“ Orcutt’s playing expands on concrete moments, historical or temporary. There is a grounded, mono-chordal sanity even to his more free pieces, and his periodic non-word moans and shouts bring an eerie hoodoo feel to the set (which The Wire referred to at the time as Orcutt’s “spooky boogie”), as if trying to channel the same angels or demons that Fahey tried to evoke with his motel room Tuva throat singing.
Mike Wood writing about A New Way To Pay Old Debts in Perfect Sound Forever
1 year ago
