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Review by Ed Kuepper and Jim White: Equally Primitive and Unpredictable

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ED KUEPPER WITH JIMWHITE ★★★

Blue Mountains Theater, June 13th

Was reviewed by John Shand

This was a curious aesthetic choice. Ed Kuepper often disguised a relatively narrow range of his voice by coloring his voice in various instrumental ways, but here the default context was loud. Like LOUD. The extreme volume from the electric guitar tortured by his distortion could choke his song and even overwhelm the mighty Jim White drums. It was a version of the mix that radically reduced the differences in Kuepper’s wide variety of songs and virtually eliminated the influence of his often beautifully crafted lyrics.

Loud and proud: Ed Quepper at the Blue Mountain Theater. credit:Bridget Grant Photo

But there were some graces of salvation. In a rich career spanning bands such as The Saints, Laughing Clowns and The Aints, dating back to the early 1970s! And with countless solo projects, Kuepper has the unique ability to reinvent himself and re-examine his back catalog from a new perspective.

It certainly-and inevitably-was newly investigated in this collaboration with White and continued Quepper’s love for duets with drummers. White’s intuitive improvisation extends to spontaneous orchestration, and the surrounding colors, textures, and densities are constantly changing, even while the guitar pursues Quepper’s favorite full-front prime. It was. The drummer restlessly exchanged tools, rarely settled in a simple ditch, and applied some of the drama, energy, magic, and unpredictability that fueled Dirty Three and Shiroris White.

The softest, when White played with a brush or massaged a drum with a mallet, and when Quepper provided a relief hint by playing with his thumb on the neck of the guitar, it was timeless for Quepper’s voice. I heard the boyish again. I did it 40 years ago.Exciting Rainy night Illustrated this All these things And finely crafted The· Church of coexistenceIncluded playing the buzz of the guitarist’s most subtle nuanced brushes. White’s other option was to synthesize the ferocity of the guitar and build an impregnable two-person sound wall. Swing for crime, The· Crying dance And Fold the board.. If you come across you tomorrow, you can only see your lips moving.

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Review by Ed Kuepper and Jim White: Equally Primitive and Unpredictable

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