Twigs & Yarn – The Language Of Flowers
Flau28 CD – Time: About 43 Minutes (Also available in 12” vinyl LP)
Artists Website: http://www.twigsandyarn.net Record Label Website: http://www.flau.jp
Mastered by: Nick Zammuto: http://www.zammutosound.com
Tracks (*Note: Track order according to iTunes readout appears to be in reverse order, although the music order is correct. The track order that follows is properly sequenced with the sound files on the CD and has been confirmed with the artist.)
1) Laverne; 2) Static Rowing; 3) If Were An Artery; 4) Conscious Strings; 5) Mermaid Wetness; 6) An Honest Moment; 7) Rosy Cheeked Pumpkin; 8) Bristle Of Mundane; 9) Flowers Thirsty; 10) Marigold Ride; 11) Strings Of Complacency; 12) Learning To Glisten
I sometimes listen to shortwave radio, late into the night, or in the early morning, as signals and sleep drift; voices and sounds emerge and disappear. Every so often my radio will lock in on a clear signal, and for a time there are voices from foreign lands, interesting new music, field correspondents reporting, or the strange sounds of open carrier frequencies waiting for a signal to fill them.
The Language Of Flowers is the enchanting (and often quirky) new album by Twigs & Yarn, and it has some parallels to late night radio listening, a mixing of familiar sounds, music and fleeting recollections. Both artists and musicians, Stephen Orsak resides in Texas, and Lauren McMurray is in Japan, and their work takes shape over the airwaves, satellites and international cables via computers and ftp servers. I didn’t discover Twigs & Yarn on my own; I have Michael Cottone of The Green Kingdom to thank for introducing me to their works. I come across new artists by exploring record label websites, visiting the few record shops that are left and (often the best method), word of mouth from musicians and friends. I don’t yet have the LP version, but the CD is packaged in a letter-pressed hand decorated collage (each one is slightly different).
The album opens with the mysteriously diaphanous Laverne, which shimmers like filtered sound-light on a bright morning, then passes quickly into the gentle swaying of Static Rowing. The fourth track Conscious Strings is both the clear reality of a solo acoustic guitar, combined with the meandering voices of a daydream. Some tracks seem to blend together as observations shift, and there is peaceful warmth in the sounds of a given day, whether inward looking as in Mermaid Wetness (with ingeniously repeated cadenced sound-samples) or outward as in the strangely discordant An Honest Moment which merges into street sounds, bells, voices, and then into a tranquil music box and electric guitar reflection in Rosy Cheeked Pumpkin reminiscent of Daniel Lanois’ pedal steel work on his album here is what is.
Bristle Of Mundane is an unexpected contrast, which opens with a heavily-distorted music box, eventually settling into gentle waves. The experience of late night radio listening is present in Flowers Thirsty, tuning in and out from pop-music radio samples to a distant ebb and flow of music and whispers, the mind drifts late into the night, until being awakened by the radio-alarm (this is my favorite piece on the album, mysterious and great keyboard sounds). The gentle pulsing organ of Marigold Ride contains a soft repeated vocal, flowing into acoustic guitar of Strings Of Complacency (sounding a bit like some recent solo guitar work of Ant Phillips combined with light treatments from Eno’s Julie With from the album Before And After Science). Learning To Glisten is the postlude to the album, the purest of all the tracks, with little sonic movement, and is a soothing close.
The Language of Flowers is like rotating a radio tuning knob late at night, or peering into a window overlooking a secret garden, or ephemeral visions in a dream. It’s an assemblage of existence all around, from the broadest landscapes down to the tiniest whispers, and even memories of childhood games as in the gently spirited and delightfully melodic third track, If I Were An Artery. The music, field recordings, samples and instrumentation are assembled with an idiosyncratic aplomb that yield a very cohesive and soothing quality, like a less energetic, more contemplative version of works by The Books combined with gossamers of the dearly departed Sparklehorse. So, it makes complete sense that Nick Zammuto (ex-Book) mastered this album; a symbiotic chemistry.