Covid-19 is dangerously impacting the social-economic category of musicians. No concerts, poor political and social consideration, uncertain earnings. As a consequence, an ever-growing number of musicians, especially those from the experimental area, are trying to promote their music on BandCamp in digital format only. It is increasingly difficult for me to follow and review this incredible flow of music. I therefore decided to open this section on my blog Neuguitars where I propose music in digital format that I consider particularly interesting and worthy of attention. I hope you like it. Let’s support musicians. They need it.
Jo Jena started playing the guitar at the age of 10 in berlin (the wall had just come down). His teachers were Arion Levy and Michael Gechter. 1 of 100 guitarists with Rhys Chatham. recipient of berklee scholarship. participant of ensemble modern junior forum. emphasis on improvisation, ambient & avantgarde. independent release of music recordings via “instauratio minima musicarum“ since 2004
Reflections of the Invisible World by Colin Fisher, Bandcamp, 2021 on #neuguitars #blog
Even if you’re well-acquainted with composer and multi-instrumentalist Colin Fisher’s richly varied output, his gentle fifth solo album, Refections of the Invisible World may come as a surprise. Psychedelic lyricism has always been a fundamental aspect of his sonic signature, but his second collaboration with producer Jeremy Greenspan (Junior Boys, Jessy Lanza, Morgan Geist) finds the Toronto native luxuriating in expansive atmospherics for its full duration.
That’s not to downplay the eclecticism he finds within this ethereal landscape. Each track tills its own discrete sonic acreage, and while every one emanates from a clear focal point, the spontaneous impulse that drives Fisher’s more audibly improvisational music always remains close at hand. Some pieces unfold rippling aquatic vistas or delight in prismatic guitar arpeggiation, elsewhere his plaintive, blues- infected tenor saxophone wafts like some strange jazz apparition, or becomes a chorus of cosmic murmurs. The presence of electronics is undeniable, but equally irrefutable is the organic instrumental sources of these disparate hues. In fact he’s discovered a rare balance: no matter how effects-saturated, every gesture on the record feels palpably sculpted by Fisher’s hands and breath. As such, Refections of the Invisible World carries a sense of intimacy at the heart of its diffuse, dream-like sonics.
Fisher has a been a major presence in Canada’s music community for more than twenty years—particularly in more experimental and improvisational circles. Nothing short of a guitar virtuoso, he also wields saxophone, drums, and various other instruments with similarly refned musicality, vivid textural imagination, and sometimes feral abandon. His one-man-band tape Garden of Unknowning for Manchester’s Tombed Visions, showcase all of this as he spars with different iterations of himself. The Quietus’ cassette critic Tristan Bath extolled it as “miraculous,” adding that “it’s a visceral experience soaking up this record, and it’s all down to Fisher’s utterly innate sense of musicality.” He subsequently cited it in his 2018 contributor’s year-end chart for the Wire