This set of improvised electric guitar explorations from Schneider TM sees the instrument fully utilised as a sound-source, conjuring a surprising and fascinating range of music.
Opener ‘Landslide’ uses rusted clots of notes to ring out into space before snatching them back into a deep mass of bass reverberations; sustained and bent chords act as lengthy structures around the rapid finger plucking; by its end, everything is bit-crushed into a confused bandwidth-scan of percussive noise bursts. ‘Teilhard’ is a bowed drone with a crackling and roaring undercurrent; a patiently deepening pool of subtle, humming violence; shards of weirdly phased wobbling high-register stabs disturbing the surface but leaving its placid inner mass un-rippled. ‘First of May’ is, by contrast, pleasant and sweet, recalling Papa M occasionally; a languid unravelling set of melodies compete with one another, nesting and fidgeting side by side; its later notes drop gently but chaotically into the mix, like the beginning of a rain shower. ‘Elefentenhaut’ is a psychedelic ascent by halting steps; the interference of buzz and static clouds the sky-reaching riff structure. ‘Überzahl’ is a feedback sculpture, packed with whispering shrieks; the hum of electricity an ever-present wall-of-sound; thickening, congealing layers of shivering noise coalescing into a roar of impressive force.
‘Guitar Sounds’ is a brilliant experimental guitar album; its fine solos are a self-contained world of clang, scrape, and buzz. However, this is not just a micro-study of guitar capabilities; it evokes a range of emotions too: bliss, foreboding, a poignant awe. This is an album generated spontaneously in the moment but worthy of lasting study and reflection.