BILL ORCUTT's style has often been compared to American primitivism (JOHN FAHEY, ROBBIE BASHO, LEO KOTTKE), while also incorporating tonal colors from no wave, hardcore punk, and European free improvisation. For the record, his first band, HARRY PUSSY, opened for SONIC YOUTH and SEBADOH in the 90s. Although he has been seen performing with LOREN MAZZACANE CONNORS, CHRIS CORSANO, and PETER BROTZMANN since his return to the stage in 2009, it is in absolute solo that ORCUTT's art flourishes with the most authority, demonstrating a sensitive approach that emphasizes sound spatialization. His second solo electric guitar album takes its title from Robert Wise's 1959 film noir, for which the MODERN JAZZ QUARTET wrote the soundtrack. And, apart from three multi-track pieces, it was recorded in the guitarist's own living room, drawing directly from his Fender Twin. Between folk-blues authenticity (think JOHN LEE HOOKER, ELMORE JAMES, JOHN MAYALL, RICHARD THOMPSON, LOREN MAZZACANE) and exacerbated feedback (THIS HEAT, ILLITCH).
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