Review: Over the past decade, Michael Morley has transformed his approach, embracing the acoustic guitar to channel the somber undercurrents that have defined his music since the early 1980s. Known for his experimental electric guitar work with The Dead C and Gate, Morley has always harboured a passion for song form. Recently, discovering neglected Spanish and classical guitar records in South Dunedin's thrift shops was a revelation. These 1950s and '60s gems inspired Morley to craft a fresh musical language, drawing from composers like De Fossa, Ponce, and Villa-Lobos, as well as classical giants like Schubert and Haydn. Pushed Streets, recorded at his home in Koputai / Port Chalmers, New Zealand, masterfully showcases this evolution. The album features 12 ethereal tracks where quiet chords and melodies float in a haunting atmosphere. Morley's distinct voice, subtly double-tracked, delivers lyrics with an almost whispered intimacy. Using two 1970s Guild guitars, he creates a rich, dynamic sound that resonates deeply. This intimate, unadorned music echoes the poignant loneliness of Skip Spence, Bill Fay, and Loren Connors, yet stands uniquely apart with its blend of classical and avant-garde influences. Pushed Streets is a hauntingly beautiful exploration of Morley's new acoustic direction.
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