Tu Fawning - A Monument
- By Kathleen Moore -
- May 04, 2012
Tu Fawning have been described as ‘criminally under-rated’ and I hold my hands up and admit my guilt in this act of, as I now see it, heresy.
To be utterly frank the Portland group, built around Corrina Repp and Jon Haege, had hitherto slipped un-noticed past me until the moment their second album ‘A Monument’ was pressed into my grubby paw.
But A Monument is a glory of pure inventiveness, nine tracks of excitement and fickle flights of fancy, and I’m prostrate at their feet in apology for missing out for so long.
Each track showcases new instruments, new vocal lilts, new styles and each facet glints with possibility and makes you greedy for more. First song, ‘Anchor’ begins with a fresh Beach House-esque synth which create a rolling backing to Repp’s lilting vocals, leaving the listener lulled and comforted in a rocking boat of sound.
Track three, however, could not be more different to Anchor’s lullaby leanings. ‘Wager’ begins with a riff of Sonic Youth sparsity, topped with growled vocals which gather pace and volume as the track progresses.
As it picks up speed, euphoric chanting replaces the growls and the guitar riffs become more and more frantic. The addition of tambourines turns it into a sure fire festival winner, I can well imagine skipping about a field happily to this.
'Skin and Bone' begins as a sparse beauty, piano accompanies Karen Carpenter-style vocals but ascending cymbals and hooting backing vocals build up to a rich tapestry of sound. Final track, 'Bones', is an eclectic fury of a track. Cuckoo clock percussion combines with heavy guitar and bass to create sound that is at once frantic and sombre.
The pace dulls midway through to give way to Repp’s haunting vocals, joined by Jon Haege who introduce a more celebratory feel to the track which ends with anthemnically chanted choruses.
All nine tracks are masterfully crafted, each one a treasure chest gleaming with treats to be sought out and enjoyed.
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