Strange Attractors Harris Newman : Decorated (US,2007)****°
Harris Newman proves once more how brilliant and captivating guitar music can be. The first three tracks are taken together. The first track quickly leads the listener to hypnotic spinning wheel rhythmic excursions and varied worlds. The tensions are speeded up until it calms down again to is essence. This more sound like a western typed raga, with sections of ambition (the speeding up tension) and an inner control of the situation (the resume). The most melodic theme returns once more in full ornamental beauty. Then we’re taken to a different variation of the ride. The themes become then bluesy-moody and then more like a flamenco-energetic ride. It is a triple track alone worth taking a “hear journey ticket” to experience. “The malarial two step” is a two-step rhythmic melody, a brilliant and skilled rhythmic variation of pickings with a melody flooding smoothly on top it. “Blues For Vilhelm” is a different track, using experimental amplified slides, droning and pitched strings. This leads nicely on “Golden Valley as seen from the east” to another brilliant track. It inhabits an odd, vivid, almost singing variation of melodic pickings, which consists of a complex combination of themes in bass, pitches, and middle melody, as if a few instruments at once communicate and interact with one another. This thoroughly and slightly melts together directed by a one point minded drive, while keeping each part as separately participating entities, as if each finger of Harris Newman has its own will and contribution with its own character. This is something I only heard with the most gifted guitar masters. “We return to black wolf mountain” has more a semi-eastern hypnotic feeling. Last two tracks takes us to a last and once more different section. “Opera House Stomp” more is like a rock track, a repeated tremolo riff with drums by Eric Craven, and just seemingly also electric bass, a variation of the directions of some independent post-rock bands with good guitarists (like Gastr del Sol or Cul De Sac,…). This is easily concluded with a small improvisation called “a quarter to call the ambulance”. Here it is as if something of the previous track, in its shadow, is stretched in length and in slow motion and is taken to a new exploration. Another future classic from one the new guitar gods, who for his talent is part of the already interesting new guitar scene.