Boomkat Product Review:
Back in stock! With the label's hiatus well and truly over, Type Records follows up Peter Broderick's amazing 'Float' with a brand new album of midnight Shoegazer classics from Portland's Liz Harris - and it really is one of the most special albums you'll hear this year. While the filtered, tape-fuelled obfuscation of her signature sound remains, Dragging A Dead Deer Up A Hill is far more resonant up front about the songs at the heart of her work. Opening track 'Disengaged' offers a segue from the cloudy, amorphous Grouper output of old and this current strain of more easily deciphered writing: it's a mass of mesmerising magnetic hiss and soft noise, with a voice cloaked in lo-fi haze somewhere at the back. Soon after, Harris' guitar and voice emerge, reverberant and phantom-like, and yet comprehensible. If previously you've struggled to make out Grouper lyrics, and wondered what's going on beneath that veneer of musty, degraded audio, 'Heavy Water/I'd Rather Be Sleeping' offers you a way in. Those dense recording techniques have become a unique production signature and it's virtually impossible to separate Liz Harris' creative identity from that uniquely ghostly sound of hers, but now it feels like a conduit to her songs rather than a barrier. There are echoes of her earliest work on the album too, as on the wordless, partially acappella atmospherics of 'Wind & Snow', but the overall impression left by this album is one of inspired creative renewal, and the unveiling of a songwriting talent that's previously been content to dwell in shadows and deflect attention with smoke and mirrors. A real milestone release for Harris, and a definite high point for the rejuvenated Type label, we've been unable to stop listening to this incredible album for weeks - it's an absolute must. Essential purchase.