Sean Smith

Sean Smith, though noted more for his acoustic guitar work, as a solo artist and producer, and his associating with such American Primitive-focused labels like Tompkins Square and Gnome Life. But, perhaps unfairly, his electric work has not been given the respect it deserves. Maybe that is because his acoustic work tends to appeal to purists? Whatever; a listen to his latest ought to give Smith a big win in any corner of the guitar world. "Huge Fluid Freedom" is a generous, daring and thrilling ride through the possibilities of both the electric and acoustic guitar, cementing Sean Smith as an American master.

All four tracks are stunning. "I Know You Are Tired, But Come. This is the Way." Blends a funky groove with raga, extending out with folk and psych. Rhythm section Marc Dantona (bass) and drummer Spencer Owen keep a solid rock beat, and they come in handy on all the electric tracks, giving Smith a place to return from his sonic explorations. "The Real," featuring a guest solo by guitarist Josh Pollack, is a surprisingly crunchy nod to Doom and Boogie. Jarringly, the next track, "Ourselves When We Are Real," is a gorgeous, occasionally insistent acoustic track, the kind causal listeners would come to expect from Smith; here he shows that there is still some deep emotional veins to be mined from American Primitive guitar. The closing title track, however, is the most surprising. Incorporating Zeppelin-esque Eastern-tinged metal with noise, Psychedelic freakout, Smith takes his electric ideas further than he has prior in any studio work. The final five or so minutes sound like early 70s Jeff Beck: majestic , deft and heavy.


"Huge Fluid Freedom" is a set of brilliant tracks by Sean Smith, easily one of the best guitarists we have at the moment. This is a record that will be loved by purists and improvisers alike, by guitar geeks and sonic astronauts.
- Music emissions

"The music is homespun and sure, serenely reverent and humbly concise." --On Smith's solo guitar work. - New York Times

The electric howl and buzz that starts Huge Fluid Freedom shows that Sean Smith, having taken a full electric guitar bow on album via Citay's Dream Get Together the previous year, isn't content to simply be known for his acoustic work on the solo front -- and the clipped, frenetic drumming and guitar that soon follow in "I Know You Are Tired, But..." further underscore it. Smith's more familiar sound returns a little bit later, but Huge Fluid Freedom clearly is a statement of purpose as much as just a title, a rampaging openness within the realm of guitar. The role models over previous decades are clear enough given the increasing interest in parallel explorations of acoustic and electric work -- Flying Saucer Attack, Ghost, Six Organs of Admittance, and more could all be named. But Smith's specific sense here is one of careful procession in the four songs; it's not quite as freewheeling as it sounds, not locked down completely either, but carefully compiled, like a DJ mix. The big macho metal start of "The Real" is definitely eye-opening in its own right but the title track might be the real winner in terms of Smith finding his new boundaries, overlaid guitar parts and more always seeming to be on the verge of meandering before taking another gentle but definite turn to a new melody or different sound, like the alternately playful then majestic soloing over the motorik beat that kicks in toward the end. There might be a meaning to calling a song "Ourselves When We Are Real" that features acoustic guitar from the start, pretty and resonant but still a bit stern in feeling, though opening up midway with a lovely, almost circular progression that draws the listener in to the full. - Allmusic