Tag Archives: Kaki King

Review : Hunter Van Larkins “Myriad” CD (CandyRat Records, 2010)

Hunter_Van_MyriadHere on Work & Worry, we cover a lot of what could be considered traditional or neo-traditional acoustic guitar playing, usually rooted in blues and folk forms. Melodic ideas are often stated (or implied) with the high strings, and this is typically laid over a foundation of droning or alternating-bass… the beloved “boom-chick”. This is one, but certainly not the only approach to fingerstyle, and these days, the number of players who eschew traditional picking and employ extended techniques – right-hand tapping, artificial harmonics and playing the guitar’s body percussively – is ever-growing. CandyRat Records is home to many such modern-sounding players, several of whom also happen to be YouTube sensations (Andy McKee’s “Drifting” has more than 34 million views, as of this writing). It’s not surprising, since many of the aforementioned techniques, especially when played with speed, can be visually exciting. For all these reasons and more, this style, pioneered by players like Michael Hedges in the early 80’s, is riding a fresh wave of popularity.

Hunter Van Larkins is the duo of Ross Hunter and Owen Van Larkins, and their new album Myriad is one of the latest releases on the CandyRat label. It’s a completely instrumental affair, both players performing on steel-stringed acoustic guitars, with occasional help from a third guitar or cello. The overall sound of the record is contemporary, with ample amounts of reverb and electric pickup mixed in with the acoustic tones. The playing possesses some of CandyRat calling cards : the high-energy slapping and tapping on closer “Breakthrough” and the aptly titled “Tapestry” are a couple of obvious examples, and the entire record finds both Hunter and Van Larkins (literally) banging out percussive, groove-oriented parts… but Myriad is less about technique and more about composition and texture. Continue reading

Review : M.Mucci “Time Lost” LP (The Tall House Recording Company, 2010)

by Raymond Morin

For avid fans of instrumental acoustic guitar music, there aren’t many real surprises anymore. These days, it’s hard to imagine a new player who could hit the scene and affect a seachange along the lines of, say, Davy Graham’s restless early experiments with Middle Eastern motifs, or John Fahey’s genre-spawning blues distillations. Even two of today’s most head-turning young instrumentalists, James Blackshaw and Kaki King, earned their reputations not by reinventing the wheel, but by designing their breakthrough recordings around the musical templates of Robbie Basho and Michael Hedges, respectively.

…and what’s wrong with that? After all, innovation isn’t everything. Indeed, when it comes to guitarists, it seems that those who decide to eschew tradition entirely tend to lean on gimmicks… more strings, more effects, atonality, more notes and played FASTER! All of those things can be great in small doses, but at the end of the day, when someone sits down behind a six (or twelve) string wooden box, I hope to hear something musical. It doesn’t have to be tricky, it doesn’t have to be fast, and it doesn’t have to be a revelation… give me a little soul, just the right amount of technique and some compositional flare, and you might very well have a fan for life! Continue reading