SLIM TWIG w/ Crosss

Slim Twig is a protean musical force from Toronto, where he's been called an "icon-in-the-making" and is an erstwhile rock-artist-of-the-year. Since ought-'08, he's released two early EPs, Vernacular Violence and Derelict Dialect, a searingly original, sampledelic debut full-length, Contempt!, and the acclaimed pop LP, Sof' Sike. He has created a string of re-mix recordings (the Spit it Twig! series), including the cassette/ download-only A Sheik in Scores, and has been featured in numerous compilations, notably the Clan Destine Records release, Statement, with Dirty Beaches, Ela Orleans and U.S. Girls.

Starting in 2011, Slim Twig donned the producer's mantel for U.S. Girls. On their Palmist Records split, U.S. Girls/ Slim Twig, U.S. Girls on Kraak (Kraak Records), and the acclaimed, FatCat released Gem, Slim's work as mixer, co-songwriter and producer have helped to create unique new sounds for Meg Remy's project.

Slim has toured extensively throughout Canada, the U.S. and Europe, both as a solo act and accompanied by a band.

His latest album, a Nabokov / Gainsbourg/Jean-Claude Vannier-inspired, orchestral-rock original, A Hound at the Hem, was co-released by Toronto-based Calico Corp. and
Pleasence Records.

Crosss offer up anthemic drone, dark angular post-punk, Barrett-esque witchery, and garage riffs galore, with the underlying proto-drone influence of Sabbath, and other early metal.
Crosss was formed in Halifax in 2011 by Andy March (guitar/vocals). Now joined by Kris Bowering (drums) and Nick Gajewski (bass), Crosss have toured across Canada and the US throughout 2013 and 2014.
Priding themselves on an undeniable live show, Crosss demonstrate prodigious drumming, extended guitar improvisations, and vocal melodies that haunt the listener long after.
A relatively unique and artful blend of influences, Crosss sound like a dark torrential storm gathering while an old crow crones, circling UFO's, or a funeral parade for some forgotten god.

Drainolith

I wrote about the first song on Hysteria for Pitchfork a bit ago, and will get into the whole album there after it comes out in June. So here's a chance to delve into "Inside and Outside (Bog's Blues)", the album's second song and, true to its name, a simultaneously straight and off-angled tune. It starts in a haze of fuzz and Alexander Moskos' dead-eyed intonations. His voice is like the song's Grim Reaper, guiding it to its the end while the tornado of death swirls around him, neither hyping the terror nor cracking a smile.

The sounds pelt like confetti blown from a cannon, but "Inside and Outside" is at core one big, simple riff, sliced into pieces and doused in flames. That this riff is rather Royal Trux-ian is not shocking (Neil Hagerty produced this session, which in turn produced the excellent Dan'l Boone) nor is it particularly important. Because Moskos pulls off this kinda trick a lot regardless of the sounds he uses, smelting together a tune that sounds somehow re-de-constructed, its basic elements built, torn, and reconstituted such that, like a Hubble staring into space, you can hear the track's past, present, and future at once.

-Marc Masters

$10.00 - $12.00

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