Anderson is working here in the high lonesome sound of the electric guitar on its own, sometimes aided by a Wurlizter keyboard, but mostly just rolling along its own path. This approach begins somewhere in the Sixties around John Fahey and Ry Cooder and extends up through Tom Verlaine into Tortoise and beyond. Anderson has a powerfully unfussy way of pushing into the resonance of her instrument, and Cloud Corner is an unbroken series of known pleasures.