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Shane Parish coverage below on his incredible effort in covering Autechre in avant folk guitar, and even more after the jump, so subscribe to read all that.

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Well here's at least a minute of that.

SHANE PARISH Autechre Guitar 2xLP (Pailalia)

Groundbreaker of a solo guitar album from the prodigious Shane Parish, all the way from Ahleuchatistas to collabs with Bill Orcutt, Tashi Dorji, Wendy Eisenberg and Tatsuya Nakatani, and architect of a one-of-a-kind feat: transposing the music of EDM slide rule diviners Autechre to the realm of acoustic/classical folk. Even at its most complex (like the conversion of low rumble jazz in “Corc,” which at times sounds like a guitar, into this elegant sweep of individual notes that unmistakably is) Parish never gets lost or overly shreddy, but what he does do is locate the balance of Autechre’s melodies within his own domain. He’s remarkably effective at bridging the forms as if these songs were written for him to perform, down to the decisions of what is and isn’t being played – reverent to the compositions but not their production, leaving reverb, space and patience to do the job the drum machines had before, while also opening the songs to breathable, quasi-traditional forms. Apart from “Corc,” much of what’s on offer here recontextualizes tracks from the first three LPs, when Autechre was at their most melodic, maybe a concession for what it must’ve taken to chart and perfect these covers, but honestly who cares. Nobody wanted this guy to look in the wrong direction. I’m reminded of Gastr’s peaks, and believe that on a different timeline this sort of idea would’ve come from Jim O’Rourke, but it hadn’t – we’re here in this age of distress, with new players finding comfort in a 180 of human-computer interaction.

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