Big Thief

Two Hands

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      雲瑯直言道︰“或許有立場不同者,說到奸佞微臣還真的一個都沒有發現,比如主父偃,微臣至今也認為此人乃是一個才干之士。”   沒兒子這讓阿嬌極為失望,因此,她很想把自己的閨女當做男孩子來養。色人格   霍光苦笑道︰“您這樣解釋這個世界的生存法則,讓弟子很難覺得自己在干一件偉大的事情。”色人居   她出身貧賤,在冰雪中奔跑很是熟悉,遠不是那些養尊處優的宦官宮女們所能比擬的。   說罷,就轉身離開,不論劉據在後面如何呼喚,也是一步不停,很快就消失在甬道里面。色撸撸   劉據皺眉道︰“可有小人從中作祟?” 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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