By David Todd
Feeding again: Conversations with Rock's replacement Guitarists from Proto-Punk to Post-Rock deals a counter-history of rock tune throughout the lens of interviews with musicians together with Richard Thompson, J Mascis, James Williamson, Bob mildew, Tom Verlaine, Lydia Lunch, Lee Ranaldo, Johnny Marr, and John Frusciante. separately, the book's in-depth discussions discover those subjects' principles and thoughts; taken jointly they record an alternative-guitar culture with roots in loose jazz, punk, avant-garde, people, and garage-rock kinds. Of all of the conversations in Feeding Back the main compelling is the single one of the guitarists themselves, the way in which they either impression and reply to one another whereas redefining the device and the rock style. From the proto-punk of the Stooges to the post-punk of Sonic adolescence, from the Krautrock of Neu! to the post-rock of Tortoise, the ebook charts this replacement thread because it makes its method via rock guitar from the overdue '60s to the current.
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Extra info for Feeding Back: Conversations with Alternative Guitarists from Proto-Punk to Post-Rock
Indd 34 4/16/12 10:03 AM Richard Thompson 35 Kaiser Thompson, the fingerstyle master of seemingly every alternate tuning ever documented in the British Isles. He’s the lyricist who pounds out casually genius couplets like “Did they run their fingers up and down your shabby dress? ” All of this can’t tell you as much as one moment of sustain in the “Main Title” of Grizzly Man alone. Though not one of Thompson’s recognized major works, this instrumental has to be among his most revelatory. Freed from his usual story-driven song, what’s left of Thompson is pure, riveting guitarism: snarling and soaring on his aqua Ferrington over a slow shuffle, he digs deep with string bends, capturing the full vistas of Herzog’s imagery: the rock faces, the ice caps and the silvertips lumbering beneath them, the joy and isolation of a bear-baiting protagonist.
RT: It was more about inventing a language of contemporary song. Because I was entering such new ground, and there were so few rules, I needed to spend some time experimenting. Henry was just an exploration of the possibilities of the genre. ” I was pulling songs out of the air, and using whatever was on hand to record and arrange them. Much the same could be said of the next album. indd 39 4/16/12 10:03 AM 40 The Individualist DT: In some ways, you have more genuine folk elements in your “folk rock” than others for whom the term has been used.
I guess “cleanliness with a tail” would be a nice way of putting it. You know, now I have a Strat I play live that just has the middle pickup. They’ve taken out the other two pickups since I never used them. I just have a volume knob and the middle pickup, and that’s it. The Unicaster, we call it. DT: The Unicaster? LK: Yeah. They got a pick guard, they just cut out one middle slot, and it’s just this one knob and the pickup. You know, even though it took me a while to get used to it visually, I must admit I don’t really miss anything.