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MP3 Jefferson Pitcher - Now the Deer
8 MP3 Songs in this album (48:51) !
Related styles: AVANT GARDE: Experimental, AVANT GARDE: Structured Improvisation
People who are interested in Sigur Rós Brian Eno Unwed Sailor should consider this download.
Details:
Now the Deer is a record about process, not unlike 1960’s minimalism, though it sounds more like an obscure, unplugged, Sigur Ros album. The record begins with nylon guitar, violas, contrabass, and lilting electric guitar reminiscent of a more lush Music For Airports. It would, in fact, be difficult to describe this record, without invoking some reference to Brian Eno and the glacial sounds of a band like Sigur Ros. Different though, is how delicate and tenuous this record sounds. It is like both Eno and Sigur Ros in its repetition of simple motifs, three note melodies that drift in and out at unpredictable intervals. But it sounds as if during the entirety of the recording, the sounds themselves are almost hiding.
It is a process in that it seems to grow more and more sparse as the tracks pass by, almost like riding a train from New York City, out into the countryside of Vermont. While there is a certain fullness there in the trees and mountains, the urban world is left behind and the listener finds him/herself hearing nothing more than a lone contrabass by the middle of the last track, bowed and lonely.
Now the Deer certainly hints at earlier work of Pitcher’s (most notably his release with Christian Kiefer on Camera Obscura Records titled To All Dead Sailors) and expands on many of his simple, melodic ideas, in a more experimental context. Along with two bell-like notes from an occasional electric guitar, flugelhorn at the end of a long tunnel, and spoken word, barely at a whisper, we hear organic clicking sounds, preachers from the radio, and insects. The field recordings never dominate the music in any way, but serve as an atmosphere for the sonic world created, one of silences and arresting beauty.
From the liner notes:
This record was initially intended to be a collection of solo guitar improvisations. Somehow, it grew into what it is now. The original guitar playing is all in here, if not in sound then in spirit or skeleton. The ideas for the initial improvisations were borrowed from one of the best recordings I have ever heard, a record titled Misterio by Strunz and Farah. I cannot quantify what this record has meant to my life, but suffice it to say, I have listened to it more than any other recording that has ever been made. My love for this record deepened as my dear friend Greg Roussas and I drove to Los Angeles a number of times to study with Jorge Strunz, making our feeble efforts at learning some of the record. So many years later, I find myself equally mesmerized by Misterio, unable to really understand what lies inside of it. In some oblique way, I hope to have found a small piece of its soul, and translated it here.
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