Of the many Loren Mazzacane Conners CDs released during the decade, this is a quintessential recording that stands out in his discography as a classic. The prolific avant-garde/blues guitarist achieved mastery with this short and subdued audio map of the N.Y.C. district which is inspired and evocative. Here the subtle guitarist works with a much cleaner and direct sound than the distorted eruptions that would surface on later recordings. The effect is a sparse and sublime meandering through a series of shor   [ read more ]

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This album from 1995 marks a turn in direction for the distinguished New York guitarist, as it was at this point that his signature lilting avant-blues introduced a heavy and distorted tone. Where previous recordings, such as Hell's Kitchen Park and In Pittsburgh, bore a signature of pianistic, minimal electric guitar vignettes, 9th Avenue paints a picture of a rainy New York (as depicted in the striking cover artwork) filtered through clouds of distortion and amplifier overload. At tim   [ read more ]

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Loren Mazzacane Connors is truly a master of minimal guitar compositions; the incredibly sparse and bare touches of guitar that make up Moonyean drift along gorgeously, tending far more toward prettiness than they do desolation. This is the sound that originally defined Connors' work, and with good reason -- even as he moved into fuller, fuzzier, and more ambient textures, it was this minimal guitar style that formed the basis and the true interest of his compositions. -All Music Guide

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As Roses Bow: Collected Airs 1992-2002 is Loren Connors' assembly of his most melodically rich and stunning miniature compositions. Inspired by O'Carolan's airs and other Irish airs of the past, these works, recorded during a ten year period, are melded with the distinctly personal and iconoclast adaptation of Connors' blues. These 43 pieces are Connors' complete airs, culled from 10 albums (eight of which are out of print) and one single, including his groundbreaking Hell's Kitchen Pa   [ read more ]

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Avant guitar legend Loren Connors (aka Loren MazzaCane Connors) returns with the sequel to 2002's wildly critically acclaimed The Departing of a Dream. The NYC blues guitarist, who has been recording and releasing albums since 1978, extends the theme (which was a loose tribute to Miles Davis' "He Loved Him Madly") into a fragile and floating eight-part piece of acoustic/electric/ and bass guitar mixed with field recordings and the unsettling ménage of found sounds and ambient hiss. Whereas the first Dep   [ read more ]

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"You can't hold on to things," Loren Connors says. "With great happiness comes great sorrow." So brings us to "Departing of a Dream Vol. III: Juliet." Like the previous volumes, "Juliet" is a tribute of sorts; and here the focus is clearly love, the kind of love willing to face desolation and ultimately death. Recorded in Connors' Brooklyn apartment, his electric guitar emits a pulsing web of blues notes that settle against the utterly intimate human ambience of a creaking chair, tumbling objects, smoke cur   [ read more ]

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Not since the Spring of 1995 when the one-sided "Adonis" 7² (Father Yod/Black Label) was released has New York City guitarist Loren Connors (aka Loren MazzaCane Connors) so laid total harrowing devastation and emotion to vinyl. Descriptions, images and ideas do not qualify the two part ³Moon Gone Down². Combining the near minimalist path of this years Departing of a Dream Vol. II and the clean guitar blues of his 1990 CD Rooms (S. Joan), Loren paints a vast portrait of the still night riding to its end.    [ read more ]

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It seems like these two should have recorded together before. But Loren MazzaCane Connors and David Grubbs played their first duo concert on May 30, 2003 and went into the studio to record this album a little less than a month later. It is a short set, 34 minutes flat, but it exerts a constant fascination. It is amazing how such slow, silence-filled music can keep you on the edge of your seat. It seems it should be a relaxing listen and maybe, if you don't pay close attention, it can be just that. But   [ read more ]

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Everything about this triple-disc set screams "classic" -- the scope, the rarities, the previously unreleased tracks, the packaging -- but most of all the music, Loren MazzaCane Connors' uniquely beautiful form of contemplative avant-blues. Call it experimental or primal, atonal or melodic, the man's music stands beyond such categories. Resolutely progressive (in essence, not in style) and exploratory, it often remains surprisingly accessible and gripping, especially in solo mode, which is what ove   [ read more ]

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