![]() ![]() ![]() ![]() ![]() At first I didn’t really know what to make of it because I hadn’t been exposed to that kind of patience demanding, uncompromising repetition, but after I got over the initial discomfort I found I really enjoyed giving my patience over to it and letting it reward me after listening. I guess that must have captured my imagination because the next thing I new I found myself buying Strumming Music in Oslo to see what it was all about. I remember he compared Fahey’s “The Approaching of the Disco Void” to Palestine’s endurance demanding ’70s piano work and talked about how Palestine left blood on the piano keys after some of these heavy shows. How did you get exposed to his music?ĬN: I first heard about Palestine a number of years ago, reading the sleeve notes Jim O’Rourke wrote for the John Fahey album Live in Tasmania. That’s my general guide.ĮLM: You and I are both fans of Charlemagne Palestine. About to set out on tour, Nugent was kind enough to answer my copious questions.ĮLM:When you’re writing, where does a song begin for you?ĬN:I think I generally know I’ve got something if every time I stop playing it I want to hear it again, or if I do a recording and I can’t stop listening. The album is composed of just two pieces, but each piece holds a sonic journey let by Nugent’s meandering guitar. If you haven’t heard Cian Nugent’s striking Doubles, you’re missing out on an incredible ride. ![]()
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