Twin Columns – Pulpit
Pulpit
Twin Columns
May 1, 2020
May 1, 2020
May 5, 2020
May 6, 2020
May 7, 2020
May 11, 2020
May 13, 2020
May 15, 2020
May 15, 2020
May 28, 2020
June 5, 2020
June 5, 2020
June 5, 2020
June 10, 2020
June 16, 2020
June 17, 2020
June 19, 2020
June 23, 2020
June 26, 2020
June 27, 2020
July 1, 2020
July 14, 2020
July 17, 2020
July 18, 2020
July 20, 2020
July 21, 2020
July 23, 2020
July 24, 2020
July 30, 2020
July 30, 2020
July 31, 2020
August 2, 2020
August 5, 2020
August 7, 2020
August 11, 2020
August 14, 2020
August 18, 2020
August 19, 2020
August 21, 2020
August 24, 2020
August 25, 2020
August 29, 2020
September 5, 2020
September 5, 2020
September 9, 2020
September 11, 2020
September 14, 2020
September 15, 2020
September 17, 2020
September 21, 2020
September 27, 2020
September 28, 2020
October 13, 2020
October 16, 2020
October 21, 2020
October 29, 2020
October 31, 2020
November 1, 2020
November 5, 2020
November 10, 2020
November 12, 2020
November 23, 2020
November 26, 2020
November 29, 2020
December 4, 2020
December 10, 2020
December 12, 2020
December 15, 2020
December 22, 2020
December 27, 2020
December 30, 2020
December 31, 2020
January 7, 2021
January 9, 2021
January 17, 2021
January 24, 2021
January 31, 2021
February 1, 2021
February 7, 2021
February 18, 2021
February 24, 2021
March 4, 2021
March 11, 2021
March 31, 2021
April 16, 2021
April 20, 2021
May 4, 2021
Liam Murphy
May 22, 2022
Tracks in this feature
Tracks in this release
Swirling sombre instrumentation hits instantly as Familiar Trees of the North West begins. Painted Girl seems content to let the samples droop and melt from the very start, brimming over each other and creating a weighty sense of dissonance. Pitched saxophone licks barely make it out onto centre-stage before they are swallowed by the more melodious euphoria or the slow marching percussion. The artwork contrasts the sound. Expecting some sort of fresh organic instrumentation illustrating the vitality of the Engelmann Spruce – possibly with field recordings and situational sound included – Painted Girl hits with what sounds like a representation of the soul of a weathered, gradually rotting tree reaching up into a lonely sky.
This somnambulist feeling flows throughout the project, gossamer percussion seems to whisp away as soon as it makes an impact. Piano notes waver and bend with age, still delivering an austere atmosphere of sorrow despite their slightly defunct sound. Western Redcedar works itself into a drunken fury after a few melancholy bars. A chorus of sedated trumpets climb out of slow-moving percussion, a jazzy break that would usually sound slick and cunning drawn out into an uncanny slur. After this it suddenly spreads into a slightly more light-footed tempo, but the ever-present drums begin to seem like obstructive trunks jutting out in front of us as we make our way through the moist undergrowth, the haze of the Pacific Northwest baring down upon us.
The EP is a brilliant piece of work. Very much a vaporwave-adjacent sound, the artwork conjures images of rolling countryside before the listener, and in that the tracks almost ameliorate like some elusive forest spirit. As if we’ve strayed to far into the forests of the US Northwest, stepping between these common trees, drawn by some spirit in the middle distance, every now and again craning our next towards the greying sky just visible through the canopy.