Rob Noyes

Rob Noyes has emerged as one of the most exciting acoustic guitarists in the American Primitive scene, drawing from his past work with a heavy downstroke style. “Noyes sometimes seems to have absorbed an almost infinite reservoir of influences,” explains Byron Coley. “Apart from some superb Basho-like 12-string tunneling, most momentary fragments tend to recall legendary Limeys like John Renbourn (and through him, Davey Graham), because Rob's overt melodic structures tend towards the non-bluesoid. But then you'll maybe hear a note-sequence spiced like something dropped from the hot strings of Michael Chapman or even a powerful throng that makes you think of Wizz Jones. When that happens, you realize there's more of a blues base to some of the songs than you'd been able to untangle.” What there is no need to untangle is the spidery melodies that dart amongst the intricate playing. There are brushes of delicate beauty and dramatic surges. It’s too simplistic to describe Noyes as experimental folk for punk rockers, though having Raymond Pettibon artwork on your record sleeve more than invites in that audience. This is just simply music that makes you feel alive, and that it is made by just a man and a guitar makes it all the more incredible.

“Over the course of The Feudal Spirit‘s 10 (mostly 12-string) tracks, the guitarist easily shifts from earthy, familiar folk-blues moves to dizzyingly celestial flights. Sometimes these shifts happen within the same song — check out “Oni,” which kicks off in easygoing fingerpicking fashion, but soon finds itself rambling into unknown territory. Delightful.”  Aquarium Drunkard

american primitive guitar, acoustic, twelve-string, boston, solo, fahey, takoma school, folk, blues, finger picking

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