Recorded by Patrick Kukucka at The Mission For Temporal Arts, Marshall NC on November 19th, 2014
released November 13, 2015
Over the course of the last half decade, Tashi Dorji has made a name for himself as one of the most consistently prolific and engaging instrumental guitarists working out of the United States. He warps scuzzy blues and weather worn folk structures into a delirious and understated vision of the American plains, a vast, open, and endearing evocation of the best that this country has to offer.
Footfalls Records made the inspired decision to pair the Bhutan-born guitarist with the similarly expansive work of Portland, Oregon’s Marisa Anderson, whose own work engages in the serpentine wanderings of the wild west. They’re releasing an instrumental split LP together on November 13, and for each it represents some of their most intricately styled material to date. Dorji’s side continually delves into dissonance and terror before surfacing with strings of melodies that feel like the clouds parting, a casually optimist suggestion that, you know, the sun’ll come back sometime.
The realm of solo instrumental guitar music is typically dominated by white male musicians. Maybe by coincidence, maybe not, Footfalls Records broadens the scope of practitioners with its debut release, a two-guitarist split between the Bhutan-born Tashi Dorji and Oregon’s Marisa Anderson. Dorji explores his acoustic as if it’s an unmapped territory: During his three songs, he picks up the slide, scrapes the strings, plays thin notes, offers broad chords, chimes out harmonics and rattles around the neck. Still, these songs somehow maintain a sense of melody, where the tune itself matters just as much as the texture it conjures.
- Pitchfork 2015
Dorji constructs spindly, haunting acoustic improvisations that unfold in unexpectedly delightful ways.
- Aquarium Drunkard
In a first taste of the record, Dorji's "Karma Lata" is a rolling and meditative five-minute track that cycles its way around an abstract melody with clipped harmonics and stuttering fret work.
-NPR All Songs Considered