Guitar Heroes


#163

I’ve enjoyed listening to the LAGQ. They have an eclectic repertoire, but here’s a seasonal favorite:


#164

Might be a bit off topic, but I just came across this guy’s youtube channel and he has some pretty great videos on the theory behind some of the more “ambigous” mathrock/emo-y chords. I’ve been practicing jazz/gypsy jazz the past year and a half and it’s pretty refreshing to see some theory breakdowns for more modern guitar stuff.


#165

Another live recording I did of Tashi is coming out on tape. :slight_smile:

I’m his official archivist for Louisville shows I guess.

http://www.ultravioletlight.blue/product/tashi-d0rji


#166

#167

Lately I’ve found myself going back to Fennesz, Christopher Willits and Oren Ambarchi whichbgot me thinking, are there any others I should know about? What kind of processes do they use? I know Fennesz was a big user of lloopp (now ppooll). Curious to learn more.


#168

Not quite what you’re asking but this album by Fennesz/Rowe/Nakamura/Ambarchi might be of interest: http://www.erstwhilerecords.com/catalog/046.html

In terms of ‘in the style of Fennesz’, are you after guitarists who use similar tools? Or similar resulting sounds? There’s a guitarist from London called James O’Sullivan who uses no processing beyond a couple of preparations. At points his stuff sounds (to me at least) like some heavily stripped down Fennesz


#169

I know Willits uses swells a lot. Just the volume knob on the guitar. Pluck a chord, and bring it in with volume, it’s a nice technique giving you long attack and sustain times. Otherwise Fennesz I’ve read once will just use whatever tools are available, Guitar Rig, Max, whatever.

I think you touched on some heavyweights there as far as the kind’ve ambient / processed solo guitarist goes, but it’s also definitely worth checking out Fred Frith, and Keith Rowe if you’re interested in more extended approaches.


#170

Two guitarists from Norway comes to mind; Eivind Aarset and Stian Westerhus.

Aarset uses a lot of guitar pedals + computer and touchpads and stuff (Ableton Live mostly, I think).

Westerhus is often a bit more noisy. Lots and lots of effects pedals + some computer stuff. He’s a great singer and composer. Has a super good record with his band “Stian Westerhus and Pale Horses”. Check out his TedX performance.


#171

In a similar vein, with a bit of a song-oriented/pop sensibility.


#173

[quote=“philmaguire, post:2, topic:12904”]
In terms of ‘in the style of Fennesz’, are you after guitarists who use similar tools? Or similar resulting sounds?[/quote]

Both would be fine…


#174

Maybe check out Pattrick Higgen’s of the band Z’s. He does a lot of max/msp guitar stuff live.

and Z’s is great live too:


#175

Chihei Hatakeyama is prolific and excellent.

Tim Hecker seems too obvious to mention, but I notice you don’t list him. His early stuff is excellent, and guitar features prominently in his early records, often being the only sound source, iirc. His process is much more studio-centered in that he samples the guitar, then brings it in for several iterations of processing / pastiche.


#176

more lofi/low-tech than Fennesz, but still: Flying Saucer Attack


#177

Forgot to mention him. I have been listening to a lot of his work. He’s one is like to learn more about his processes.

And Tim hecker is amazing


#178

‘home taping is reinventing music’

love FSA


#179

You have to be a guitar hero (and the drums… :heart_eyes:) to come up with this riff:


#180

I’ve thought of some more candidates:
Rafael Anton Irisarri
Mika Vainio’s ‘Life…It eats you up’
Siavash Amini


#181

good thread! makes me think about my own style of playing after 13 years and how my influences have evolved.

isaac brock from modest mouse was a big early one for me, the primary reason I string bend so often!

ultimately the musical base for me is really mellow post rock and slowcore: Duster, Codeine, Bedhead, Labradford (richmond locals!), Low, that kind of thing.

on the more nontraditional side of things, loren connors, glenn branca, and jandek have been hugely influential in my appreciation and utilization of dissonance.


#182

really into Upper Glossa rn


#183

Tom Verlaine