Loren Mazzacane Connors - Hell! Hell! Hell! Hell! Hell! (The Lotus Sound, 1997)

I'm back - même si je n'étais parti nulle part en fait! J'espère que ce petit break vous aura permis de vous remettre des albums de Rufus Harley. Quoi? Pas encore écoutés? Foncez, vous allez voir, c'est quelque chose! Et pour ceux qu'une version cornemuse jazz de Love Is Blue laisserait perplexes - et je ne parle même pas d'un duo de cornemuse et de marimba, je reviens aux fondamentaux : Loren Connors. Le titre est clair, c'est un de ses albums les plus électriques, avec quelques moments de calme entre deux gros orages. Si vous n'avez pas encore tenté un seul de ses titres proposés ici, ce n'est peut-être pas l'entrée idéale. Jetez un oeil aux autres albums postés, laissez-vous guider si une pochette ou un titre d'album vous inspire. J'ai déjà dit tout le bien que je pense de ce guitariste intime, lunaire et fragile - ce qu'on ne devinerait pas forcément avec cet album d'enfer!

Loren Mazzacane Connors
Hell! Hell! Hell! Hell! Hell!
CD The Lotus Sound TLS003 (USA, 03-1997)

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Note : Loren MazzaCane Connors, electric guitar. Recorded 1996.
As discographers struggle to track the enormous output of this avant-garde blues guitarist, this foray into solo guitar playing must be noted as an extraordinary addition. As a guitarist who began in a tough independent world in the early '80s with a series of acoustic blues improvisations under the pseudonym Guitar Roberts, he established a style which would progress into a distinctive electric style that was simply gorgeous: a study of miniature reductions which expanded upon blues motifs in a way that rendered them almost transparent echoes of pure minimalism. Hell's Kitchen Park is exemplary of this musical phase, and the inferno crops up again as a theme on this CD. The tranquility of the older recordings gives way to a much heavier feedback style, summarizing the esteemed status he has with fans Sonic Youth and Keiji Haino -- no less, in one grand sweep. Hell ! Hell! Hell! mimics flames in its voluminous feedback-drenched guitar and is certainly one of the more aggressive releases in his catalog. The variation of moods in his recordings does not overshadow his distinctive string-bending and tremolo arcs that are a strong signature in all of his recordings -- as is his ability to identify the conclusion of an improvisation. Like many of his recordings, this album is pared down into short edits of his finest statements of the day. Strikingly, this album touches on psychedelic territory, the kind of fuzz guitar storms more common in the work of Bardot Bond or Roy Montgomery. (All Music Guide)

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