Earlier, I wrote about the album by Six Organs Of Admittance called 'Asleep On The Floodplain'.
I've been playing it a lot since then. It's becoming a favorite record of mine, a special record that is likely to rise to towards the top of any 'Best Of' list I might chose to put together. (Not that I have, my days of 'High Fidelity'-style listomania are well behind me.)
I already touched on some of the influences and sounds that inhabit this music. I am falling for it so hard because it successfully blends so many disparate elements that I've come to love over the years. In addition to the artists I've already mentioned, I'm now hearing the influence of the film music of Ennio Morricone, the production techniques and soundscapes of John Cale's more out-there albums, the melodic sense of Jimmie Dale Gimore, the crisp acoustic guitar technique of Davey Graham and Richard Thompson, the electric guitar wailing of Bob Mould, a lot of music of the American minimalist composers such as Terry Riley, the experimentation of Alvin Lucier. There's going to be more.
A lot of reviews I've read of this record settle for the influence of Robbie Basho and John Fahey, artists I am less familiar with, but from what I read they would fit in very well. Robbie Basho in particular is being name-dropped a lot in relation to the freak folk movement that claims Six Organ Of Admittance – I am always amused how every new genre in pop music seems to pick up on some worthy but under-appreciated artist of previous years and elevates them to cult status as an influence.
Meanwhile, I shall just continue to enjoy this lovely music.