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Slim Twig is the name of a man, not of a band - though he has performed in many a group, some under his own moniker. Boasting a catalogue several underthe- radar releases deep, the Toronto native lays claim to a tremendously original work with his orchestrallyinflected, art rock album, A Hound At The Hem. Upon completing AHATH inTwig struggled to find wide release for it due to its uncompromising textural onslaught and disregard for genre.
Recorded on Toronto Island in collaboration with fellow Torontonian, Louis Percival, the album features string arrangements by Owen Pallett, and other collaborators including Meg Remy U. Kitts Quartet. Delia Gonzalez is a name immediately familiar to DFA fanatics. As the story goes, Delia transplanted from Miami to New York City in the mids, working in various dance and guerrilla theatre troupes. It was around this time that she met synth wizard Gavin Russom, beginning a series of multi-disciplinary collaborations.
The project was further exhibited in Zurich. Both exhibitions were built around four 16mm ballet dance films, accompanied by the music composed by Gonzalez. The films were exhibited in their third incarnation at the Clocktower Gallery in New York City in Delia enlisted New York underground musicians Bryce Hackford and Alice Cohen to perform a live, electronic adaption of the original piano score.
Bryce later contributed four remixes, which are included on this album. In we were all in Vienna participating in a show entitled You Are Free. There I met Bryce and I instantly loved him. I took him up on it. Musically, In Remembrance finds Delia Gonzalez again straddling the lines drawn between the fine art and pop worlds. This time, instead of the cosmic, arpeggiated synths of The Days of Marswe are presented with something even more immediately beautiful.
The music is immediately soothing and hypnotic, yet it also maintains a sinister undertone. Suspense and tension are expressed in a deceptively simple fashion, providing a soundtrack both mesmerizing and melancholy for the dancers in the film. Delicate layers of piano wind around each other, reflected in the mirrored motions of the dancers, filmed Album) leering close-ups.
The second disc features remixes by previously mentioned live collabator Bryce Hackford. Prinzhorn Dance School are still recognisably the same spiky Brighton-based duo whose ultra-rigorous debut cut through the excess of like a scimitar through bacon fat. But with their trademark stripped-down intensity now winningly off-set by moments of unabashed tenderness, their third album Home Economics continues and even accelerates the move away from austerity and into human warmth begun by its acclaimed predecessor Clay Class.
Inspired by their American adventure, Prinzhorn Dance School brought the recording process into the heart of their everyday lives. Home Economics shares that infectious sense of urgency. Spindly yet sensuous, together and alone, exquisitely sad but somehow full of hope, Prinzhorn Dance School knit together disparate and even opposite fragments into an utterly satisfying whole. Those two compositions, underpinned with disco and gilded with noisy guitar bursts, hanging piano chords and saxophone wails, exhibit not only Gordon's kaleidoscopic vision as a musician, but his precision as a producer and composer.
Featuring avant-experimentalists and downtown legends David Byrne and Arto Lindsay as well as Love of Life Orchestra cofounders Gordon and David Van Tieghem, the tracks shine a light on the work of an artist whose influence on dance music is recognizable more than three decades later.
Gordon's hefty contribution to music is given an up-close look with Love of Life Orchestra, a retrospective of the composer's work.
Compiled here are the aforementioned singles and songs that show the breadth and quality of Gordon's output. Throughout this impressive catalog, harmoniously interwoven strains of jazz, rock and neoclassical, add texture and color The Music - Dena Deadly - The Mastery Of Love (CD these wonderful songs.
Love of Life Orchestra, taken as a whole, serves as ample testimony to the far-reaching scope of Gordon's musical sensibilities and a reminder of his enduring musical legacy. Original Pitchfork Review, The evolution from Contempt!
Like so many surf-smoothed stones lining the beach shore, briefly unburied only to be discarded once deemed un-skippable, so Twig has gone about seeking the proper rock to cast at just the right angle. One can see why he extends a gratuity to those listeners who've stuck around. His record reissued last year was completed in So one might reasonably ask, what has Twig done since? After producing two albums for U.
Girls U. He had been through full band incarnations live and on record. They featured a cast of Toronto heavies members of Zacht Automaat, etc Where some records have focused explicitly on sample-based songwriting, while others have been completely live-recorded, the new album arrives at a perfectly produced fusion of fidelities.
Twig flirts here with a variety of vibes, most often opting for a three dimensional approach whereby a warped tape aura is overlaid with colourful, laser-cut keyboard and guitar melodies.
A fetishization of analogue texture is married to a digital approach. All the while, we find Twig irreverently raiding classic rock of its symbolism, sexuality, and social ambition for ulterior subversions. We are welcomed by a blast of synth noise, soon followed by sexually agitated lyrics supported by Meg Remy, whose vocals are featured prominently on much of the record atop a deafening beat, distorted and sleazy. The song production sounds like a fusion of dub and baroque pop as played by the cartoon band in the Yellow Submarine movie.
On and on, the jokes and meta-sonic rock commentary continue like so many Zappa-esque indulgences. The centrepiece of the album is composed of two songs sharing the Album) of the running time. Its opening - the most tranquil, dreamy instrumental passage on the record - is harshly interrupted by a mass of pitch-shifted martial drums and wildly panned, distorted fuzz lines.
Instability is addressed from a disenfranchised perspective perhaps as a metaphor for the music itself, which refuses to stabilize or stay put. In swift combination, these two songs make good on that claim. The aim is somewhat clearer now.
He collages his sounds together here as eclectic as The Love Belowor any Beck album in a continuum where pop criticism is always recycling through what it chooses to lend cultural currency, if only for an instant. Power to him. Both are respected musicians in their own right - Marie having released two acclaimed solo records, with Pierre being best known for production work on underground Canadian musicians such as Dirty Beaches and Femminielli.
Essaie pas was born on a hot summer night inreleasing some ultra-limited singles which culminated in their debut LP, Nuit de noce Teenage Menopause Records in The origin story of -Demain est une autre nuit- begins when the band returned from their first European tour to find that they had lost both their studio space and apartment.
They lucked into a temporary practice space during the off-hours at the offices of Le Filles Electriques, an independent interdisciplinary festival producer. They are constantly pushing the boundaries of their comfort zone with new methods and technique, aiming to communicate that which is unspeakable.
I think the tension and sense of urgency on the record comes from that dichotomy. Facing The Music is an excellent demonstration of Album) dichotomy - its throbbing electronic percussion and sawmill synths racing towards a seemingly-inevitable climax, only to disintegrate in an instant.
Lead single Le port du masque is a frenetic ode to obsession, about a man being obsessed with the ghost of an impossible relationship. Closing track La Chute is the band at their most Angelo Badalamenti, with mournful organ and wheezing gasps giving way to what sounds like gentle applause, but in actuality is the last frames being fed through a film projector.
The band also relocated from Boston to NYC. Eraser Stargazer was written and recorded in 6 weeks of winter isolation in upstate New York. Fans of the group will hear all of the beloved hallmarks of the Guerilla Toss sound - solid bass grooves, squealing guitars, and kitchen sink percussion. Album centerpiece Grass Shack is a perfect example of this leaner, yet tougher Toss. Seeing patterns in the little things that make life beautiful.
Album closer Doll Face On The Calico Highway is the perfect summation - angular guitars, bells, and low-end vibrations interject and decompose as quickly as they appear, until a hissing cymbal is all that remains.
The initial pressing is limited to copies on green vinyl.
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