Night, Deep Autumn
1) We Speak of Deep Night 8:36
The Juan Cortina Suite:
2) i Pistol Whip 5:04
ii El Valle del Rio Grande 3:45 MP3!
4) iii Brownsville Raid 3:02
5) Brickyard 1:00
6) Lodi 4:24
7) Chambers Street 4:59
8) Woodside Meteor 2:21
We Speak of Deep Autumn 7:13 MP3!
Produced by Roger Kleier
Roger Kleier: All guitars
Annie Gosfield: All keyboards & sampling loops
This project was produced in part at Harvestworks NYC through
the artist-in-residence program.
P.O. Box 2190 Boulder CO 80306
Roger uses a collection
of Stratocasters, Telecasters, and Les Pauls all highly modified
so as to hardly resemble the instrument that left the factory. Like
most electric guitarists, he has a crate full of stomp boxes, and
his pedalboard usually contains a fuzzbox, volume pedal, modulation
and delay effects, and a looping device. He mainly uses Fender or
Musicman amplifiers. He endorses John Pearse strings, and thanks
the Lexicon Corporation for a JamMan.
Night, Deep Autumn is a bittersweet record, a record
of muted colors and shadowed statements like snapshots of the desert
at day's end, just after sunset. These are eidetic memories
encapsulated in sounds, familiar yet haunting, somehow indescribable.
Unlike so much music that pulls the listener through a narrative
in linear time, composer and guitarist Roger Kleier has here created
a work that draws the listener in a different direction: deeper
and deeper. . ."
"Kleier's toolbox overflows with myriad ways to mutate
a guitar, ranging from the hallowed techniques of Jimi Hendrix,
Captain Beefheart, Hubert Sumlin, and Link Wray, through the extended
techniques of the last 25 years of guitarmangling, to the
recent technological innovations of sampling, layering, digital
sound processing, and randomaccess construction using ProTools.
Many of the sounds are free of genre reference their identity
lies in their overtone structure, in the unpredictable transients,
in the surprising decay. This multifaceted approach does not
exist merely to demonstrate a collection of tricks these
are compostions whose vocabulary and syntax are seamlessly intertwined.
This is music for orchestra, no matter that many of the instruments
of this orchestra started life as an electric guitar. The final
result is a music with the sense of inevitablity that could
not manifest in any other way than what is revealed to us on this
CD. . ."
From the liner notes, written by Elliott Sharp.