back in stock as of
may 24th, 2013
first in stock on
march 6th, 2009
|kranky (usa) #krank 115 cd|
autistic daughters “uneasy flowers” compact disc
- rehana's theme (5:35)
- uneasy flower (5:30)
- liquid and starch (4:32)
- gin over sour milk (5:05)
- bird in the curtain (3:05)
- richest woman in the world (6:18)
- hotel exter dining room (6:02)
|march 2008 release ; second title from this trio led by dean roberts, featuring electro-acoustic improvisers werner dafeldecker & martin brandlmayr ...|
slow, languorous songs, rife with impressionistic flair ; these guys are on island rarely visited by most, but the isolation has yield some very unique music ...
|artist: autistic daughters|
title: uneasy flowers
catalog #: krank115
formats available: cd
release date: march 3, 2008
|uneasy flowers is the second album by autistic daughters, the intercontinental trio of dean roberts (guitar, vocals), martin brandlmayr (percussion, computer) and werner dafeldecker (guitar, bass). it is also the fourth in a series of records in which roberts, having begun in more abstract territory in new zealand's mid-1990s 'free noise' ferment, has embraced song, lyric and voice as vessels for topographic and psychoanalytic tracings of the impacts of territory and nomadism on the subject. this is reflected by the shape-shifting nature of the outfit: while autistic daughters, whose name comes from a lyric from their first record jealousy and diamond, are resolutely a trio, they also work in cinematic format, with ancillary players - in this instance, chris abrahams of the necks, martin siewert and valerio tricoli - as part of both cast and crew, foley artists behind the trio’s complex, worm-turning arrangements.|
with uneasy flowers, roberts traces the internal and external workings of one protagonist: or, rather, a protagonist who 'contains multitudes,' a figure that dissolves the unified self. rather, this character, rehana, embodies multiplicity and fragmentation in order to both a) address loss and b) aim toward transfiguration, transcendence. there are traces in the lyrics - traces of addiction and desire, myth and transformation - that are obliquely reflected in the music’s structure, its uneasy tension between the pop song (the 'moment') and experiment (the 'process'). in some ways, it reminds of the structural, loop-based cinema of figures like malcolm legrice: taking one moment and stretching it, the better to capture its nuances and to draw out all the repressed material caught in the mise-en-scene, the hidden, cloaked content that erupts when your world spirals out of your own control and gets caught in webs of interpersonal politic. the move from intimacy to capture of the 'greater picture' enacted by both lyric and music here resembles a camera dollying out, a shift of perspective unsettling for its vertigo-inducing qualities.
- jon dale
a long time in coming, this new album continues the group's development of their literate sonic architecture, touching on elements of jazz within the skeletal, open spaces of minimalist composition.