Companion Rises (Twig Harper Remix)
Noise veteran Twig Harper decompiles Six Organs of Admittance's 2020 album 'Companion Rises', mutating each track into an unrecognisable chaos of synth warbles, orchestral blasts and angular rhythmic experiments.
It's hard to get excited about a remix album, but this is a different proposition; Ben Chasny didn't simply farm his stems out to a loosely connected cadre of eager participants, he passed the masters to LA-based sonic alchemist Twig Harper, who set about turning Chasny's wyrd folk stompers into fractal new age-cum-modern classical head scratchers. So although the ambient intro 'Pacific' sounds more like an extension of the original, adding dramatic, brassy wails to Chasny's light-headed soundscape, 'Two Forms Moving' is fully out in the weeds. Its jangling guitars, and indeed Chasny's voice, have disappeared completely, and when Harper replicates the chugging beat, it's a stuttering, broken oscillator malfunction that coughs over dislocated string wails.
Even the album's lead track, 'The 101', possibly Harper's most respectful rework, is shattered at its foundations. Harper re-imagines the slippery lead guitar as a surreal, splattered post-punk grind, distorting it and slathering it over angular, acidic electronix. And on the title track, initially a hesitant folk meditation, Harper ushers echoing woodwinds into a VHS burned fuzz of '80s drums and eerie electroid plucks. Now that's how you do it.
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Noise veteran Twig Harper decompiles Six Organs of Admittance's 2020 album 'Companion Rises', mutating each track into an unrecognisable chaos of synth warbles, orchestral blasts and angular rhythmic experiments.
It's hard to get excited about a remix album, but this is a different proposition; Ben Chasny didn't simply farm his stems out to a loosely connected cadre of eager participants, he passed the masters to LA-based sonic alchemist Twig Harper, who set about turning Chasny's wyrd folk stompers into fractal new age-cum-modern classical head scratchers. So although the ambient intro 'Pacific' sounds more like an extension of the original, adding dramatic, brassy wails to Chasny's light-headed soundscape, 'Two Forms Moving' is fully out in the weeds. Its jangling guitars, and indeed Chasny's voice, have disappeared completely, and when Harper replicates the chugging beat, it's a stuttering, broken oscillator malfunction that coughs over dislocated string wails.
Even the album's lead track, 'The 101', possibly Harper's most respectful rework, is shattered at its foundations. Harper re-imagines the slippery lead guitar as a surreal, splattered post-punk grind, distorting it and slathering it over angular, acidic electronix. And on the title track, initially a hesitant folk meditation, Harper ushers echoing woodwinds into a VHS burned fuzz of '80s drums and eerie electroid plucks. Now that's how you do it.
Noise veteran Twig Harper decompiles Six Organs of Admittance's 2020 album 'Companion Rises', mutating each track into an unrecognisable chaos of synth warbles, orchestral blasts and angular rhythmic experiments.
It's hard to get excited about a remix album, but this is a different proposition; Ben Chasny didn't simply farm his stems out to a loosely connected cadre of eager participants, he passed the masters to LA-based sonic alchemist Twig Harper, who set about turning Chasny's wyrd folk stompers into fractal new age-cum-modern classical head scratchers. So although the ambient intro 'Pacific' sounds more like an extension of the original, adding dramatic, brassy wails to Chasny's light-headed soundscape, 'Two Forms Moving' is fully out in the weeds. Its jangling guitars, and indeed Chasny's voice, have disappeared completely, and when Harper replicates the chugging beat, it's a stuttering, broken oscillator malfunction that coughs over dislocated string wails.
Even the album's lead track, 'The 101', possibly Harper's most respectful rework, is shattered at its foundations. Harper re-imagines the slippery lead guitar as a surreal, splattered post-punk grind, distorting it and slathering it over angular, acidic electronix. And on the title track, initially a hesitant folk meditation, Harper ushers echoing woodwinds into a VHS burned fuzz of '80s drums and eerie electroid plucks. Now that's how you do it.
Noise veteran Twig Harper decompiles Six Organs of Admittance's 2020 album 'Companion Rises', mutating each track into an unrecognisable chaos of synth warbles, orchestral blasts and angular rhythmic experiments.
It's hard to get excited about a remix album, but this is a different proposition; Ben Chasny didn't simply farm his stems out to a loosely connected cadre of eager participants, he passed the masters to LA-based sonic alchemist Twig Harper, who set about turning Chasny's wyrd folk stompers into fractal new age-cum-modern classical head scratchers. So although the ambient intro 'Pacific' sounds more like an extension of the original, adding dramatic, brassy wails to Chasny's light-headed soundscape, 'Two Forms Moving' is fully out in the weeds. Its jangling guitars, and indeed Chasny's voice, have disappeared completely, and when Harper replicates the chugging beat, it's a stuttering, broken oscillator malfunction that coughs over dislocated string wails.
Even the album's lead track, 'The 101', possibly Harper's most respectful rework, is shattered at its foundations. Harper re-imagines the slippery lead guitar as a surreal, splattered post-punk grind, distorting it and slathering it over angular, acidic electronix. And on the title track, initially a hesitant folk meditation, Harper ushers echoing woodwinds into a VHS burned fuzz of '80s drums and eerie electroid plucks. Now that's how you do it.
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Noise veteran Twig Harper decompiles Six Organs of Admittance's 2020 album 'Companion Rises', mutating each track into an unrecognisable chaos of synth warbles, orchestral blasts and angular rhythmic experiments.
It's hard to get excited about a remix album, but this is a different proposition; Ben Chasny didn't simply farm his stems out to a loosely connected cadre of eager participants, he passed the masters to LA-based sonic alchemist Twig Harper, who set about turning Chasny's wyrd folk stompers into fractal new age-cum-modern classical head scratchers. So although the ambient intro 'Pacific' sounds more like an extension of the original, adding dramatic, brassy wails to Chasny's light-headed soundscape, 'Two Forms Moving' is fully out in the weeds. Its jangling guitars, and indeed Chasny's voice, have disappeared completely, and when Harper replicates the chugging beat, it's a stuttering, broken oscillator malfunction that coughs over dislocated string wails.
Even the album's lead track, 'The 101', possibly Harper's most respectful rework, is shattered at its foundations. Harper re-imagines the slippery lead guitar as a surreal, splattered post-punk grind, distorting it and slathering it over angular, acidic electronix. And on the title track, initially a hesitant folk meditation, Harper ushers echoing woodwinds into a VHS burned fuzz of '80s drums and eerie electroid plucks. Now that's how you do it.