Doomcrunchbuddhafuzzspree. That’s what Misha Mengleberg would've called Om's side of this 7-inch single. If you think that once the music hits the air and it can no longer be "contained," then your needle hasn't slid through this groove because it’s heavier than a flightless bird. Mr. Chasny doesn't remove anything from the scale either. His side, "Assyrian Blood," contains what seems to be subliminal fuzz/noise blips-- like bugs hitting your windshield except that you can hear them. Thankfully they coalesce into a stunning guitar solo that cuts through the chant and goes straight for the jugular.
Since the release of Six Organs of Admittance's self-titled debut in 1998, Ben Chasny has played pure guitar within individual songs, but For Octavio Paz is his first full record to explore the guitar inside and out, solo and over-dubbed, steel and nylon string (in fact, For Octavio Paz is the first Six Organs album to feature the reverberations of a nylon string guitar). What really sets Chasny apart from the other modern Fahey worshipers is that Chasny's pantheon is willing to accept a wider array of other guitarists into the lexicon-- Peter Walker or Richard Youngs, for example-- not to mention the fact that he can stand the sound of a Stratocaster. This is the definitive guitar record from Six Organs of Admittance.
While the "acoustic based project[ions]" of Six Organs of Admittance have been pigeonholed by some as a chance-operated celestial jam unit, the group has always been about songs, and nowhere is this more apparent than on their fourth full length album, an eight-song cycle that mixes the strengths of Ben Chasny's acoustic and electric guitar with his knack for placing this on top of disparate and subtle atmospheric backgrounds. The live favorite (and rare single) "Somewhere Between" has been redone and finalized in a fantastic new version featuring sitar by Comets on Fire's Ethan Miller. The delicate acoustic strum of the album is challenged at the end of the record on the epic "Only the Sun Knows," which features some extremely heavy "electric destruction guitar" from Mr. Miller before Chasny takes back control and lands the album on solid ground.
In 1998 Ben Chasny self-released an LP of his "acoustic based project[ions]" under the name Six Organs of Admittance. The resulting five-song LP is a masterpiece of diverse elements using acoustic and electric guitars, a detuned violin, organ, electronics and koto. The material covers a lot of ground: there's an acid folk duet, an epic, three-part space suite, and two short concrète-like pieces that entice hidden memories of having bees in your mouth. The final sting is the magnificent chaos of "Race from Visnu"-- a nine-minute raga in which the strings of the acoustic guitar are battled by Chasny who ruthlessly punishes them for their ability to make sound.
Dark Noontide is the third full length release from Six Organs of Admittance. While listeners were pleasantly surprised by Ben Chasny's out-of-nowhere acid-folk genius on earlier releases, Dark Noontide comes in a notch or two higher with another spectacular merging of dreamy, hypnotic, finger-picked melodies and psychedelia concrète, not to mention some very fine fuzz guitar.
Eight incredible tracks seamlessly blend powerful blues foot-stomp, backward interludes, strange strings feedback, dark, tabla-infused vibrations, and the amazing debut of Chasny's electric guitar as a lead instrument.Minds can only be blown by this album. Initiation is only a matter of time. This is the dream follow-up release that fans of Six Organs of Admittance have been waiting for.
Holy Mountain is beside itself with the limited edition reissue of Dust & Chimes by Six Organs of Admittance, Ben Chasny's second amazing, underground folk-psych project from behind California's Redwood curtain. Heavy, acoustic guitar and mumbled vocalizations merge with out-there jamming in a style that has been compared to guys with LPs on Takoma, though Dust & Chimes is actually closer than anyone else is ever going to come to pantsing the first two Tyrannosaurus Rex albums.
The sun is tanging, people. Really. "After a brief, textural opening, Dust and Chimes rekindles the aplomb of 'Visnu' with a mortal vs. guitar death dance called 'Assyria'; it soon subsides into a calmer, introspective mood. The simple riffs are rooted in American folk, but suggestive of an Ottoman court. Six Organs stick with bare-bones song arrangements - most cuts are just dressed up with overdubbed chimes and bells, and three are direct-to-tape acoustic slices. The understated nature of the songs - often serving primarily as launch pads for extended acoustic extemporization - dictates that the album grows on the listener rather than convinces in a single play. The solos are delicate, subdued, as is the album as a whole. The structure to the songs may be too similar, but the mood is so pleasant that one barely notices, especially since the songs are broken up by other types of pieces." -Muckraker