Reports of the death of the electric guitar is not only greatly exaggerated, but dead wrong. While guitars in the pop charts aren’t so much absent as lurking in the background, an instrument does not live or die by whether it’s fashionable in the mainstream at the moment. After a dip in sales during the recession, guitar retail sales have grown every year since 2009, from 820 million to 1.41 billion in 2018. Schools of rock and projects like the Girls Rock Camp Alliance have only gotten more popular, and nearly 50% of beginner guitarists buying guitars are girls and women.
That appears to be reflected in the growing numbers of bands lead by women guitarists, at least in punk, post-punk, metal and indie rock. She Shreds magazine has been documenting this trend the past six years. Women shred for sure, and it should be only a matter of time there’s more who become known for jamming. There are seemingly conflicting schools of thought regarding the idea that guitars should only serve the song, while others believe guitars deserve to be showcased. The idea of a jam band has thankfully evolved since the glory days of The Grateful Dead, where artists are striking a more appealing balance between improvisation and structured songs. It’s also less phallocentric, thanks to more amorphously androgynous influences of post-punk, shoegaze and psychedelia. It partly depends on your perspective, but you won’t find any boring, masturbatory noodling here.
Chris Forsyth – All Time Present (No Quarter)
Chris Forsyth knows his way around a jam, and acknowledged the Dead as an influence, but also is mindful of engaging listeners. It was a gradual progression, as he spent fifteen years exploring experimental sounds and textures with a variety of collaborators before trying out a full band concept with Solar Motel (2013). It’s still guitar worship, but even with largely no lyrics, the songs tell a story and transport you, while incorporating influences from ambient music, noise rock, shoegaze, avant folk, German kosmische, and the magical dual lead guitar synergy of Television (he studied with Richard Lloyd for a year while in NYC). This combo manifested in The Solar Motel Band with great success on Intensity Ghost (2014), The Rarity Of Experience (2016) and Dreaming In The Non-Dream (2017). All Time Present circles back to solo billing for the first time since Solar Motel, even though it’s nearly the same band as the last album (Shawn Edward Hansen on keyboards, mellotron and sax and bassist Peter Kerlin), just a different drummer (Ryan Jewell instead of Ray Kubian).
Forsyth can credit it however he wants, the result is a gloriously sprawling 74+ minute double album that somehow feels compact. It’s one of his most diverse sounding albums, ranging from the simple repetition of what could be easily a Verlaine-Lloyd lick on “Tomorrow Might As Well Be Today” to proggy complexity mixed with Crazy Horse crunch on “Mystic Mountain.” “The Man Who Knows Too Much” is a dreamy psychedelic piece with a revolving riff, which is reprised near the end of the next track, the folk noir “Dream Song,” which features the vocals of Rosali Middleman (who has two albums as Rosali). The lovely “(Livin’ On) Cubist Time” recalls both the delicate picking of post-Neu! solo Michael Rother and the floating soundscapes of Klaus Schulze. The album ends with a monster, the 19:53 “Techno Top,” which begins a marching rhythm with spare, airy instrumentation like early Wire or Young Marble Giants evolving into chugging post-punk funk, then achieving a gorgeous cacophony of no wave squall and a slow-motion Feelies crescendo. A perfect cap to one of Chris Foryth’s mostly boldly exploratory and engrossing albums yet.
Garcia Peoples – Natural Facts (Beyond Beyond Is Beyond)
Immediately following Chris Forsyth on my playlist is Garcia Peoples’ second album, Natural Facts. The transition is so seamless one could almost mistake it as another Forsyth track, until the vocals kick in. Their name obviously cites The Grateful Dead as an influence, along with twin lead guitar teams Allman/Betts, Verlaine/Lloyd, Jansch/Renbourn and even Moore/Ranaldo of Sonic Youth. Interestingly, the vocals on “Feel So Great” sound a lot like Lee Ranaldo. Vocals are probably the most noticeable progression from last year’s Cosmic Cash. They were even enough to convert my colleague Hermi from indifference to not-quite rabid fandom:
I enjoyed the guitar work on Cosmic Cash, but struggled with the vocal structure. On the new offering, immediately, I get smacked in the face with some splendid, high energy guitar riffing. Brilliant! Things elevate from there to take me to places I don’t recall from the first album. “Feels So Great” is accurately named. As “Canvas” starts to spin into a psychedelic slowdown, I can see we’re are headed back to familiar territory. But I like the groovy vibe. “High Moon Violence” comes in almost jovial. Almost. The joy is soon replaced by melancholy, but there is hopefulness as it strives to reach it amidst some pleasing complexities.
“Weathered Mountains” doesn’t stand out as much as the previous songs, but it has an enjoyable fantasy element. The chill feeling of “Rolling Tides” is really nice in the beginning. I would actually prefer the guitar to bit a bit less busy in this part, but it’s still nice. I could use less of the vocal chorus, but it’s part of the drama, so I can’t argue with it. The harmonized vocals on the first half of “Break Me Down” brings to mind Motorpsycho, along with the epic feel when the distortion kicks in during the big, looping riff on “Total Yang.”
We get some words of wisdom with “Patient World”. At least I think we do. Or it’s subliminally urging me to buy their merch. Hard to say, but it sounds good. The repeating rolling guitar is a bit hypnotic and alluring. This wave-like guitar carries on into “The Spiraling”, but shifts into some interesting change ups along with the vocals. I like this shift more than the one in “Rolling Tides” and find it to be a wonderful closer to this album that I am surprised to find myself enjoying a great deal. Well done, Garcia Peoples. I gotta change that name, though. From this point forward, you will be known as “Jerry’s Kids”. That work?
[Editor: uh, yeah sure Hermi. There more connecting these albums than guitar worship. Natural Facts engineer Jeff Zeigler, who also recorded and mixed All Time Present, along with contributing Onde Magnétique on “The Past Ain’t Passed.” Forsyth’s drummer Ryan Jewell also plays drums and tabla on Elkhorn’s Sun Cycle/Elk Jam.]
Elkhorn – Sun Cycle/Elk Jam (Feeding Tube)
Elkhorn is the core duo of Jesse Sheppard on 12-string acoustic guitar, and Drew Gardner on electric guitar. Their first self-release was the Colonial Park EP (2012) as the Gardner/Sheppard Duo. As Elkhorn they recorded the live Ragged Glory EP (2015), which included a brilliant interpretation of Eddie Hazel’s heartwrenching solo on Funkadelic’s “Maggot Brain.” Their self-titled debut on prestigious experimental/psych label Beyond Beyond Is Beyond in 2016, which I described at the time as “a John Fahey meets Earthless scenario of apocalyptic Americana…Immersive listening is like free-falling through a sonic dreamworld involving the Mahavishnu Orchestra, Cul de Sac and Guru Guru.” Sheppard directed Glenn Jones (of Cul de Sac)/Jack Rose documentary, The Things That We Used to Do (2010). On The Black River (2017) they boldly tackled John Coltrane’s “Spiritual,” which tapped into both John McLaughlin and Carlos Santana’s Love Devotion Surrender (1972) and Latin jazz fusion. Lionfish (2018) was two extended tracks of free improv and drone.
Sun Cycle feels like both a culmination of Elkhorn’s musical journey so for, and a distillation of their strengths into nearly perfect obsidian beauty. Forget the “American Primitive” label, an awkward, loaded term that’s best buried and left for dead in the desert. This is where Elkhorn confirms without a doubt that they are more than the sum of influences. To my ears it cosmic folk psych noir. While there is a simplicity to an acoustic/electric duo setup, they an impressive array of textures, imagery and feeling into the songs. On “Altun Ha,” Gardner’s tone evokes the desert blues of Tishoumaren music from West Africa. “To See Darkness” begins lovely yet mournful, eventually dissolving into feedback that feels to me like barely bottled rage. Or perhaps that’s my own baseline! “Subway Mirror Heart” takes us on a lysergic spiritual journey. One doesn’t have to travel to the jungle or desert for a self-reflective trip! “Song of the Son” paints a more complex picture that will certainly take on different meanings depending on the listener. Sheppard’s more expansive strumming feels hopeful to me, a message of love, a beacon of light in a cold, dark world.
While Ryan Jewel’s and guitarist Willie Lane’s involvement is subtle on Sun Cycle they participate in more of a four-way partnership on Elk Jam, a separate album, but sold together on Bandcamp. As the title suggests, it has the freewheeling atmosphere of a live performance, serving as a satisfying taste of what a live Elkhorn gig might sound like. I’ll take this jam over Allman Brothers or Quicksilver Messenger Service anytime. I just caught them last night on their first cross-country tour, and they did not disappoint. It was humbling to watch Gardner’s fretwork, and the dynamics of Sheppard’s 12 string resonated and filled the Elastic Arts space, with the deep, low tones reminding me of an acoustic performance I saw of Earthless’ Isaiah Mitchell. The range of emotions from despair to ecstasy are intensified live. Charles Rumback, who’s played with cosmic folker Ryley Walker among others, filled in the drum seat unrehearsed. It was fascinating to see the rhythms and textures he came up with. It was a big success, and I expect Gardner and Sheppard will be returning home with their brains percolating with musical ideas. | Buy
Hermi decided the songs, Elk Jam I-IV, were deserving of titles:
01. Elk Jam on a Bagel
02. Elk Jam on a Crumpet
03. Elk Jam on Pumpernickel
04. Elk Jam on Multigrain Toast
There need not be an end to the Jamtopian experience. Like Gnawa Sufi trance rituals in the annual festival held in the mountains outside Marrakesh, or a seemingly endless jam concert, there are jams for days. There’s a spacey jazz fusion from the The Comet Is Coming, Greg Ward Presents Rogue Parade and Sunwatchers, and more cosmic folk Americana from Steve Gunn and William Tyler. But in keeping with the guitar-centric theme here, I’ll recommend these.
White Denim – Side Effects (City Slang)
Less than a year after the somewhat polished Performance, White Denim circles back to joyously weird garage prog. Live shows especially recommended. I’ve seen them a bunch of times since 2007.
The Mermen – A Murmurous Sirenic Delirium (Mermen)
Through the 90s, The Mermen were the most unique of the surf guitar influenced groups, distinguishing themselves with adventurous explorations of psychedelia and post-rock. Well into his 60s, leader Jim Thomas has been on an creative roll recently, with three albums, The Magic Swirling Ship, We Could See It In The Distance, (2017) and now A Murmurous Sirenic Delirium. I don’t think I’ll ever tire of Thomas’ jazzy picking, and all three albums have been on heavy rotation the past few months. | Buy
Papir – VI (Stickman) May 10
Papir are part of a European cadre of jam masters who specialize in jazzy improvisation and fuzzy crescendos that includes Colour Haze, My Sleeping Karma, Electric Moon and Causa Sui. On V (2017) the Denmark band celebrated their move from El Paraiso to Stickman with a double album that expanded their reach to touch on prog and post-rock. On their upcoming VI, they reign it in to a succinct 39:22. The relatively lush sounding reverb-heavy soundscapes actually remind me of some of the sparkling guitar-centric moments of the early work from shoegazers like Ride. | Pre-order here (out May 10)
Crypt Trip – Haze County (Heavy Psych)
Like Garcia Peoples, Crypt Trip was quick to follow up last year’s album with one that shows a markedly improved progression. More than just country-tinged stoner rock, this Dallas, Texas based band snakes some prog in their southern rock. An interesting influence they cited was Outside The Law (1974) by German prog rockers Epitaph. For those who like some fancy changes and time signatures with their chooglin’, they could do worse than a double bill of White Denim and Crypt Trip for their backyard BBQ.
The Tronosonic Experience – II: The Big Blow (Apollon)
While Oslo Norway’s The Tronosonic Experience mentions sixties avant jazz and seventies prog on their Bandcamp page, I also hear more contemporary elements of post-rock and hardcore punk that satisfies cravings for heavy and skronk just as well as prog punk contemporaries The Fierce & The Dead and The Messthetics.
Mdou Moctar – Ilana (The Unseen) (Sahel)
Kel Assouf – Black Tenere (Glitterbeat)
Since Tinariwen became a worldwide sensation with Amassakoul in 2004, people realized there’s great guitar music, specifically a desert blues form called Tishoumaren, throughout West Africa. Meanwhile, King Sunny Adé and Ali Farka Touré were waving, helloo, over here! With Tishoumaren becoming fashionable, other bands like Terakaft, Tamikrest and Imarhan have also gotten recognition. There are definitely dozens more just as great. Currently these two albums are getting some keen attention — Ilana (The Unseen), the fourth album by Mdou Moctar of Niger, and Black Tenere by Kel Assouf, currently based in Belgium. Much as been made of Kel Assouf’s Black Sabbath influences, but they are wildly exaggerated. Yes, the production is a touch thicker and more bottom-heavy than their peers, but Mdou Moctar features slightly more impressive guitar heroics and even some shredding. Both albums however give enticing glimpses of the vast potential for this music and the ways it can intersect with blues, psych, metal, Arabic music and more.
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