Thank You For Stickin’ With Twig is the latest long-playing album from the artist known to the world as Slim Twig. Coming out August 7th on DFA Records, you may be surprised to know that it represents the fifth album by the Toronto-based songwriter/producer. Twig has released these previous records among a swath of EPs, singles and one-offs, displaying in the process a complete disregard for genre or consistency. In what form then, do we now find the twenty-six-year old? His record, A Hound At The Hem, reissued by DFA last year was completed in 2011. So, what has Twig done since? After producing two albums for U.S. Girls (U.S. Girls on Kraak in 2011, Gem in 2012), and scoring two films (Sight Unseen and We Come As Friends (winner of a Special Jury Awardat Sundance), Twig found himself in 2013 at a creative impasse. He had been through various full band incarnations live and on record. Something in this rubbed off on the recordings found on Twig’s latest.
JACK NAME (Castle Face)
“Here we have an eminently listenable but intrinsically weird pop record that is unlike anything else you’ll hear today. This record pulses with vitality and a mercurial strangeness, but is at every turn undeniably pop. So pop, in fact you would be forgiven for jamming to the tunes alone, but underneath the surface the lyrics follow an otherworldly concept, a bizarre and engrossing story, continued in some ways and with similar actors as his previous record, Light Show – dig if you will:
The Shadows have been catapulted post-mortem to the leviathan planet Jupiter with its 67 known Moons. Reborn as lycanthropes with eyes intently focused on the lunar array above them, The Shadows are eternally shifting shape, based on which Moon is closest and cresting the horizon. Their current body denotes their creative abilities, their only respite is the volcanic Moon Io’s inevitable rise and their cyclic disintegration. Observed by mirror-eyed Watchers, The Shadows are trapped forever in a circle of creation and destruction, yet are by their nature compelled to their monkish watchfulness of The Moons. Love and hate, performance and audience, rise and fall, inhale…exhale…
weird?…. indeed. moons?…full of the same shadowy mystery of luna’s face smiling down on a darkened Earth. Night time is the right time, I say. Reminiscent of late era Can, Bruce Haack, Hans Edler, Solid Space, Dario Argento and VHS tapes…” – John Dwyer
Pop music in the new century – what’s it all about? Sliding up from out from under, from the old heart of the Bay Area…from out of nowhere even – it’s a special new band. Hands up for the sweet and sour popsicles of PEACERS, whose self-titled debut melts stickily on July 17th!
In the hands of PEACERS, it is BAKED – a vanillan cake with sweet sooty icing. Shades of the Bratish invision: compressions and crushes, bone-shakes and glutinous thinks, a wisp of the blues, ardor and romance scraping like the ceiling at your back.
Standing tall in a tangle of guitars drums, SLAPBACK, wireless hiss interference and other mixed signals (in STEREO), PEACERS’ debut is a max dash through the gutted and the gutter, all of which is written home about with a gleeful cock of the skull and twinkle in eye. Jolly! The perspex of the songs and production alike is saddled and well-traveled, but fresh under the glass – unmistakably out the poison-nib(well) of Mike Donovan, whose hits with Sic Alps will live forever, like candy wrappers glittering up from the sewer. And who’s producing you, Peacers? Mike D’s ole SF cohort himself, Ty Segall, whose rhythm sections and arrangement-commendations re-cast most of the tunes on the rec with copacetic co-ness!