Introducing TRZTN – Royal Dagger Ballet + new media
TRZTN – Royal Dagger Ballet – Octopus Hotdog Records
TRZTN releases his Royal Dagger Ballet LP. Before we get to that, I’ll focus on one single and video from Royal Dagger Ballet. TRZTN and Karen O team up for a song on “Hieroglyphs” Tristan Bechet aka TRZTN is a favorite of mine from back in the day. “Hieroglyphs” is one of the tracks off his latest LP which releases before I could get this up online.
“Hieroglyphs” is a collaboration with Karen O of the Yeah Yeah Yeahs. I’m nearly certain they shared the stage back when their former bands were in New York.
Therefore this collaboration is a logical and creative pairing. They blend very well. After I report in about this video and song we will look at select songs from the new album titled “Royal Dagger Ballet”. “Hieroglyphs” not only is a single but has a video. We’re going to dig into that. First let me provide you with some links for context in case you don’t know TRZTN’s earlier work. One of my favorite tracks from TRZTN’s former bands. Video and track here https://www.youtube.com/watch?v=BgFkg9CDHOM and this from Flux Information Sciences https://www.youtube.com/watch?v=ArDDd_qeMGs
In addition to that here is a recent single and video that is my favorite video of 2020 which can be found on Royal Dagger Ballet. https://meatsheetfanzine.com/metal-sky-trztn-featuring-eiko-hara-more-new-singles/
Back to “Hieroglyphs”, the opening vocal tracks are signature TRZTN (as in the way the voice is tweaked, produced, processed etc.).
TRZTN is no stranger to using voice samples and sometimes noise to create a rhythm.
These opening flurries of female vocals frame Karen O’s lead voice perfectly. The repetition of one vocal syncs perfectly with video. There is also a filter the vocals which sounds like it descends in pitch giving it a slightly otherwordly euphoric feel. Although these vocal tricks may have been heard before, if you listen to his music the placement and the execution is on point. That is to say it works.. it adds an extra dimension and it’s not repetitive. TRZTN gives each song what it needs to flourish, “Hieroglyphs” is no exception.
The drums and bass seem to be super low frequency which allows me to shame myself for not having appropriate subwoofer capabilities but if one has a good system to listen to music on you may be rewarded with some super low end bass. Even though I don’t know the Yeah Yeah Yeahs material very well at all Karen O really seems to stretch out her vocals. The pairing of TRZTN”s work is fresh, yet sublime. The song “Hieroglyphs” teeters on the border of dance and experimental music.
The layers are a bit challenging for the mainstream pop crowd I would think, but I have always had a disdain for that type of thing anyway so if you’re like me you can really dissect and get into this track.
Which brings me to the video. Imagery is just as experimental if not more so than the audio. What seems to be a parking garage with a woman in a red dress transforms into a suddenly triggered trauma followed by superbly choreographed dance. After that the dance is about light and dark computer generated figures. The computer animation has gotten so good over the years that is beginning to become seamless in its flow. It reads as computer but as you watch it is easy to forget that it is.
The video https://www.youtube.com/watch?v=PCicbpcmPmY
In addition to “Hieroglyphs” I’ll cover a few tracks from Royal Dagger Ballet. This LP contains the singles of TRZTN’s latest audio works. TRZTN has released quite a few singles in which I found hard to keep up with (being busy and my timing being off).
“Nighttime Rebound” offers heavily processed vocals and music signals. The artist Dani Miller collaborates on this one. “Astra” is a bass heavy gronky track with angular saw waves cutting through the mix. This reminds me of TRZTN’s work in Flux Information Sciences quite a bit. (linked above) The vocals and music are a bit more seamlessly woven together, whereas in Flux, they were more defined and percussive, most times.
“Rockers” is a tribal rhythmic treat with Caribbean vocal flavor. Izé Teixeira lends said vocals.
Again, if I had a system with bass that kicked this would a very fun, bass heavy jam. However fun, these two are not fucking around by any means yet the track is fun and full of rich beats.
Finally the title track Royal Dagger Ballet which also has a video. Check it https://www.youtube.com/watch?v=lH9Oh77ra_g
TRZTN’s Royal Dagger Ballet video is all about human figure and playing with extrusions in computer graphics pertaining to the figure.
It’s best viewed than to listen to me carry on about it. The song is a deeper investigation on using voices and perhaps samples of voices as instruments. Deeper in the sense that TRZTN uses voices as instruments on this LP, but the title track seems to be the culmination of this. Overall, Royal Dagger Ballet is a solid collaborative effort It is much needed as I admire what TRZTN has already recorded. The few tracks without guests can stand alone. The ones with guests offer variety and perspectives that enhance this effort musically. This album is a mature and adventurous extension of TRZTN’s earlier work . If you love electronica with fearless execution, the beauty of this LP shines. You need not be a die hard Interpol or Yeah Yeah Yeahs fan, but all the collaborators slay on this. Bravo
In other new releases I’ll expose my ignorance and talk about the hardcore band with experimental tendencies. Fucked Up. I last saw them in 2004 in Delaware County PA . Since then I slept on them , and boring adult life had its way with me. So the leap in Fucked Up’s growth is exponentially huge from what I can hear. The latest release “Year of the Horse” is a release that had a long time coming. It seems they worked on it in parts over the years. Also, it is dedicated to those who left us. Two of the people being Riley Gale of Power Trip and Wade Allison of Iron Age.
Year Of The Horse is split into self titled acts / songs. “Year Of The Horse – Act One ” clocks in around 19 minutes.
It’s a journey. It feels like something Iceburn might have done in the sense, there are separate parts within the track, all unique, but tied together in a continuous jam.
It doesn’t sound like Iceburn, think of longer metal songs for similar delivery. The way Maiden’s Rime Of the Ancient Mariner morphs and changes their narrative several times within the one song. These said changes help orchestrate the story and make the heavier , mosh laden parts even weightier than they are. In addition to the music, the vocals come in and out. The female voice seems stern , but muse like.
The lead male vocals around 14 minute mark (and throughout) are tinged with sorrow and pain. I can feel something in those voices. It is better to listen https://pitchfork.com/news/listen-to-fucked-up-new-year-of-the-horse/
At about 15 or 16 minutes it changes to a string arrangement and some tripped out operatic vocals. Very few in hardcore could probably pull this off. Fucked Up does. I am out of the so called loop per se, but I find “Year Of The Horse – Act One ” to be very bold and adventurous. This is coming from someone who is not by any means a hardcore music enthusiast nor an experimental one as well. After the strings and operatic vocals, it closes heavy. Heaviness you may expect from early Integrity.
This song is a mammoth track to take in. I regret not staying up on this band a little more over the years.
The rest of these “acts ” could be very promising. If you like Act One , stay tuned for the rest coming out soon.
Teenage Fanclub – “I’m More Inclined” and “Home” singles – Merge Records.
I’ve always dug this band. The songwriting is well crafted with a signature power pop sound. “I’m More Inclined” is just more of the excellence I’d expect from this band. The opening chord could in fact be the same as their song from Bandwagonesque’s ” What You Do To Me “. However this track is more of a feel good stomp with all the melody you can fit into 3 and a half minutes. The solo goes into more accomplished ground as to be expected. That is to say, they stay true to melody and songwriting. Much like Glen Tilbrook of Squeeze , although more simple in picking, “I’m More Inclined” shows a deeper knowledge of musicianship and/ or melody than say “Thirteen” era and early versions of Teenage Fanclub. If you want to read about “Home” clickit and look into center of this post https://meatsheetfanzine.com/new-november-tunage-2020-new-music-november/
The entire LP “Endless Arcade” is coming at the end of April. It should be really great if these two singles are the benchmark of quality for the rest of the album.
Flock Of Dimes – Two – Sub Pop
Finally, as this piece is taking too long to publish, Flock of Dimes releases a new song, “Two”. This project/ band features Jenn Wasner of Wye Oak. For a look at what Flock Of Dimes was up to earlier in 2020 during quarantine, click https://meatsheetfanzine.com/flock-of-dimes-like-so-much-desire-sub-pop/
“Two” is a bit poppier than the material on “Like So Much Desire” (linked above). If you enjoy Jenn’s voice as I do , “Two” should not disappoint. Crisp yet simple drum beat. Complimentary synth and guitar melodies.
Jenn’s voice is top notch with her breathy low ends that quickly ascend to higher end registers.
Equally complimentary background vocals add a depth that Wye Oak couldn’t get unless there are guest vocals or overdubs. (Wye Oak being a two piece)
“Two ” is a well crafted pop number. I wonder what else Jenn and Flock Of Dimes have up their sleeves. We will probably see soon.