creative minds and fingers everywhere.
The title of the series is a paraphrase from humorist Will Rogers, "I never met a man I didn't like", and that's the mood of the selection. The music here jumps into the unknown and this means you'll be surprised, and surprised again, as the 18 tracks tickle your ears and brain. If you want to know how the future of the guitar (be it electric or acoustic) is being shaped now, this is your source of information."-Clean Feed
• Show Bio for Sandy Ewen
"Sandy Ewen was born in Toronto, Canada in 1985, Sandy Ewen received a Bachelor of Architecture from the University of Texas at Austin in 2008. Since then she has resided in Houston, TX where she pursues musical and visual projects and her architecture license. Ewen has released several albums, including a duo with guitarist Tom Carter, a trio with bassist Damon Smith & drummer Weasel Walter, and a rock album with Austin's Weird Weeds. Ewen's visual work is closely tied to her work in sound; she uses both mediums to explore texture, composition and materials.
Ewen's microcollages, enlarged through projection and digital printing, are an exploration of material and technique. Using a unique process pioneered by the artist, natural materials and polymers are torn, liquefied, scorched, melted, cut, and fused. When enlarged, the microscopic nuances of these manipulations are manifested in exquisite detail. Ewen has presented prints of her work at 14 Pews (2012), Spacetaker/Fresh Arts (2012), Khon's (2013) & Galeria Regina (2014).
As an improviser in both art and music, Ewen sees herself as guiding materials and space rather than executing a preconceived composition. "I like to explore mediums and materials and tease out their essence," says Ewen. "Working with slide projections has focused my eye on the subtitles of natural processes of decay and transformation. Through my work, I am asking questions of the materials rather than dictating answers." "-Sandy Ewen Website (http://www.sandyewen.com/about/)
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• Show Bio for Brandon Seabrook
"Described by Spin Magazine as "An apocalyptic, supersonic general of the banjo..." Brandon Seabrook has made a name for himself in the New York avant-garde music scene as an explosive guitar and banjo performer, relentlessly committed to immediacy and precision.
Seabrook honed his terror-inducing riffage skills at the New England Conservatory in Boston. He has since performed extensively in North and South America, Mexico and Europe, as a solo artist, bandleader and collaborator. He has been summoned by the likes of Anthony Braxton, Elliot Sharp and Joey Arias for his unpredictably spiked approach to improvisation and impeccable caterwauling. He has been profiled in the New York Times, Wall Street Journal, Magnet Magazine, Fretboard Journal, NPR and The Wire.
Seabrook Power Plant, the nuclear trio donned "a manic clusterfuck of merciless banjo torture" by the Village Voice, is Brandon's brainchild, blending the brutal energy of punk-rock with the intricate execution of through-composed avant jazz. The band has released two albums to much critical acclaim. Time Out New York praised the band's eponymous debut as "not only one of the most baffling experimental releases of the year... also one of the best."
Brandon is an accomplished solo artist, named Best Guitarist in New York City by the Village Voice 2012. In 2014, New Atlantis Records released his first solo album titled Sylphid Vitalizers. Noisey called the album a "dissonant guitar army...(with) mind-blowing prog-rock complexities - all at mind-numbing breakneck speed."
Brandon is currently working on two new albums with his noise-prog trio, Needle Driver and a new sextet featuring immoral, percussive compositions under the name Die Trommel Fatale. This recent work is a poly-rhythmic exploration of the dark side of the drum, layering cello, bass, electronics, voice and guitar against dichotomous drummers."-Brandon Seabrook Website (http://www.brandonseabrook.com/bio/)
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