Tashi Dorji on Embracing Imperfection and the Anarchic Power of Improvised Guitar

Tashi Dorji: Embracing Raw Sound and Musical Anarchy Through Improvised Guitar

Bhutan-born guitarist Tashi Dorji, now based near Asheville, North Carolina, has carved out a unique space in the world of experimental and improvised guitar music. With roots in punk rock and a present steeped in unpredictable, often challenging guitar compositions, Dorji’s latest album, We Will Be Wherever The Fires Are Lit, captures the essence of his raw, unfiltered approach to music.

While many musicians strive for refinement and perfection in tone and technique, Dorji sees little value in expensive, high-end instruments. His outlook reflects a deeper philosophy: that the heart of music lies not in polish or prestige, but in honesty, immediacy, and personal expression.

“I’ve been to guitar shops and played fancy guitars and cheaper ones. I just don’t understand why people pay so much money,” he says. “Look at Terrie Ex from The Ex – his guitar is so old and broken, and he’s amazing. He’s been using it for so long that he has this way with it… There’s something special about that.”

Dorji’s perspective on music extends beyond aesthetics. He regards improvisation as a form of personal and political liberation – a direct rejection of hierarchy and conventional musical structures.

“You can make music to soothe people or to comfort them, but I make it as a practice. It’s not that I’m trying to be unpleasant, it’s just a very raw form of art that I record and release. Some people like it and some don’t, and that’s okay,” he explains.

For Dorji, improvised music isn’t just a method – it’s a lifestyle, a form of artistic rebellion, and a political act. His music defies permanence and resists commodification.

“A lot of it feels impermanent… The stuff I’m trying to play doesn’t seem to have any lasting effect. That’s why I’m attracted to improvised music – it disappears, but it’s also constantly alive.”

This impermanence, he notes, has become embedded in his daily existence – it’s not just something he plays, it’s something he is.

“I’ve been playing this style for so long that, not to sound pretentious, it feels part of me. At this point, I’m not interested in formalism or in knowing anything, actually. This music has become part of my day-to-day physical movement.”

Dorji’s journey into experimental and improvised music was not a calculated choice, but rather a natural progression from his early days in the punk scene after arriving in the United States. The anti-authoritarian spirit of punk helped pave the way toward his current musical ethos.

“When I got to the US, I was really into underground punk-rock that had a strong anarchist tradition. It was inspiring and led me into the music I play now. For me, improvised music is political – it’s radical in practice and structure. It’s the closest thing to being anti-statist, because it defies hierarchy.”

Among his inspirations, British free improvisation guitarist Derek Bailey stands out as a profound influence.

“All the time, man!” Dorji exclaims when asked if Bailey’s name comes up often. “I found his CD Standards and it just blew my mind. It was so singular and beautiful, but accessible to my ear. I had heard free jazz with horns and bands, but I wondered if there was a guitar equivalent. Derek Bailey showed me there was.”

When it comes to gear, Dorji keeps things refreshingly simple. Despite occasionally using a Jay Turser semi-hollow electric and an Ibanez 2839 classical guitar, his recent recordings – including Stateless and We Will Be Wherever The Fires Are Lit – were made using a humble steel-string acoustic.

“I really love steel-string guitars, they sound great. I have this old guitar – what’s the brand?” he wonders aloud before confirming, “Yeah, a Hohner HW605. Someone gave it to me, and it’s incredible. I bought a Guild for touring but it just doesn’t produce those percussive sounds like the Hohner. It’s smaller and buzzes all over – I love that.”

That buzzing, imperfect tone has become a central element in his work, offering him a unique sonic palette to explore the extremes of timbre and resonance.

“When I did Stateless, I had so many ideas and I wanted to keep exploring them. I think the next record will be completely different.”

Tashi Dorji’s approach isn’t about trends, gear, or even legacy. It’s about capturing something fleeting and visceral – the sound of resistance, the noise of unfiltered emotion, and the beauty of imperfection. Through his stripped-down gear and spontaneous performances, Dorji reaffirms that true artistry doesn’t require polish – only purpose.