BEGIN:VCALENDAR VERSION:2.0 CALSCALE:GREGORIAN PRODID:adamgibbons/ics METHOD:PUBLISH X-PUBLISHED-TTL:PT1H BEGIN:VEVENT UID:358@https://flypost.ie SUMMARY:Bill Orcutt DTSTAMP:20260514T201938Z DTSTART:20260416T190000Z DTEND:20260416T214500Z DESCRIPTION:Enthusiastic Eunuch Proudly Presents\n\nBILL ORCUTT\n\nThursday 16th April\n\nBello Bar\n\nTickets €24 via https://billetto.ie/e/bill-orc utt-tickets-1769512\n[https://billetto.ie/e/bill-orcutt-tickets-1769512]\n \nAs one of experimental music's most influential guitarists\, Bill Orcutt weaves\nlooping melodic lines and angular attack into a dense\, fissured landscape of\nAmerican primitivism\, outsider jazz\, and a stripped-down r e-envisioning of the\npossibilities of the guitar. Whether he’s playing hi s decrepit Kay acoustic or\ngutted electric Telecaster (both stripped of t wo of their strings\, as has been\nOrcutt’s custom since 1985)\, Orcutt’s jagged sound is utterly unique and\ninstantly recognizable\, compared with equal frequency to avant-garde composers\nand rural bluesmen. The New Yor k Times has called him a "powerful musician... a\ngo-for-broke guitar impr oviser\," and described his sound as "articulated sprays\nof arpeggiated c hords and dissonance."\n\nhttps://www.youtube.com/watch?v=VOcmES6PWEs\n[ht tps://www.youtube.com/watch?v=VOcmES6PWEs]\n\nOrcutt originally appeared o n the underground scene as a co-founder of Harry\nPussy\, whose explosive music combined ‘70s no wave\, the ferocity of ‘80s\nhardcore\, and the acr obatic intricacy of Cecil Taylor. Seemingly\nsingle-handedly\, and over th e course of dozens of releases\, Harry Pussy built\nthe prototype for nois e-rock in the ‘90s and beyond. Throughout\, Orcutt (aided\noccasionally by a second guitarist) wove incandescent\, treble-heavy lines\nthrough the m aelstrom of Adris Hoyos’ percussion. They toured extensively\,\nperforming or traveling with bands like Sonic Youth\, Sebadoh\, The Dead C\, and\nGu ided by Voices\, before screeching to a halt in 1997. Writing about a 2008 \ncompilation of their work\, Pitchfork described Harry Pussy as "just abo ut the\nmost abrasive band America has ever seen."\n\nhttps://www.youtube. com/watch?v=-uPCjh1XH2U\n[https://www.youtube.com/watch?v=-uPCjh1XH2U]\n\n After a hiatus of over a decade\, Orcutt reemerged as a solo artist\, at f irst\nperforming solely on acoustic guitar. Drawing influences from Cecil Taylor\n(again)\, Dylan’s Basement Tapes\, and the recursive voice of Gert rude Stein\,\nOrcutt began exploring the invisible threads linking free im provisation to the\nforgotten crevices of the American songbook\, from blu es to minstrelsy.\n\nUpon his return\, recognition was immediate. His 2009 album A New Way To Pay Old\nDebts\, originally released on Palilalia and reissued by the acclaimed Viennese\nelectronic music label Editions Mego\, was named 3rd best recording of that year\nby WIRE magazine\, who praised its "tense muscularity." Orcutt went on to work\nextensively with Edition s Mego\, issuing a total of four records under their\nauspices. NPR named Orcutt's 2011 album How The Thing Sings as the 3rd best\navant garde album of the year\, commenting that his playing would "make Derek\nBailey do a double-take". His 2013 album of standards\, A History of Every One\,\nmade NPR's list of the year's best new guitar records\, and was singled out by \nthe Guardian\, who described it as "covers of traditional American songs \,\ndeconstructed in lurching flurries of twanging metal." Most recently\, Orcutt's\n2015 album Colonial Donuts was ranked #14 on Rolling Stone's Be st Avant Garde\nAlbums of The Year.\n\nOrcutt maintains an active tour sch edule\, performing in North & South America\,\nAsia and Europe\, and appea ring at festivals world-wide\, including Hopscotch\n(Raleigh)\, Incubate ( Tilburg)\, Le Nouveau Festival du Centre Pompidou (Paris)\nand Unsound (Kr akow). Rolling Stone described his performance at 2014's Big Ears\nFestiva l as "savage."\n\nIn recent years\, Orcutt has resumed his paint-peeling e lectric guitar attack\,\nbest represented by his collaborations with drumm ers (Chris Corsano or Jacob\nFelix Heule)\, guitarists (Loren Connors and Sir Richard Bishop)\, and others\n(including cellist Okkyung Lee and vocal ist Haley Fohr of Circuit des Yeux). His\nnewest work continues the guitar ist's signature interrogation of his instrument\,\nyet signals a new phase of cautiously-employed conventional melody and song\nstructure. With each recording and performance\, Bill Orcutt continues to invent\na sonic vern acular built around raw and tortured tones\, ragged minimalism\, and\nseem ingly inexhaustible improvisational stamina.\n\nSelected Press\n\n"No one is playing acoustic guitar like Bill Orcutt right now. No one." - Lars\nGo trich\, npr.org [http://npr.org]\n\n"Quite awe-inspiring\, and unlike anyt hing else I can think of". - Byron Coley\,\nWire Magazine\n\n"Anyone can a dmire the raw soul of his playing and the way he shoots out ideas\nin real -time\, reacting so quickly it's as if he's creating a new language as he\ nspeaks it... it's impossible to listen to A New Way to Pay Old Debts with out\nbeing affected by it." - Marc Masters\, Pitchfork\n\n"When Bill Orcut t starts playing the acoustic guitar\, it's clear there are still\nso many new things to be said with it". - The Guardian\n\n"Having rehabilitated a n old Kay acoustic guitar\, slack-tuned to ease the\ntension on a cracked headstock\, Bill had developed a signature style of glottal\nruns and deep string-bending akin to a 21st century country blues. This\,\nrefracted th rough an increasingly wry presentation\, has constituted his\nre-emergence as one of the most baffling instrumentalists and conceptualists of\nthe t ime". - BOMB Magazine URL:https://flypost.ie/event/bill-orcutt LOCATION:Bello Bar - 1 Portobello Harbour Dublin 8 STATUS:CONFIRMED CATEGORIES:Experimental,Dublin,live music,bill orcutt X-ALT-DESC;FMTTYPE=text/html:

Enthusiastic Eunuch Proudly Presents

BILL ORCUTT

Thursday 16th April

Bello Bar

Tickets €24 vi a https://billetto.ie/e/bill-orcutt-tickets-1769512

As one of experimental music's most influential guitarists, Bill Orcutt weaves loop ing melodic lines and angular attack into a dense, fissured landscape of A merican primitivism, outsider jazz, and a stripped-down re-envisioning of the possibilities of the guitar. Whether he’s playing his decrepit Kay aco ustic or gutted electric Telecaster (both stripped of two of their strings , as has been Orcutt’s custom since 1985), Orcutt’s jagged sound is utterl y unique and instantly recognizable, compared with equal frequency to avan t-garde composers and rural bluesmen. The New York Times has called him a "powerful musician... a go-for-broke guitar improviser," and described his sound as "articulated sprays of arpeggiated chords and dissonance."

htt ps://www.youtube.com/watch?v=VOcmES6PWEs

Orcutt originally appe ared on the underground scene as a co-founder of Harry Pussy, whose explos ive music combined ‘70s no wave, the ferocity of ‘80s hardcore, and the ac robatic intricacy of Cecil Taylor. Seemingly single-handedly, and over the course of dozens of releases, Harry Pussy built the prototype for noise-r ock in the ‘90s and beyond. Throughout, Orcutt (aided occasionally by a se cond guitarist) wove incandescent, treble-heavy lines through the maelstro m of Adris Hoyos’ percussion. They toured extensively, performing or trave ling with bands like Sonic Youth, Sebadoh, The Dead C, and Guided by Voice s, before screeching to a halt in 1997. Writing about a 2008 compilation o f their work, Pitchfork described Harry Pussy as "just about the most abra sive band America has ever seen."

https://www.youtube.com/watch?v=-uPCjh 1XH2U

After a hiatus of over a decade, Orcutt reemerged as a so lo artist, at first performing solely on acoustic guitar. Drawing influenc es from Cecil Taylor (again), Dylan’s Basement Tapes, and the recursive vo ice of Gertrude Stein, Orcutt began exploring the invisible threads linkin g free improvisation to the forgotten crevices of the American songbook, f rom blues to minstrelsy.

Upon his return, recognition was immediate. His 2009 album A New Way To Pay Old Debts, originally released on Palilal ia and reissued by the acclaimed Viennese electronic music label Editions Mego, was named 3rd best recording of that year by WIRE magazine, who prai sed its "tense muscularity." Orcutt went on to work extensively with Editi ons Mego, issuing a total of four records under their auspices. NPR named Orcutt's 2011 album How The Thing Sings as the 3rd best avant garde album of the year, commenting that his playing would "make Derek Bailey do a dou ble-take". His 2013 album of standards, A History of Every One, made NPR' s list of the year's best new guitar records, and was singled out by the G uardian, who described it as "covers of traditional American songs, decons tructed in lurching flurries of twanging metal." Most recently, Orcutt's 2 015 album Colonial Donuts was ranked #14 on Rolling Stone's Best Avant Gar de Albums of The Year.

Orcutt maintains an active tour schedule, per forming in North & South America, Asia and Europe, and appearing at fe stivals world-wide, including Hopscotch (Raleigh), Incubate (Tilburg), Le Nouveau Festival du Centre Pompidou (Paris) and Unsound (Krakow). Rolling Stone described his performance at 2014's Big Ears Festival as "savage."

In recent years, Orcutt has resumed his paint-peeling electric guitar attack, best represented by his collaborations with drummers (Chris Corsa no or Jacob Felix Heule), guitarists (Loren Connors and Sir Richard Bishop ), and others (including cellist Okkyung Lee and vocalist Haley Fohr of Ci rcuit des Yeux). His newest work continues the guitarist's signature inter rogation of his instrument, yet signals a new phase of cautiously-employed conventional melody and song structure. With each recording and performan ce, Bill Orcutt continues to invent a sonic vernacular built around raw an d tortured tones, ragged minimalism, and seemingly inexhaustible improvisa tional stamina.

Selected Press

"No one is playing acoustic gui tar like Bill Orcutt right now. No one." - Lars Gotrich, npr.org

"Quite awe-inspiring, and unlike anything else I can think of". - Byron Coley, Wire Magazine

"Anyone can admire the raw soul of his playing and the way he shoots out ideas in real-time, reacting so quickly it's as if he's creating a new language as he speaks it... it's impossible to listen to A New Way to Pay Old Debts w ithout being affected by it." - Marc Masters, Pitchfork

"When Bill O rcutt starts playing the acoustic guitar, it's clear there are still so ma ny new things to be said with it". - The Guardian

"Having rehabilita ted an old Kay acoustic guitar, slack-tuned to ease the tension on a crack ed headstock, Bill had developed a signature style of glottal runs and dee p string-bending akin to a 21st century country blues. This, refracted thr ough an increasingly wry presentation, has constituted his re-emergence as one of the most baffling instrumentalists and conceptualists of the time" . - BOMB Magazine

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