Word: guitar
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Dates: during 1990-1999
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...album presses onward to its most interesting track, "Transmitter Down." The climaxing pattern is still prevalent, but the rhythm is steady, and the choice and placement of samples are more inventive and interesting. The guitar distortion and synthesized beeps are steady enough to be danced to. This element, which is integral to the popularity of techno, is absent from Experiment Below. The rhythms are too haphazard to be heard at a dance club, but the melody patterns are too repetitive to be appreciated for its artistically creative elements. This places Hovercraft in a netherworld between light industrial and dance techno...
After the intermission, Cunningham got her solo moment with Marais' Suite No. 4 in A minor for Viola da Gamba and Basso Continuo, prefacing her performance with a definition of what a viola da gamba is-a string instrument more closely related to the guitar than the violin and its ilk, despite its name and appearance--and a discussion of the "softer side" of baroque music, explaining that baroque music was played at a softer volume than music today is. She then proceeded to play the quietest piece in the program, with a rich and hazy sound which made...
...emotional trance was broken with the country-blues waltz, "Still I Long For Your Kiss." A much more confident Williams, with full-throated ease, belted the lyrics. Continuing, she switched to an electric guitar and playfully smiled as she tried to hit every high note of the terrifically lustful "Hot Blood." Williams delved deeper and deeper into blues until the crowd was in a virtual frenzy over the metallic guitar solos so vigorous they seemed super-human. The crowd bravely vibrating in their chairs, yearned to stand. Many even made due by dancing in their seats. Williams joked...
...October 21st Lucinda Williams concert at Somerville Theater was an eclectic mixture of quiet integrity and hard-edge rock sensibilities. The thoroughly polished diamond-in-the-rough performance was filled with superhuman guitar solos and riffs setting off Williams' contrastingly sweet and achingly clear voice. The concert was not just a performance but also a journey into Williams' musical roots. The night began with series of her more packaged songs, during which Williams herself appeared disenchanted. As she moved away from the pop and plunged into bluegrass and blues, the crowd, like clockwork, was set electric...
Without much ado, the band ripped into "Memphis Exorcism," one of their few straight swing songs. Mathus and his fellow vocalist/guitarist, Tom Maxwell, took the opportunity to display their guitar prowess, but right after, sultry singer Katherine Whalen performed "Club Limbo," in her tones that are always reminiscent of Billie Holliday...