The pristine nature of digital recordings may be fine for intricate, studio produced electronica but for capturing an old-timey, live sound it leaves something to be desired.
The Golden Hour is a record that is tailor made for the hiss and imprecision of a pre-cd /mp3 age. These improvised instrumental pieces for solo guitar and lap steel draw their inspiration from muddy Delta blues records and the primitive guitar releases on John Fahey's legendary Takoma label.
Marisa Anderson, who is based in Portland, Oregon, lists other sources such as West African guitar, gospel, and noise rhythms as well as more abstract, philosophical concepts of "cycles, mortality and praise.
Recorded on a basic four track, reel to reel tape recorder, the rawness of the sound is deliberate. To assert the idea that vinyl would be her preferred format, the list of the twelve tracks are equally divided into Sides A and B.
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Marisa's brilliant slide work is showcased on a track called Electricity while slower lyrical pieces like First Light and The Rain Is Coming have a slow melancholy quality akin to the evocative incidental music Neil Young produced for Jim Jarmusch's Dead Man soundtrack.
It is a carefully sequenced record that never drags and is full of wonderful playing. It serves as an album for dedicated listening or as a gentle ambient mood-setter.
This is her second solo release and like her debut collection of sad songs for drinkers and drifters (Holiday Motel) it celebrates the enduring appeal the pre-war folk-blues.
Highly recommended.
Marisa Anderson's Website
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