Eric Burgis' musical career could be seen as a bit backwards. Coming from a background of film and commercial soundtracks, the composer would find ultimate expression and freedom in the simplest of places: a decent acoustic guitar.
"I found a way to play acoustic guitar to take it away from being pop, and instead be a combination eastern and western musical impressions in a psychedelic sort of way," states Burgis, combining the exotic trance of Popol Vuh with the acoustic twang of mellow Pink Floyd.
Many of the songs on Noctilucent were inspired by the acoustic guitar in open tunings, which frees the material from the strict prison of conventional songwriting and reinforces the feeling of exoticism, giving the songs a vaguely Celtic flavor at times, as well as recalling the hidden hollers of John Fahey's old weird America. Burgis doesn't disrupt the imaginative vibes with lyrics, instead creating a short and atmospheric portal to imaginary landscapes, where you are free to wander and be yourself.
The guitars speak more than the lengthiest lyric sheet; in the way the electric lead bends and slides, expressing adventure and longing; bittersweet, but full of hope. Burgis lets the electric play the role of lead vocalist with all of the emotiveness of the human voice. Bands would do well to pay attention to this; a subtle detail that is practiced by the best, like the way that Mississippi John Hurt, Son House, or Robert Johnson will use the cry of a slide guitar to complete their thoughts - a perfect synthesis of human and instrument in which the guitar becomes a part of the performer. Or in the lyrical solos of Lester Young where he acted as a twin shadow and counterfoil to Billie Holiday's plaintiff cries.
Frankly, Burgis is an outstanding guitar player, as well as being an accomplished songwriter, which is a winning combination to realize a musical concept.
With his Feedhorn project, Eric Burgis intends to take you away from the everyday and put you in touch with another world. It works - it's like a protective circle of light, blocking out the ordinary to give you a glimpse of the sublime. This is due to excellent songwriting and production, like the subtle tapestry of Indian beats on "Tufa Towers," my personal favorite that best summarizes the optimism and positivity of New Age philosophy Burgis is striving for.
In a world in which we are deluged with possibilities, sometimes you've got to simplify and clarify. The acoustic guitar brings one back to the simple tactile joy of playing an instrument, of sitting in a room and writing songs. Feedhorn begins from this basic premise and builds holographic worlds of sound around it. It suggests a union between the heart and the mind, between technical mastery and raw, earthy expression. A New Age, indeed.
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