Tamaryn
Smart Antipodean Tamaryn has long been one of my guilty little pleasures and having finally seen her live earlier this year (at the Skirball Center here in LA), her recently released album "Cranekiss" was another record I was eager to get my hands after my recent trip down-under, but with my by now well documented inability to get my shit together, it's actually take somewhat longer than I originally anticipated. Still good things generally tend to come to those who wait...
But whereas her two previous albums "The Waves" and "Tender New Signs" were masterclasses of guitar-fuelled shoegazey coolness, "Cranekiss" promised - if the songs teased in advance were anything to go by - a change in both musical outlook and direction...
But whereas her two previous albums "The Waves" and "Tender New Signs" were masterclasses of guitar-fuelled shoegazey coolness, "Cranekiss" promised - if the songs teased in advance were anything to go by - a change in both musical outlook and direction...
Which is
obvious as soon as the album's opening (and title) track hits you with a
symphony of synths, loops and beats before - frankly - the most
sensuous and ethereal of vocals lull you into a dream-like state before
exploding into a chorus that clings to your consciousness and refuses to
let go. "Cranekiss" is gloriously and unashamedly poppy, and just the
sort of opening number that leaves you impatiently wanting to hear more.
"Hands all over me" is by contrast bright, bold, expansive - high-energy - resplendent with pumping synth-drums and hooks offering a gloriously Eighties-retro feel, all coupled to a hook that just reels you in. Add multi-tracked harmonies and vocals that managed to out-Madonna Madge herself, the song is synth-pop of the highest quality.
If I was restricted to one word to describe this album, I'd probably select as the epitaph 'timeless.' While some reviewers have suggested that the album is stuck in an 80's time warp - and indeed while there are some eighties influences on display here - I'd suggest that this is another example of what Agnès Gayraud would describe as "Moderne, c'est déjà vieux." Music has a habit of borrowing from the past and re-inventing itself and I'd argue that here Tamaryn has managed to straddle both past and future. While "Cranekiss" looks back to and borrows from her musical roots and influences - on the one hand it's reassuringly familiar - the actual end result is an album that effortlessly mixes synth-pop with alt-indie to create something quite contemporary.
Which neatly leads on to "Collection." Yet another immediately fresh pop-song that blurs the edges between pop and alternative (to be honest I'm not sure why "we" make such a distinction in the first place - they're just labels by which to pigeon-hole music), it's reassuringly complex. Tamaryn's ethereal layered vocals and harmonies - magically floating in the same way as The Cocteau Twin's Elizabeth Fraser - warm and reassure. This is truly is stylish and effortless dream-pop.
"Last" and "Keep Calling" are both deliciously slow-burners of a song. From the soothing clarity of the gentle guitar intro through intertwined synths and beats, the former explodes with the most piercing of high-pitched yet note-perfect refrains as Tamaryn demonstrates a frightening dynamic vocal range. The song is tinged with sadness, chronicling the realisation as a relationship crumbles yet, refusing to let go. Meanwhile "Keep Calling" is another effortless dreamy pop song - almost balladesque - which features another achingly beautiful and fragile vocal performance. This is a song which you want to hold in both hands and caress. In my more subdued and introverted moments, these two tracks are probably my favourites.
In some respects "Softcore" is a throwback to Tamaryn's earlier albums - there's punchy percussion and reverbed guitar alongside a bass-line that sounds as if they've been borrowed from one of The Cute's master tapes - there's a hint of early Bauhaus and an edge of menace that is all held together by another sublime vocal performance.
"Fade Away Slow" is another immaculately crafted song that ensures the spine of this album is so consistently strong. Yet again, effortless dreamy, this is a song that meanders quite beautifully at its own pace. Again there's a timeless quality to "I Won't Be Found." Light touches of reverbed guitar shimmer through a layers of synths and drums that are topped with yet more angelic vocals.
As I listen to this songs - and to be honest I'm not sure why I haven't mentioned this earlier - there's a growing realisation that Tamaryn really does possess a beautifully delicate yet crystalline voice. I'd kind of overlooked this on her previous albums, but on this album her vocals are not only centre-stage they force the listener focus on them. In many respects her voice is the glue that binds this album together.
The album's last two tracks are designed slowly shake us from our from the trance-like state that drifted into. With it's bright guitar that builds to include a bass-line and beat that keeps everything in the grove, "Sugar Fix" offers hints of the Cocteau Twins, The Cure and New Order as scintillating guitar and Tamaryn's hypnotic vocals holds you in the palms of their hands. "Intruder" is this album's perfect closer. Fuzzy droning bass and another hypnotic beat are coupled with guitar licks you'd swear were being played by Robert Guthrie (there's this wall of manic, swirling guitar that drives the song to its close that is just worth the admission itself). Tamaryn's voice provides the cherry on top of the icing.
I'd almost apologise for this at times rambling review but it has proven rather challenging to express how great an album this is. Tamaryn - alongside Shaun Durkan and producer Jorge Elbrecht - has not only crafted her best and most personal album to date, it is arguably one of the finest releases of the year. Sure it's going to criminally overlooked by those who write about music for a job. Those of us who buy and write about music because it's a passion know otherwise...
Yearlist.
Tamaryn (Website)
"Cranekiss" (Bandcamp)
"Last" and "Keep Calling" are both deliciously slow-burners of a song. From the soothing clarity of the gentle guitar intro through intertwined synths and beats, the former explodes with the most piercing of high-pitched yet note-perfect refrains as Tamaryn demonstrates a frightening dynamic vocal range. The song is tinged with sadness, chronicling the realisation as a relationship crumbles yet, refusing to let go. Meanwhile "Keep Calling" is another effortless dreamy pop song - almost balladesque - which features another achingly beautiful and fragile vocal performance. This is a song which you want to hold in both hands and caress. In my more subdued and introverted moments, these two tracks are probably my favourites.
In some respects "Softcore" is a throwback to Tamaryn's earlier albums - there's punchy percussion and reverbed guitar alongside a bass-line that sounds as if they've been borrowed from one of The Cute's master tapes - there's a hint of early Bauhaus and an edge of menace that is all held together by another sublime vocal performance.
"Fade Away Slow" is another immaculately crafted song that ensures the spine of this album is so consistently strong. Yet again, effortless dreamy, this is a song that meanders quite beautifully at its own pace. Again there's a timeless quality to "I Won't Be Found." Light touches of reverbed guitar shimmer through a layers of synths and drums that are topped with yet more angelic vocals.
As I listen to this songs - and to be honest I'm not sure why I haven't mentioned this earlier - there's a growing realisation that Tamaryn really does possess a beautifully delicate yet crystalline voice. I'd kind of overlooked this on her previous albums, but on this album her vocals are not only centre-stage they force the listener focus on them. In many respects her voice is the glue that binds this album together.
The album's last two tracks are designed slowly shake us from our from the trance-like state that drifted into. With it's bright guitar that builds to include a bass-line and beat that keeps everything in the grove, "Sugar Fix" offers hints of the Cocteau Twins, The Cure and New Order as scintillating guitar and Tamaryn's hypnotic vocals holds you in the palms of their hands. "Intruder" is this album's perfect closer. Fuzzy droning bass and another hypnotic beat are coupled with guitar licks you'd swear were being played by Robert Guthrie (there's this wall of manic, swirling guitar that drives the song to its close that is just worth the admission itself). Tamaryn's voice provides the cherry on top of the icing.
I'd almost apologise for this at times rambling review but it has proven rather challenging to express how great an album this is. Tamaryn - alongside Shaun Durkan and producer Jorge Elbrecht - has not only crafted her best and most personal album to date, it is arguably one of the finest releases of the year. Sure it's going to criminally overlooked by those who write about music for a job. Those of us who buy and write about music because it's a passion know otherwise...
Yearlist.
Tamaryn (Website)
"Cranekiss" (Bandcamp)
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