![Wye Oak-Shriek-(SLANG50061)-CD-FLAC-2014-k4 Download]()
Wye Oak-Shriek-(SLANG50061)-CD-FLAC-2014-k4
Description :
a r t i s t :: Wye Oak
t i t l e :: Shriek
d a t e :: 2014-00-00
l a b e l :: City Slang
g e n r e :: Indie
s o u r c e :: CD
b i t r a t e :: 860 kbps avg
e n c o d e r :: FLAC 1.2.1 -8 -V
t r a c k s :: 10
p l a y t i m e :: 41:30
s i z e :: 257.0MB
tracklist
1 Before 4:19
2 Shriek 3:39
3 The Tower 4:06
4 Glory 4:53
5 Sick Talk 4:25
6 Schools Of Eyes 4:14
7 Despicable Animal 4:50
8 Paradise 4:21
9 I Know The Law 3:44
10 Logic Of Color 2:59
releasenotes
Jenn Wasner was a little worried about reinventing herself on Wye Oak’s
fourth
album, Shriek. “There is more at stake than whether my feelings get hurt or
not,” she said in an interview earlier this year, addressing how fans would
receive the Baltimore/Portland-based duo’s decision to replace her guitar with
synthesizers. “We’ve been touring in this band, making a living off of it
since Civilian, and we are very fortunate that that has been the case, but
we’re both very aware that it could totally go away.”
She had some reason to be concerned. Wye Oak has been beloved, especially
since 2011′s excellent Civilian, for the charged interplay between Wasner’s
formidable axe-wielding and band mate Andy Stack’s immense, intense drumming.
Up until that point, the singer had kept her love of the instrumental and
structural aspects of pop and R&B sequestered from her main outfit, seeking
other artistic outlets in dancefloor-ready odes to Robyn as Flock of Dimes and
last year’s gauzy, Mariah Carey-indebted bauble Dungeonesse, the self-titled
album she wrote with Baltimore-based musical polymath Jon Ehrens.
While Flock of Dimes had been ongoing to an extent, Wasner started Dungeonesse
to escape a creative funk she had fallen into following Wye Oak’s constant
touring behind Civilian. After Stack moved from the East Coast to Portland,
she stared down another mental block, this time specifically around the
guitar, before realizing she could just hang up the damn thing and make music
inspired by her first musical loves as a child of the ’90s. That’s when Wasner
“sort of fell to the ground in relief and excitement.”
That’s also where the album begins. After a light pitter-patter of synths like
raindrops on her bedroom window, Wasner sings, “This morning, I woke up on the
floor, thinking ‘I have never dreamed before.’” This chimerical quality
suffuses Shriek, as if Wasner still can’t believe she can make the kind of
music she has always loved without shunting it into a side project for fear of
sacrificing Wye Oak’s identity. But don’t let the soft lighting fool you:
Wasner’s bass (Stack now handles melody in addition to keys and percussion)
reverberates with nearly the same tension as her six-string, fortifying songs
like “The Tower” and “Glory” with a stiff, funky backbone. Even though the
latter’s synthesizer solo leaves something to be desired after Wye Oak’s
guitar freak outs—nothing on Shriek sends all-over chills quite like The
Knot’s “For Prayer” or equally bruising “Take It In”—Wasner’s instrument
carves a viscerally satisfying groove into the air.
Her voice also takes up more space on this record, going deeper and flitting
over Stack’s melodies with such abandon it’s as if she might float away.
Comparatively, her vocals on Wye Oak’s earlier material come out wispy and
flat, crunched by the massive noises emitting from her guitar. Even on
“Paradise”, with its familiar squalls of feedback in the background and
pummeling drums, she sings more confidently and with a broader range.
That specific song makes me long for the old Wye Oak, actually, like thinking
you see an old friend on the street that turns out to be a total stranger.
Even though no band owes their audience music they don’t want to make anymore,
it’s still a little sad reading Wasner in 2009 talk about how much she needs
her guitar. “I know it’s cliche,” she said, “but I love it. I would go crazy
without it.” Many fans will probably feel the same way—I doubt their new live
setup will wrench me apart with the same visceral impact as their Civilian
tour—but even the most steadfast relationships change, and it’s clear Wasner
has moved on. As she should: the way she was feeling, if the next Wye Oak
album were made the same as the last, it wouldn’t sound as effortless, and she
wouldn’t sound as sure of herself. So we’ll have to get used to it, and while
we’re at it, maybe we can enjoy ourselves as much as she did.
wyeoakmusic.com
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