Branca never used rhythm like this. His work is about great chunks of sound and harmony/dissonance and power. There are few gaps in it, let alone anything you might consider as having a 'groove' (Lesson # 1 a possible exception). It's about being pummelled. This isn't. I don't know of anyone else using stringed instruments who has developed their own set of techniques like ExEIH have. The mute-and-release technique is entirely their own, for example and the results are way more psychedelic and transformative than Branca ever was (or wanted to be).
This is next level stuff, incredible guys.
What an excellence! Totally loved it
great!
These guys are great!
Can I be in your band please? I can sing and play bouzouki all night
One song is good, two are not bad, three are boring, four are stressful, five are with no more audience.
BUZZØØKO 😆
Soz, but the totally packed venue at Sea Change would disagree! Great gig
Wow it's like someone just took Glenn Branca's template and did NOTHING to it....
Doesn't take much to impress culturally deficient folks these days.
You mean Glenn Branca took Harry Partch or Fred Frith's template?
Branca never used rhythm like this. His work is about great chunks of sound and harmony/dissonance and power. There are few gaps in it, let alone anything you might consider as having a 'groove' (Lesson # 1 a possible exception). It's about being pummelled. This isn't. I don't know of anyone else using stringed instruments who has developed their own set of techniques like ExEIH have. The mute-and-release technique is entirely their own, for example and the results are way more psychedelic and transformative than Branca ever was (or wanted to be).
@@notnolimburger3923 this is an absolutely bafflingly stupid comment, and I won't dignify it with a response other than "I don't like you very much"
@@tkeen2596 you seem a delight also. I've played in both ensembles, just giving my own perspective.