Category: Genres

Bill Orcutt, one of the most distinctive voices in experimental and alternative guitardom, brought his latest disc, Music for Four Guitars, to life before a sell-out crowd at downtown Brooklyn’s home to all things sonically avant-garde, Roulette, on March 27.

Orcutt is the former guitarist and founder of the notorious ‘90s group Harry Pussy.  His sound is a stuttered reimagining of blues guitar, one weaving looping melodic lines and angular attack into a dense, fissured landscape of American primitivism, outsider jazz, and a stripped-down re-envisioning of the possibilities of the guitar. 

Bill Orcutt’s Music for Four Guitars is comprised of 14 brief pieces built upon tiny minimalist phrases which evolve into dense tapestries of sound, texture and mood.  On the disc, Orcutt plays all the parts. For the performance at Roulette, he was abetted by three of the most noteworthy players who are bending and mutating the borders of guitaring – Wendy Eisenberg, Ava Mendoza and Shane Parish.

The 12-tune set began with “A different view,” the album opener.  This is a knotty Gamelan guitaring affair, one that brings to mind some of the work of ‘80s era King Crimson with the dirty guitar tones reminiscent of Trout Mask Replica Captain Beefheart.  For this and many of the compositions, the players stayed close to the tight arrangements on the record.

On “Or from being,” Mendoza was a standout riding the higher melody guitar parts and taking a lengthy solo spot followed by Parish.  For many of the compositions, Orcutt and Parish held down the bottom while Mendoza and Eisenberg took to the melodic rafters.  Eisenberg takes the prize for the most melodically out soloing, for an extended run across the pulse-y tune, “Only at dusk.”

In the dense jungle of weaving guitars and harmonies, a listener gets many musical cross-currents – a bit of fractal boogie, Irish reels, the dense orchestral guitar minimalism of Glenn Branca and, as mentioned earlier, elements of Beefheart, Crimson and Fripp’s League of Crafty Guitarists and Gamelan. 

About six songs in Orcutt spoke to audience in an entertaining and self-effacing manner. No naming of the tunes played, just an introduction of his collaborators then a jump into one of the most pleasant chapters of the evening – a traditionally melodic, very spacious unaccompanied solo reminiscent of his “Odds Against Tomorrow” from his 2019 disc of the same name.  All the players would get their solo moments and demonstrate differences in approach – unique melodic and textural languages that are adding a fresh face to this very been-around-the-block instrument.

A guy who does with words what Orcutt does with the guitar, the edge-pushing alt.poet and writer William A. Lessard, accompanied me to the show. A lover of pretty much every boundary pushing genre of music, he had his own observations: 

“The surprise for me was the moments when the music would drift into Stained Class-era Judas Priest, then give way to microtonal playing by Wendy Eisenberg. Eisenberg, for me, was the big surprise of the night, bringing that Pete Cosey groove into a new context. Anyone who has the chance should see this band; watching them weave together all these influences is a delight.”

The set will soon be available for a limited time at Roulette’s Live Stream Channel on YouTube.

Setlist: A different view, Seen from above, At a distance, In the rain, Out of the corner of the eye, Or from behind, Only at dusk, On the horizon, Barely driving, In profile, From below, Or head On