Crooked Wing
THESE NEW PURITANS
Crooked Wing
Boomkat Product Review:
Shadowing Michael Nyman's operatic (but minimal) soundtracks, 'Crooked Wing' harks back to These New Puritans' career-best 'Field of Reeds', spiking its Talk Talk-inspired textures with Reichian vibraphones, reverb-heavy David Sylvian-inspired instrumentation and disarming medieval organs. Gorgeous, honestly - produced by the godlike Graham Sutton, no less.
'Crooked Wing' is Jack and George Barnett's first proper These New Puritans album since 2019's 'Inside the Rose', an album that took the duo into radically different creative territory. Completely self produced, the album was an attempt to balance their creative extremes, and it was only partially successful, not quite hitting the post-Talk Talk genre-fluxed euphoria of 2013's astonishing 'Field of Reeds'. On ths new one, Bark Psychosis's Sutton is back again in charge of production (George is listed as executive producer) and they've moved back to go forward, pushing the Jlin-inspired rhythms to one side for the time being and concentrating on luxuriant pipe organ arrangements, minimalist percussive repetitions and operatic soprano turns. Truly, it's got the best start of any TNP album yet: 'Waiting' sounds like it could have been snipped from Nyman's 'The Cook, the Thief, his Wife and Her Lover' soundtrack, with a deliciously glass-shattering vocal, organ blasts and scene-setting chimes, and 'Bells' is even better, seven minutes of heart-piercing repetitive piano sequences that the Barnetts follow with Reich-style instrumental oscillations. On the latter, Jack's voice merges uncannily with the instrumentation, melting into the fairytale choirs and rousing orchestrations; he's got more swagger this time round, sounding somewhere between Peter Gabriel, David Sylvian and Robert Wyatt.
Caroline Polachek, in her second unexpectedly killer collaboration of the year (check her turn on caroline's 'caroline 2' and thank us later), shows up on the album's lead single 'Industrial Love Song', and rises to the occasion, providing Jack with a sensitive but assertive foil. She sounds truly theatrical and it suits proceedings well, her voice soaring next to Jack's self-assured moans and double bass from Penguin Cafe Orchestra's Chris Laurence. With the exception of the few heavily percussive tracks (like 'A Season in Hell' and 'Wild Fields', that sound as if they're there in honor of Kate Bush's 'Hounds of Love'), 'Crooked Wing' is the jazziest, most contemplative set of music These New Puritans have produced. It's as if they've stretched out and slowed down the most ecstatic moments of 'Field of Reeds' and taken them to church, searching out a way to merge prog's most transcendent excesses with Sarah Davachi's lavish medieval experiments (she'd be happy, we're sure of it). And really, we couldn't have asked for more; too many contemporary British rock acts focus their hairpin sights on prog's daft excess, not its heady rhapsodic joy, or post-rock's dynamic, rather than its ambition. These New Puritans just nail it, and it's the most unashamedly elegant record they've released.
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Boomkat Product Review:
Shadowing Michael Nyman's operatic (but minimal) soundtracks, 'Crooked Wing' harks back to These New Puritans' career-best 'Field of Reeds', spiking its Talk Talk-inspired textures with Reichian vibraphones, reverb-heavy David Sylvian-inspired instrumentation and disarming medieval organs. Gorgeous, honestly - produced by the godlike Graham Sutton, no less.
'Crooked Wing' is Jack and George Barnett's first proper These New Puritans album since 2019's 'Inside the Rose', an album that took the duo into radically different creative territory. Completely self produced, the album was an attempt to balance their creative extremes, and it was only partially successful, not quite hitting the post-Talk Talk genre-fluxed euphoria of 2013's astonishing 'Field of Reeds'. On ths new one, Bark Psychosis's Sutton is back again in charge of production (George is listed as executive producer) and they've moved back to go forward, pushing the Jlin-inspired rhythms to one side for the time being and concentrating on luxuriant pipe organ arrangements, minimalist percussive repetitions and operatic soprano turns. Truly, it's got the best start of any TNP album yet: 'Waiting' sounds like it could have been snipped from Nyman's 'The Cook, the Thief, his Wife and Her Lover' soundtrack, with a deliciously glass-shattering vocal, organ blasts and scene-setting chimes, and 'Bells' is even better, seven minutes of heart-piercing repetitive piano sequences that the Barnetts follow with Reich-style instrumental oscillations. On the latter, Jack's voice merges uncannily with the instrumentation, melting into the fairytale choirs and rousing orchestrations; he's got more swagger this time round, sounding somewhere between Peter Gabriel, David Sylvian and Robert Wyatt.
Caroline Polachek, in her second unexpectedly killer collaboration of the year (check her turn on caroline's 'caroline 2' and thank us later), shows up on the album's lead single 'Industrial Love Song', and rises to the occasion, providing Jack with a sensitive but assertive foil. She sounds truly theatrical and it suits proceedings well, her voice soaring next to Jack's self-assured moans and double bass from Penguin Cafe Orchestra's Chris Laurence. With the exception of the few heavily percussive tracks (like 'A Season in Hell' and 'Wild Fields', that sound as if they're there in honor of Kate Bush's 'Hounds of Love'), 'Crooked Wing' is the jazziest, most contemplative set of music These New Puritans have produced. It's as if they've stretched out and slowed down the most ecstatic moments of 'Field of Reeds' and taken them to church, searching out a way to merge prog's most transcendent excesses with Sarah Davachi's lavish medieval experiments (she'd be happy, we're sure of it). And really, we couldn't have asked for more; too many contemporary British rock acts focus their hairpin sights on prog's daft excess, not its heady rhapsodic joy, or post-rock's dynamic, rather than its ambition. These New Puritans just nail it, and it's the most unashamedly elegant record they've released.
Boomkat Product Review:
Shadowing Michael Nyman's operatic (but minimal) soundtracks, 'Crooked Wing' harks back to These New Puritans' career-best 'Field of Reeds', spiking its Talk Talk-inspired textures with Reichian vibraphones, reverb-heavy David Sylvian-inspired instrumentation and disarming medieval organs. Gorgeous, honestly - produced by the godlike Graham Sutton, no less.
'Crooked Wing' is Jack and George Barnett's first proper These New Puritans album since 2019's 'Inside the Rose', an album that took the duo into radically different creative territory. Completely self produced, the album was an attempt to balance their creative extremes, and it was only partially successful, not quite hitting the post-Talk Talk genre-fluxed euphoria of 2013's astonishing 'Field of Reeds'. On ths new one, Bark Psychosis's Sutton is back again in charge of production (George is listed as executive producer) and they've moved back to go forward, pushing the Jlin-inspired rhythms to one side for the time being and concentrating on luxuriant pipe organ arrangements, minimalist percussive repetitions and operatic soprano turns. Truly, it's got the best start of any TNP album yet: 'Waiting' sounds like it could have been snipped from Nyman's 'The Cook, the Thief, his Wife and Her Lover' soundtrack, with a deliciously glass-shattering vocal, organ blasts and scene-setting chimes, and 'Bells' is even better, seven minutes of heart-piercing repetitive piano sequences that the Barnetts follow with Reich-style instrumental oscillations. On the latter, Jack's voice merges uncannily with the instrumentation, melting into the fairytale choirs and rousing orchestrations; he's got more swagger this time round, sounding somewhere between Peter Gabriel, David Sylvian and Robert Wyatt.
Caroline Polachek, in her second unexpectedly killer collaboration of the year (check her turn on caroline's 'caroline 2' and thank us later), shows up on the album's lead single 'Industrial Love Song', and rises to the occasion, providing Jack with a sensitive but assertive foil. She sounds truly theatrical and it suits proceedings well, her voice soaring next to Jack's self-assured moans and double bass from Penguin Cafe Orchestra's Chris Laurence. With the exception of the few heavily percussive tracks (like 'A Season in Hell' and 'Wild Fields', that sound as if they're there in honor of Kate Bush's 'Hounds of Love'), 'Crooked Wing' is the jazziest, most contemplative set of music These New Puritans have produced. It's as if they've stretched out and slowed down the most ecstatic moments of 'Field of Reeds' and taken them to church, searching out a way to merge prog's most transcendent excesses with Sarah Davachi's lavish medieval experiments (she'd be happy, we're sure of it). And really, we couldn't have asked for more; too many contemporary British rock acts focus their hairpin sights on prog's daft excess, not its heady rhapsodic joy, or post-rock's dynamic, rather than its ambition. These New Puritans just nail it, and it's the most unashamedly elegant record they've released.
Boomkat Product Review:
Shadowing Michael Nyman's operatic (but minimal) soundtracks, 'Crooked Wing' harks back to These New Puritans' career-best 'Field of Reeds', spiking its Talk Talk-inspired textures with Reichian vibraphones, reverb-heavy David Sylvian-inspired instrumentation and disarming medieval organs. Gorgeous, honestly - produced by the godlike Graham Sutton, no less.
'Crooked Wing' is Jack and George Barnett's first proper These New Puritans album since 2019's 'Inside the Rose', an album that took the duo into radically different creative territory. Completely self produced, the album was an attempt to balance their creative extremes, and it was only partially successful, not quite hitting the post-Talk Talk genre-fluxed euphoria of 2013's astonishing 'Field of Reeds'. On ths new one, Bark Psychosis's Sutton is back again in charge of production (George is listed as executive producer) and they've moved back to go forward, pushing the Jlin-inspired rhythms to one side for the time being and concentrating on luxuriant pipe organ arrangements, minimalist percussive repetitions and operatic soprano turns. Truly, it's got the best start of any TNP album yet: 'Waiting' sounds like it could have been snipped from Nyman's 'The Cook, the Thief, his Wife and Her Lover' soundtrack, with a deliciously glass-shattering vocal, organ blasts and scene-setting chimes, and 'Bells' is even better, seven minutes of heart-piercing repetitive piano sequences that the Barnetts follow with Reich-style instrumental oscillations. On the latter, Jack's voice merges uncannily with the instrumentation, melting into the fairytale choirs and rousing orchestrations; he's got more swagger this time round, sounding somewhere between Peter Gabriel, David Sylvian and Robert Wyatt.
Caroline Polachek, in her second unexpectedly killer collaboration of the year (check her turn on caroline's 'caroline 2' and thank us later), shows up on the album's lead single 'Industrial Love Song', and rises to the occasion, providing Jack with a sensitive but assertive foil. She sounds truly theatrical and it suits proceedings well, her voice soaring next to Jack's self-assured moans and double bass from Penguin Cafe Orchestra's Chris Laurence. With the exception of the few heavily percussive tracks (like 'A Season in Hell' and 'Wild Fields', that sound as if they're there in honor of Kate Bush's 'Hounds of Love'), 'Crooked Wing' is the jazziest, most contemplative set of music These New Puritans have produced. It's as if they've stretched out and slowed down the most ecstatic moments of 'Field of Reeds' and taken them to church, searching out a way to merge prog's most transcendent excesses with Sarah Davachi's lavish medieval experiments (she'd be happy, we're sure of it). And really, we couldn't have asked for more; too many contemporary British rock acts focus their hairpin sights on prog's daft excess, not its heady rhapsodic joy, or post-rock's dynamic, rather than its ambition. These New Puritans just nail it, and it's the most unashamedly elegant record they've released.
In Stock (Ready To Ship)
Clear vinyl. Comes with A2 poster and download code.
Boomkat Product Review:
Shadowing Michael Nyman's operatic (but minimal) soundtracks, 'Crooked Wing' harks back to These New Puritans' career-best 'Field of Reeds', spiking its Talk Talk-inspired textures with Reichian vibraphones, reverb-heavy David Sylvian-inspired instrumentation and disarming medieval organs. Gorgeous, honestly - produced by the godlike Graham Sutton, no less.
'Crooked Wing' is Jack and George Barnett's first proper These New Puritans album since 2019's 'Inside the Rose', an album that took the duo into radically different creative territory. Completely self produced, the album was an attempt to balance their creative extremes, and it was only partially successful, not quite hitting the post-Talk Talk genre-fluxed euphoria of 2013's astonishing 'Field of Reeds'. On ths new one, Bark Psychosis's Sutton is back again in charge of production (George is listed as executive producer) and they've moved back to go forward, pushing the Jlin-inspired rhythms to one side for the time being and concentrating on luxuriant pipe organ arrangements, minimalist percussive repetitions and operatic soprano turns. Truly, it's got the best start of any TNP album yet: 'Waiting' sounds like it could have been snipped from Nyman's 'The Cook, the Thief, his Wife and Her Lover' soundtrack, with a deliciously glass-shattering vocal, organ blasts and scene-setting chimes, and 'Bells' is even better, seven minutes of heart-piercing repetitive piano sequences that the Barnetts follow with Reich-style instrumental oscillations. On the latter, Jack's voice merges uncannily with the instrumentation, melting into the fairytale choirs and rousing orchestrations; he's got more swagger this time round, sounding somewhere between Peter Gabriel, David Sylvian and Robert Wyatt.
Caroline Polachek, in her second unexpectedly killer collaboration of the year (check her turn on caroline's 'caroline 2' and thank us later), shows up on the album's lead single 'Industrial Love Song', and rises to the occasion, providing Jack with a sensitive but assertive foil. She sounds truly theatrical and it suits proceedings well, her voice soaring next to Jack's self-assured moans and double bass from Penguin Cafe Orchestra's Chris Laurence. With the exception of the few heavily percussive tracks (like 'A Season in Hell' and 'Wild Fields', that sound as if they're there in honor of Kate Bush's 'Hounds of Love'), 'Crooked Wing' is the jazziest, most contemplative set of music These New Puritans have produced. It's as if they've stretched out and slowed down the most ecstatic moments of 'Field of Reeds' and taken them to church, searching out a way to merge prog's most transcendent excesses with Sarah Davachi's lavish medieval experiments (she'd be happy, we're sure of it). And really, we couldn't have asked for more; too many contemporary British rock acts focus their hairpin sights on prog's daft excess, not its heady rhapsodic joy, or post-rock's dynamic, rather than its ambition. These New Puritans just nail it, and it's the most unashamedly elegant record they've released.
In Stock (Ready To Ship)
Comes with A2 poster and download code.
Boomkat Product Review:
Shadowing Michael Nyman's operatic (but minimal) soundtracks, 'Crooked Wing' harks back to These New Puritans' career-best 'Field of Reeds', spiking its Talk Talk-inspired textures with Reichian vibraphones, reverb-heavy David Sylvian-inspired instrumentation and disarming medieval organs. Gorgeous, honestly - produced by the godlike Graham Sutton, no less.
'Crooked Wing' is Jack and George Barnett's first proper These New Puritans album since 2019's 'Inside the Rose', an album that took the duo into radically different creative territory. Completely self produced, the album was an attempt to balance their creative extremes, and it was only partially successful, not quite hitting the post-Talk Talk genre-fluxed euphoria of 2013's astonishing 'Field of Reeds'. On ths new one, Bark Psychosis's Sutton is back again in charge of production (George is listed as executive producer) and they've moved back to go forward, pushing the Jlin-inspired rhythms to one side for the time being and concentrating on luxuriant pipe organ arrangements, minimalist percussive repetitions and operatic soprano turns. Truly, it's got the best start of any TNP album yet: 'Waiting' sounds like it could have been snipped from Nyman's 'The Cook, the Thief, his Wife and Her Lover' soundtrack, with a deliciously glass-shattering vocal, organ blasts and scene-setting chimes, and 'Bells' is even better, seven minutes of heart-piercing repetitive piano sequences that the Barnetts follow with Reich-style instrumental oscillations. On the latter, Jack's voice merges uncannily with the instrumentation, melting into the fairytale choirs and rousing orchestrations; he's got more swagger this time round, sounding somewhere between Peter Gabriel, David Sylvian and Robert Wyatt.
Caroline Polachek, in her second unexpectedly killer collaboration of the year (check her turn on caroline's 'caroline 2' and thank us later), shows up on the album's lead single 'Industrial Love Song', and rises to the occasion, providing Jack with a sensitive but assertive foil. She sounds truly theatrical and it suits proceedings well, her voice soaring next to Jack's self-assured moans and double bass from Penguin Cafe Orchestra's Chris Laurence. With the exception of the few heavily percussive tracks (like 'A Season in Hell' and 'Wild Fields', that sound as if they're there in honor of Kate Bush's 'Hounds of Love'), 'Crooked Wing' is the jazziest, most contemplative set of music These New Puritans have produced. It's as if they've stretched out and slowed down the most ecstatic moments of 'Field of Reeds' and taken them to church, searching out a way to merge prog's most transcendent excesses with Sarah Davachi's lavish medieval experiments (she'd be happy, we're sure of it). And really, we couldn't have asked for more; too many contemporary British rock acts focus their hairpin sights on prog's daft excess, not its heady rhapsodic joy, or post-rock's dynamic, rather than its ambition. These New Puritans just nail it, and it's the most unashamedly elegant record they've released.
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Boomkat Product Review:
Shadowing Michael Nyman's operatic (but minimal) soundtracks, 'Crooked Wing' harks back to These New Puritans' career-best 'Field of Reeds', spiking its Talk Talk-inspired textures with Reichian vibraphones, reverb-heavy David Sylvian-inspired instrumentation and disarming medieval organs. Gorgeous, honestly - produced by the godlike Graham Sutton, no less.
'Crooked Wing' is Jack and George Barnett's first proper These New Puritans album since 2019's 'Inside the Rose', an album that took the duo into radically different creative territory. Completely self produced, the album was an attempt to balance their creative extremes, and it was only partially successful, not quite hitting the post-Talk Talk genre-fluxed euphoria of 2013's astonishing 'Field of Reeds'. On ths new one, Bark Psychosis's Sutton is back again in charge of production (George is listed as executive producer) and they've moved back to go forward, pushing the Jlin-inspired rhythms to one side for the time being and concentrating on luxuriant pipe organ arrangements, minimalist percussive repetitions and operatic soprano turns. Truly, it's got the best start of any TNP album yet: 'Waiting' sounds like it could have been snipped from Nyman's 'The Cook, the Thief, his Wife and Her Lover' soundtrack, with a deliciously glass-shattering vocal, organ blasts and scene-setting chimes, and 'Bells' is even better, seven minutes of heart-piercing repetitive piano sequences that the Barnetts follow with Reich-style instrumental oscillations. On the latter, Jack's voice merges uncannily with the instrumentation, melting into the fairytale choirs and rousing orchestrations; he's got more swagger this time round, sounding somewhere between Peter Gabriel, David Sylvian and Robert Wyatt.
Caroline Polachek, in her second unexpectedly killer collaboration of the year (check her turn on caroline's 'caroline 2' and thank us later), shows up on the album's lead single 'Industrial Love Song', and rises to the occasion, providing Jack with a sensitive but assertive foil. She sounds truly theatrical and it suits proceedings well, her voice soaring next to Jack's self-assured moans and double bass from Penguin Cafe Orchestra's Chris Laurence. With the exception of the few heavily percussive tracks (like 'A Season in Hell' and 'Wild Fields', that sound as if they're there in honor of Kate Bush's 'Hounds of Love'), 'Crooked Wing' is the jazziest, most contemplative set of music These New Puritans have produced. It's as if they've stretched out and slowed down the most ecstatic moments of 'Field of Reeds' and taken them to church, searching out a way to merge prog's most transcendent excesses with Sarah Davachi's lavish medieval experiments (she'd be happy, we're sure of it). And really, we couldn't have asked for more; too many contemporary British rock acts focus their hairpin sights on prog's daft excess, not its heady rhapsodic joy, or post-rock's dynamic, rather than its ambition. These New Puritans just nail it, and it's the most unashamedly elegant record they've released.
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