Big Thief

Two Hands

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  • 久草在线视觉的久草在是免费视频久草大香蕉尹人75我国发现迄今最早有完整舌骨的原始哺乳动物化石


      三牲的下面,就是雲家出產的八種糕點,油餅也算一種,摞的高高的非常豐盛。   太宰先是一愣,接著就有些興致勃勃的樣子了,指著那道大門對雲瑯道︰“你這麼聰明,一定有法子徹底解除這里的機關吧?”久草在线视觉的   “這是王翦!”太宰見雲瑯長時間的觀看那個金甲武士就低聲介紹。久草在是免费视频   “材官將軍韓安國死在了右北平的任上,這事你不知道吧?”   “那就殺啊!來一個殺一個,來一百個殺一百個,殺掉一百萬個,就沒有匈奴敢來了。”久草大香蕉尹人75   各抱地勢,鉤心斗角。盤盤焉,?鋂桑 浞克 校 2恢 浼蓋 蚵洹圖片} Following quickly on the heels of the spacey, artful U.F.O.F. -- by five months, to be exact -- Big Thief's fourth long-player, Two Hands, was recorded just days after its contrasting sister album. However, while U.F.O.F. was tracked at a wooded facility outside of Seattle, the band deliberately moved to the 100-plus-degree environs of a desert studio west of El Paso for Two Hands. The humid-versus-dry distinction makes for a convenient musical simile, as Two Hands commits to a crisper, more jagged sound on a rawer set of indie rock songs. Though less improvised-sounding on the whole than its predecessor, the loose Two Hands was recorded live with few overdubs by the same crew (producer Andrew Sarlo and engineer/mixer Dom Monks, though drummer James Krivchenia helped mix this time around). The album opens with "Rock and Sing," a short, lullaby-like introduction. Typically intimate lyrics from singer/songwriter Adrianne Lenker sound more stream of consciousness than composed on the track, with lines like "Hand me that cable/Plug into anything/I am unstable/Rock and sing, rock and sing." It's followed by catchier album highlight "Forgotten Eyes," which settles into the visceral, full-band folk-rock of Big Thief's earlier albums but with a distinctly immediate recording quality. (Though any such descriptions are relative in the case of this band.) Likewise living and breathing, the simmering "Not" has a slightly out-of-breath Lenker delivering near-constant lyrics alongside insistent drums, fuzzy guitar chords, and dissonant, impulsive guitar effects until the song breaks open into a sometimes-screeching jam just past the midway point. Other songs on Two Hands are memorable for different reasons, such as the quirkier guitar tones of the skittering "Two Hands," the folksy harmonies of "Replaced" (by guitarist/co-writer Buck Meek), and the stark tenderness of "Wolf" ("How you seem to follow through/On everything you yearn for"). While it's hard to talk about Two Hands in 2019 without the context of the stunning U.F.O.F., the album's quality stands on its own, offering its own grade of intimacy, sound, and feel for alternate moods.

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