As one of experimental music's most influential guitarists, Bill Orcutt weaves 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. Whether he’s playing his decrepit Kay acoustic or gutted electric Telecaster (both stripped of two of their strings, as has been Orcutt’s custom since 1985), Orcutt’s jagged sound is utterly unique and instantly recognizable, compared with equal frequency to avant-garde composers and rural bluesmen. The New York Times has called him a "powerful musician... a go-for-broke guitar improviser," and described his sound as "articulated sprays of arpeggiated chords and dissonance."
Orcutt originally appeared on the underground scene as a co-founder of Harry Pussy, whose explosive music combined ‘70s no wave, the ferocity of ‘80s hardcore, and the acrobatic intricacy of Cecil Taylor. Seemingly single-handedly, and over the course of dozens of releases, Harry Pussy built the prototype for noise-rock in the ‘90s and beyond.
After a hiatus of over a decade, Orcutt reemerged as a solo artist, at first performing solely on acoustic guitar. Drawing influences from Cecil Taylor (again), Dylan’s Basement Tapes, and the recursive voice of Gertrude Stein, Orcutt began exploring the invisible threads linking free improvisation to the forgotten crevices of the American songbook, from blues to minstrelsy.
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