Jim O'Rourke
Bad Timing

"Bad Timing", published in 1997 by Drag City in the States and by Domino in Europe, is an act of love by Jim O'Rourke towards the music of John Fahey. From the works of the latter, the leitmotif of the "primitive guitar" is borrowed, which ends up being the main protagonist of the work, except for sharing some moments, more engrossing, with the few other musicians involved.

But the eclectic and prolific New York musician/producer doesn't stop at simply paying homage to the "Maestro": while Fahey's form is partially recreated — meditative and solitary acoustic guitar, simple and profound phrases obsessively repeated that give a sense of circularity to the work — our artist does not share its substance.

Fahey with his music reached Homeric depths that transcended daily miseries to rise in a journey of the soul, rather than the body; O'Rourke conveys with his music much more earthly, carnal sensations. Moreover, the "primitive music" — the incipit (and sometimes epilogue) of all the album's compositions — is not the object, the goal of this artistic journey, but rather a starting point, a true vehicle that transports us towards Jim's (many) musical passions. So, in the first of the four long tracks, all the love for Tony Conrad and avant-garde music is noticed at the final, barely whispered; in the second, the tones become more epic, a potential soundtrack for the golden age of the new continent; in the title track, there is room for a long psychedelic fugue; in "Happy Trails", finally, it begins with a post-binge of noise sounds to arrive, fatigued, at the explosive finale, demonstrating how the long musical partnership with David Grubbs has left its mark. Fahey's monolith is thus transformed into a polymorphous music, more lively and light.

The final result, far from being a mere mosaic, impresses for its homogeneity, coherence, and quality. O'Rourke, who here shows all his sensitivity and dynamism as a guitarist and producer, is incredibly inspired in writing the tracks. The collaborations are also well-chosen and precious (look at that, there's even John McEntire...): French horn, trumpet, trombone, steel guitar travel in unison, well-calibrated by our expert captain.

Ultimately, this "BT" is a great album. Jim O'Rourke, in other works, had never quite conquered me; perhaps it was the annoying sensation I felt while listening to him: a musician (definitely talented) a bit cunning, playing more for craft than from the heart. In this case, I am joyously forced to reconsider my convictions.

Don't know John Fahey? As Moretti said in a famous movie of his, "...we continue to harm ourselves...". There, though, it was about Sacher torte.