The Anthony Pirog Interview

One of the younger modern guitar maestros, Anthony Pirog knows nothing of stylistic limitations—his music is beyond category, embracing not only jazz, but avant-garde and indie rock, free improvisation, electronic sound, and ambient soundscapes.

Pirog has himself established with his work as one-half of the duo Janel & Anthony, the electric jazz improvisational Five Times Surprise, the classic DC-scene twang inspired Music From The Anacostia Delta, and the  exciting trio Messthetics, with Brendan Canty and Joe Lally, the rhythmic section from Fugazi.

His new solo record, Pocket Poem, features the same musicians as 2015’s Palo Colorado Dream: acoustic bassist Michael Formanek and drummer Ches Smith. For this trio record Pirog wanted to layer the compositions with sounds created using modern technology and vintage guitar synthesizers. All of which and more we discuss here.

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Spotlight: The Messthetics

Those familiar with Anthony Pirog from his work with the duo Janel and Anthony or from his solo record, Palo Colorado Dream, might be surprised by the pugnacious shredding he evidences in his new band, The Messthetics. They shouldn’t be, though. If you lie down with punks you wake up with aggro, and joining Pirog in the band is the former Fugazi rhythm section of Joe Lally and drummer Brendan Canty. The Messthetics also let’s Pirog channel his inner Sonny Sharrock, which combined with his mastery of effects makes for one of the most exciting modern guitar records so far this year.

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A Dozen for ’12: Guitar Moderne’s Top Records of the Year

People love lists; at least the majority of publications seem to think so. They stir up controversy, which attracts attention. Thus I feel almost obligated to offer a year’s best list, for this, our first year of publication.

Keep in mind that the top twelve, listed in no particular order, merely represents the recordings, released this year (ish), that I found myself returning to over the course of time. In the spirit of Guitar Moderne, I list them primarily to incite readers to check them out. They by no means are meant to be an “objective” list of the “best” recordings of the year, but only the ones that I heard and personally responded to—my best, if you will. They very much reflect my own taste and your list will undoubtedly vary. By all means chime in and let me know what you think I missed.
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