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Úvodní stránka » NEWS » Tamaryn

Tamaryn — „Dreaming the Dark“                      Tamaryn — „Dreaming the Dark“
Location: Los Angeles, California
⊗⇑⊗     „Dreaming the Dark“ je její první album od LP „Cranekiss“ (2015), které bylo napsáno a vyprodukováno po boku Jorge Elbrechta, známého pro jeho spolupráci s Arielem Pinkem. Devět písní, které jsou poháněny bujně organizovanými syntetizátory a emocionálně intenzivními vokály, vyvolávají asociace na řadu vlivů, mezi něž patří Sisters of Mercy, skladatel Angelo Badalamenti a Kanye West circa „808s & Heartbreak“.
⊗⇑⊗     (Řekla, že konkrétně chtěla napodobit „bičující zvuky“ z „Master and Servant“ od Depeche Mode pro industriální číslo „Victim Complex“).
Album release: March 22, 2019
Record Label: DERO Arcade
Duration:    36:39
Tracks:
01. Angels of Sweat   4:04
02. Terrified   4:19
03. Path to Love   5:15
04. Fits of Rage   3:51
05. Paranoia IV   4:31
06. Victim Complex   3:55
07. You’re Adored   3:33
08. The Jealous Kind   3:22
09. Dreaming The Dark   3:49
∴     „Dreaming The Dark“ by Tamaryn. Dedicated to Matt Irwin. DERO Arcade 2019.
Tamaryn
In My Room
By John Everhart
⊗⇑⊗     Following the sepulchral, reverb~laden 2010 debut The Waves and the doom~shimmer ripples of 2012’s neo~shoegaze Tender New Signs, NYC via New Zealand songwriter Tamaryn Brown (who releases music simply under her first name) felt an impulse to change. After a decade of working with guitarist/producer Rex John Shelverton, she initially sought out Shaun Durkan of Weekend for what was originally conceived as a side project. After demos were fleshed out, and further collaboration with Jorge Elbrecht (Violens/Lansing~Dreiden) ensued, she was eventually inspired to forge those songs into the newest LP under her own name, the kaleidoscopic Cranekiss. It’s a marked departure from her prior two records in that it embraces an ‘80s pop ethos indebted in equal measures to The Cure and Depeche Mode, without sacrificing the steadfast songcraft that’s always been the name of the game on her albums.
⊗⇑⊗     Speaking in a rapid~fire burst while on a drive to a Brooklyn photoshoot, she says, “I want to have the freedom to sound however I want, just to make something fresh and new.
⊗⇑⊗     Even up until I finished the album, I was toying with the idea of having it as a new band, but I made the choice that if I was doing a reinvention with the Tamaryn project, I could do it for the rest of my life. It’s my name, and I looked at people like Kate Bush and David Bowie and all the collaborations they’d done.... I’d like to continue collaborating with different people and not having to come up with a new band name every time I take on some new creative turn, especially in this day and age.”
⊗⇑⊗     Brown claims that Durkan brought a “more textural, emotional, and intuitive” feel to songs, while Elbrecht took them into “the world of free~style pop music.” “Hands All Over Me,” with its ebullient, surging chorus, is emblematic of the latter direction.
⊗⇑⊗     “When he brought it to me, I was like, ‘Ah, I dunno if this is what I wanna go for.’ But he was like, ‘No it’s gonna be amazing, when you sing, you sound like Madonna sometimes. Just sing and trust me,’” she recounts. “So I did, and we sort of interpreted the sonic palette Shaun and I had already started. It’s a great combination, because you get these intensely textural things happening, but then they’re organized into more developed pop sounds. The three of us all brought something to the table, and they complemented each other really well.”
⊗⇑⊗     She admits that she agonizes over her lyrics, taking months after the instrumental tracks were completed to finish them. “I’m not of the school of Kurt Cobain when it comes to lyrics,” Brown says resolutely. “I think it’s cool to care about things and to put your heart and soul into things.”
⊗⇑⊗     And she’s indeed created a record with tremendous heart in Cranekiss, its songs cohering into what’s become an anomaly in a digitally inundated music world — an LP best heard from start to finish, free of extraneous fat and filler, with a few pop songs rife with a keen sense of melodic urgency to rope in the listener.
⊗⇑⊗     “When you have a nine or 10 song album, you allot an amount of space for pop songs, and then there’s room for this whole other territory,” she says. “Maybe that’s not the headspace of people today. But I sit around listening to albums over and over again, and my favorite songs are rarely the singles — they’re the songs you totally lose yourself in while you’re in your room alone.”  ⊗⇑⊗ http://www.undertheradarmag.com/  
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