I began unwrapping my beautifully diagrammed cardboard package. Inside lay a singular cassette tape, information concerning its contents, and a rusty screw. Having no idea how to play this mysterious artifact but noticing the slight grooves in two eye holes, I inserted the screw and began cranking the tape. It was 45 minutes before I realized that I myself was making a racket, not the tape. So I default to my inexpensively made South Korean tape player and gave it the ol’ fashioned try. To my amazement, the sounds I was making earlier were now being transmitted forth from Dorji’s sporadic guitar din, only mellowed by Meadow’s jazzy bass. (I hesitate to say jazzy because a stand up bass providing rhythm to dissonant guitar can do more and I know this, but what else to call something that grooves so well and can handle improvisational fits?). Dorji’s best when he finds some plucky rhythm of his own, re-imagining the guitar as some foreign form of percussion instrument; Meadows is equally adapt at turning his rhythmic bass into a lead instrument, paving the way toward a new sound idea. Both compliment each other well, transitioning into the necessary role to create artistic bawls. Dorji is a rising star and Number Six is Sacred is further proof of his gift, but please take Frank Meadows with as you ascend to the Olympus. The screw has since been used to affix the walkman permanently shut.
More about: Tashi Dorji & Frank Meadows
