☫ Polyimage Of Known Exits: Movement 1 ☫
Tartar Lamb’s album, Tartar Lamb II: Polyimage of Known Exits captures the tempestuous, disorganized elegance, on Polyimage of Known Exits: Movement 1, even though, at its core lies a deep seeded, formless darkness.
The album seemingly dissolved out of thin air, or rather, straight from the mind of Toby Driver. Tartar Lamb is the duo of Toby Driver and Mia Matsumiya (of avant-garde rock group Kayo Dot). The duo collaborated, specifically, to perform and record Toby’s long-form violin and electric guitar duet, “Sixty Metonymies.”
The album, Tartar Lamb II, follows in the footsteps of its predecessor. But mixes up the formula a bit, thereby carving out its own niche. The most obvious alteration is its buffeting of the minimalism, and adoption of a more fleshed out sound.
The first movement weaves varied techniques, and employs a wailing saxophone and moody synthesizers. It scoffs off traditional song structure, and features more rhythm and brass, as opposed to strings and piano.
The opening segment, by far, the most sinister and ominous of the four sets the tone of the album. ‘Movement 1‘ opens with strange, creature-like sounds clicking and clawing at the very outset.
In addition, a solemn woodwind segment leads into some very distorted and murky singing, courtesy of Driver. The brass enters, and the mixture becomes a phantasmagorical clamoring of synths and convoluted instrumentals. The same feeling featured here–the twisted, uneasy feeling–lessens as the album progresses.
Bass harmonics, tortured melodies, growlingly distorted deep tones, and a general malaise of despondence make Polyimage of Known Exits: Movement 1 an apt choice for a gloomy day.
It’s weird and unconventional, but those who have enjoyed a Toby Driver project before, will truly find something to revel in here.
RIYL: Time of Orchids