Torngat return with “La petite Nicole”, the follow up to the critically acclaimed 2007 effort, “You Could Be”. This time around the band is sporting a grittier, propulsive sounding record that more closely resembles the bands live sound. “La petite Nicole” offers forays into dub-heavy elements of post rock as well hints of kraut rock and the occasional miniature freak-outs. Aside from these flirtations in new directions, the same sound that has made them popular in Canada and festival stages remains. One gets the feeling that the band is creating music for yet-to-be-made films; while cinematic references may be considered standard when describing instrumental music, Torngat’s creations are particularly evocative of the medium.
Torngat put on a very energetic and inspiring performance and sound a lot bigger than a trio. The heavy use of organs recalls elements of Tom Waits and even hints at the pre-jazz era of Soft Machine. Up until now much of the hype about this young band has been linked to their affiliation to Chamber-pop sensations Bell Orchestre and the Luya’s, amongst countless other guest appearances with various Montreal projects.
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Ghostly keyboard figures take the lead with a distorted organ creaking into life, gathering up momentum for the haunting title track - a piece of music that owes as much to Harmonic 33-style library music pastiche as it does to instrumental prog and post-rock. Throughout the record the sound takes on a warm, muffled and generally rather enigmatic feel that's just the right side of lo-fi, with the comparatively full-blooded closing number 'Going What's What' permitting just enough of the track's lamenting brass melodies to poke through the mix. A beautiful album, and one that doesn't quite sound like anything else. Bookmat
Torngat put on a very energetic and inspiring performance and sound a lot bigger than a trio. The heavy use of organs recalls elements of Tom Waits and even hints at the pre-jazz era of Soft Machine. Up until now much of the hype about this young band has been linked to their affiliation to Chamber-pop sensations Bell Orchestre and the Luya’s, amongst countless other guest appearances with various Montreal projects.
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Ghostly keyboard figures take the lead with a distorted organ creaking into life, gathering up momentum for the haunting title track - a piece of music that owes as much to Harmonic 33-style library music pastiche as it does to instrumental prog and post-rock. Throughout the record the sound takes on a warm, muffled and generally rather enigmatic feel that's just the right side of lo-fi, with the comparatively full-blooded closing number 'Going What's What' permitting just enough of the track's lamenting brass melodies to poke through the mix. A beautiful album, and one that doesn't quite sound like anything else. Bookmat
2 comments:
hola adrianus, bajando torngat. alien8 siempre lo recordaré como el sello de soft canyon y su preciosa hope's great divide :)
ana :) sí siempre será el sello del ex-Tricky Woo, Andrew Dickson, el disco con el que empezó aldea f. esperemos que no tarde mucho más un nuevo disco.
por cierts, hace ya unos cuantos días estuve viendo a matt elliott, a ver si cuelgo la reseña que igual viene con sorpresa...
adrián
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