Looping has become a common tool in the artistic arsenal of many a modern guitarist. Often, a single loop is lathered with layers that, in the hands of a Dustin Wong, can become a riot of interlocking rhythm, recalling Phillip Glass. Alternately you have Noveller, whose mix of ambience and melody is as evocative as her hand stitched film work.

Then there is Bill Walker, whose rootsy loop work could easily be mistaken for an actual band performing. A mastery of the eight-track Looperlative LP-1—with its ability to record multiple loops and then subdivide, punch into, and reverse them—allows the California guitarist to avoid any hint of static repetition. Walker’s performances are marvels of spontaneous composition; though enhanced by seeing him construct them, their musical interest does not rely on it. The tunes speak for themselves, as is evident on his solo release, Sanctuary.

“Cass County Waltz” from Sanctuary

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