Palilalia

Chuck Roth’s “Texture Songs” is a highly accomplished album that expertly blends experimental guitar playing that Derek Bailey would be proud of with lyrics and singing that feel intrinsic and organic to the sound, adding a pulse, a beating heart. It’s an impressive balance, sounding both effortless and exciting.

Bill Orcutt follows up the celebrated “Music for Four Guitars” with “Music in Continuous Motion,” his second studio album for four guitars. If anything, Music in Continuous Motion is a more enjoyable album, with soulful compositions working alongside the gnarlier playing. A fully realised and finely honed set by a master of experimental guitar, this is unmissable. Bring on the live shows.

Shane Parish takes on the music of English electronic duo Autechre, re-imagining ten of the band’s 1990s songs solo on his Taylor acoustic — ultra-minimalist and organic. The intricacy of the numerous patterns becomes clearer with each listen, time signatures and tempos working together to create a tapestry of beautifully accomplished acoustic playing. Super clean, incredibly precise, and simply a pleasure to listen to — Autechre Guitar is a stunner.

Available for pre-order now, Shane Parish has announced a new live LP, titled Solo At Cafe OTO (out July 1st via his own label, Red Eft Records), on which he explores British Folk ballads by Anne Briggs and Shirley Collins, American folk ballads by John Jacob Niles, and a song by Angelo Badalamenti and David Lynch, from the television program Twin Peaks, called “Sycamore Trees”.

On How to Rescue Things, Bill Orcutt plays his four-string Telecaster over recordings of old RCA easy-listening music…although he often resists going full pelt into his guitar strings, he flirts with the idea, reminding us that he still has plenty of fire in his fingers.

The Circular Train is Ava Mendoza’s second solo LP of charged avant garde rock, blues and jazz music. It’s an album she should be proud of–no frills, no pretensions and totally ace.

Repertoire sees Shane Parish flex across fourteen cover songs arranged for acoustic guitar inside thirty-two minutes. Finely nuanced and not without some remarkable moments, it’s a beautifully executed collection and a fitting tribute to the likes of Alice Coltrane, Roland Kirk and John Cage.

For Jump on It, Bill Orcutt pulled a Harmony Sovereign out of the closet and stripped it of two strings, before recording. With a slightly shorter scale and sweeter tone, the Harmony epitomises the sound Bill achieves here – At once complex, clear, direct and primitive.