bITS 'N CHUNKS
Well, golly friends would you look at that - 2019 already! I'm not quite ready yet because I still have a little leftover biz from 2018 that I didn't quite get to. I'm hoping that if I do it now, I can still count it for last year. Like a fresh haircut, we don't really comment on new things until it's been 2 weeks at least. Right? Right.
Woven In's 2018 release Razzmatazz is that leftover biz. This album is so worth talking about that I regret not having my isht together long enough to do so. The last time I spoke about Woven In we were chatting aboutBossa Blanca -- at that point, the project was already easing away from the melancholic surf sounds found on Highs and Ultra Lows and previous EPs.
Razzmatazz sees Woven In comfortably in low-fi darkwave dance mode although the retro beachy elements are still there. It's just that the beach has closed up for good and we're just reminiscing on it at this point.
Mariah Fortune keeps up the themes of isolation and its accompanying loneliness and lost angst, but each song creates its own atmosphere here. Considering that most of the album is instrumental, that's something pretty fine right there. There's the freak out of "Gunmetal", the not-that-distant, relatable real life pain of "Hooptie" and "Jingle", the call out of "They Don't Want You to Live" (can a song with no words call anyone out? Yes.)
It's a very personal album, emotive and vulnerable like Ultra Lows with the cool sweep of Bossa Blanca, the definition of a transition. Quiet, wordless like keeping a secret or getting ready to scream -- later. When a band changes their signature sound up, I always think, "maybe this won't be my bag." It almost wasn't. But 2018 has shown me that I'll cry AND dance to anything. Count nothing out. Do yourself a favor.
Ia! If you've come this far, you're either looking for weird or you know you've found it...