Ambient Guitar is Dead. Long Live Ambient Guitar!!

I had no idea what I was doing. I had no idea what I was trying to achieve. It was one of a hundred experiments at the time and one of hundreds of thousands since. It was 1998; 25 years ago. Then, like now, I had an economy of musical gear. At that time, I hadn’t even moved to recording music with a computer yet, so armed with my old Fender Gemini acoustic guitar, a Woody Seymour Duncan pickup and a brand new Alesis Nanoverb I plugged it all into my Tascam four track recorder and began to experiment with a variety of noisy and hissy experiments. 

At some point, after a couple hours of fruitless experimentation, I set it to plate reverb and turned the effect and the mix all the way up. In seconds, I found what I was looking for.

What was I looking for? Hell if I knew, but I could try to explain it in my vocabulary of the time. I wanted to be able make music like Claude Debussy’s solo piano work, utilizing an almost chromatic dream-lime lack of a tonal center that’s just awash, ebbing and flowing, without an attack; like a piano key struck with the sustain pedal down all the way and the stroke of the key removed, or imagining the strings rising and falling as in Ralph Vaughan Williams Fantasia on a Theme of Thomas Tallis. The guitar, acoustic, especially, is/was effectively a percussion instrument. What I was imagining simply wasn’t a thing; physics precluded it…  at least I thought so until this experiment.

For me, musically and artistically, this was a defining moment. My creative life is divided between before and after this discovery. I called it space guitar, then ambient guitar, but really it was a drone style of playing; a pedal note sustained while other harmonic goodies occur all from the sound hole of my acoustic guitar and into the spaciousness of the reverb. Anything was now possible. A couple years later live looping via Ableton and reliable looping pedals made whole soundworlds possible with just a guitar, imagination and a couple doodads. I went in this new direction hard. I explored sound with many guitars, effects, players, ensembles and pretty much any scenario I could imagine. 25 years later, dozens of recordings and hundreds of gigs all over the continental US came to be and I explored anything and everything that caught my fancy. 

In the last few years things have dissipated for me creatively where the guitar is concerned. At a time when there are hundreds, maybe thousands of ambient guitarists with music on Spotify and videos on YouTube there’s a lot of droney, textural and ambient music out there. To be fair, a lot of this stuff sounds the same and “ambient guitar” has gone the way of a million vaporous piano recordings that may or may not be informed by the work of Harold Budd. I have ambient drone music on nearly 24/7, in my various spaces and while I couldn’t name most of the artists I hear from the derivative lack of variance and the ephemeral nature of new music showing up, I’m glad that new voices are putting new spins on guitar and reverb. The more music that comes out, the more likely that future greats will be revealed.

For me, though, it’s becoming harder to put original, thoughtful sound into the perpetual motion machine of streaming and social media. I don’t want to release garbage just to keep momentum, to keep something out there feeding the machine. 

With all of this said in what is possibly the longest preface ever, I’m afraid I’ve reached the end of my period of exploring the ambient guitar. I’ve made this pronouncement before and like all pronouncements, no sooner do I make one and inspiration strikes. Honestly, I hope that happens. It’s really hard to look at my guitars and feel nothing but frustration at the lack of ideas for new work; the same objects that I’ve looked at for decades, played all day/night and could barely bring myself to sleep out of an anticipation of what new sounds might come the following morning. To be fair, I’ve been extremely lucky and prolific; I count those blessings. I’m reminded of an interview where Doc Watson talked about getting his first guitar and his father told him “…so that life might be a little better with it.” My life has been better having picked up the guitar and better still when I connected it to an old Alesia Nanoverb all those many years ago.

There are so many situations and aspects of sound that I want to explore and I will, just sans the guitar. The guitar is the instrument I’m most proficient on so it will be my primary instrument in any band or ensemble situations, maybe even some ambient artists will reach out with ideas and ask me to contribute (something that rarely happens) but as for ambient guitar, by myself, that will only show up on droney periods in the various ensembles I play with when I kick on one of the several reverb pedals I have on my effects board.

Ambient guitar has been really good to me.Ambient guitar is dead! Long live ambient guitar!!! 

Please enjoy my final ambient guitar longform work: Castles, originally titled “Castles Made of Sand”, an allusion to the beautiful Jimi Hendrix song of the same name that aptly reflected my feelings as I created this final work.

“And so castles made of sand
“Melts into the sea eventually”
– Jimi Hendrix

Matt Borghi – Ambient Guitar – NEW RELEASE

mattborghi_ambient-guitar

Ambient Guitar is Matt Borghi’s first solo recording capturing the style of performance that he’s usually only done with saxophonist, Michael Teager, as part of their Borghi | Teager duo. With Ambient Guitar, Matt Borghi’s influences are on full display, from a resonant acknowledgement of Brian Eno, in the manner of production and texture to melodic elements that fuse in Harold Budd, Robert Fripp and the late Jerry Garcia that’s particularly reminiscent of his work on the Zabriskie Point soundtrack.

Matt Borghi’s Ambient Guitar is a texturally rich, unassuming and restrained recording that highlights Matt Borghi at his musical best.

Ambient Guitar is available in a variety of formats at the links below, including:

Improvised Ambient Guitar Soundscapes with Ableton Live Channel on YouTube

I’ll dispense with the ‘I haven’t written anything here in a while’ preface and get right to the meat of it. Michael Teager and myself are preparing to go into the studio and work on our next Borghi-Teager studio album. This time I don’t have much in the way of ideas and I’ve been spending my time practicing improvising.

Key to my improvisational work is Ableton Live, and after some reviews of Shades of Bending Light dismissed the idea that it was, in fact, wholly improvised, I’ve decided to document, via screencasts, my practice and rehearsal sessions for our next studio album, blemishes, wrong notes, warts and all, so that folks can go behind the curtain and get a conceptual understanding of the craft of our brand of improvised ambient soundscapes.

Additionally, much of the music is pretty good. I’ve surprised myself at times, which is the best part about improvisation… there are about five videos up at the time of this writing, and the music is really quite good. Sometimes, it stalls, and that would be edited out of any recording session in the post-production cull, but here there’s no post-production, I record live, render/upload it out of Camtasia and call it a wrap. So that’s it. That’s what I’m doing.

Also, maybe, some folks might be interested to see what I’m doing in Ableton Live. I haven’t used another piece of software for music since 2002. It’s all I use. All of my effects are standard, out of the Ableton box, and I find that it does everything and more that I can dream of, including things I never thought that I wanted it to do. For a while, many folks believed that Ableton Live was really just for electronic and EDM, but there are many contemporary composers out there proving that wrong and I hope that my vids do just that.

Anyway, thanks and enjoy!