Pi Recordings: Pi34 
http://pirecordings.com/album/pi34

Track List
~~~~~~~~~~
01. Variation 1
02. Delancey Waltz
03. Flicker
04. Empty
05. Natalia in Eâ™­Major
06. Solaris
07. Requiem for a Revolution
08. Fat Man Blues
09. Bateau
10. Radio
11. Postcard from N.Y.
12. The Kid
13. Sous le Ciel de Paris

* Marc Ribot: guitar, vibraphone (tracks: 12)
* Keefus Ciancia: soundscapes (tracks: 1, 3, 7, 11, 13)

Homepage
~~~~~~~~ 
http://www.marcribot.com/

Review
~~~~~~ 
http://freejazz-stef.blogspot.com/2011/01/marc-ribot-silent-movies-pi-recordings.html

By Paul Acquaro

This quiet brooding recording with its gentle pulse of solo guitar is
underscored with just a trace of foreboding, as if there were something lurking
unseen just beyond its edges. With the spare instrumentation there is an absence
that is more felt than heard. I write this not to scare you off, but rather to
pique your interests. This is a beautifully recorded album -- where the
guitarists faint breathing almost serves as accompaniment -- that asks the
listener to use their imagination to fill in what is not there.

Silent Movies is quite different than some of the previous solo guitar efforts
by Brooklyn based guitarist Marc Ribot. Whereas Exercises in Futility (2008) was
a mind boggling array of acoustic bursts and Saints (2001) was eclectic and
exploring, the songs here primarily feature a classical acoustic guitar with
some instances of electronic soundscapes and loops by Keefus Ciancia. The songs
are a rather ruminative blend of classical and folk styles, often employing
repetitive rhythmic motifs in the lower register, with a layer of simple,
spacious and effective melodies above. In fact, the opening tune uses even less;
Variation 1 is a starkly played long form melody with some unexpected intervals,
whispering electronics and reserved harmonic shadings. Ribot’s classical roots
start peeking through on Delancey Waltz in which the haunting melody rides over
a rich syncopated bass pattern inviting the listeners to add their own images to
the soundtrack.

Natalia in E-Flat Major introduces the only use of an electric guitar on the
album. Utilizing a buzzing, sharp tone, Ribot creates a lullaby fit for a metal
eating bird, then effortlessly segues into a plaintive melody. Most songs have a
deliberate pacing, though Fat Man Blues, a mid-tempo bluesy-romp, serves to
lighten things up a bit towards the albums middle. A version of Batteau starts
sparsely but soon builds climatically with a spirited improvisation.

The austerity of the album is its strength but it also can make it a bit
daunting. While this is not challenging album to listen to, it is one that
challenges you to listen deeply. These tunes, with their insistent chord
patterns and simple spare melodies, will pull you in with their siren
call. Recommended.