Love Changes Everything
Split into six lush, cinematic movements, Dirty Three's first full-length since 2012 is a heady, windswept trek through arid deserts and moonlit forests, a contemplation of love that careens thru melancholy jazz, sinewy ambient folk and tender, blown-out post-rock. In other words, utterly sublime.
You can always rely on Dirty Three to bring the goods. Since the trio assembled in 1992, Warren Ellis, Mick Tuner and Jim White have established a reputation for producing instrumental music that defies simple categorization. White's drumming is unfastened and textural, owing as much to jazz as it does noise rock, Turner's riffs hum and twinkle with the ferocity of punk and the heartfelt rawness of Americana, and Ellis provides the theater, alternating between fiddle, piano and synths as he pulls the compositions into widescreen. 'Love Changes Everything' is a cool-headed and relatively subdued addition to their catalog, no-doubt strengthened by Ellis's extensive soundtrack work and White's tireless experimentation in the period since 2012's 'Toward the Low Sun'. They sound as if they've got nothing to prove on the opening segment: Turner slices into the silence with serrated, disfigured twangs, accompanied by Ellis's soaring strings and, at first, just sympathetic patters from White. When White intensifies the energy, forming his teasing sweeps into a militaristic thump and then a familiar motorik cycle, Turner and Ellis reply with dramatic country-blues shreds. They might not owe much to post rock at this stage in their long career, but they're still capable of hitting the same dynamic energy.
After pushing us into the basement, Dirty Three lift us into the clouds on 'II' obscuring murmured chorals with fairytale strings, slow-motion piano melodies and washy, tidal drums. Soft and contemplative, it's music that generates its own visuals: spectral faces and oily vapors. The album's paced like a film, drawing us into the trio's powdery territory with near-static shots punctuating the slow movements with rushes of fiery discordance. There's rock somewhere in the background, but it's folk music that's knitted into the seams of this one, in the misty minimalism of 'III' and the reverberant, decelerated nostalgia of the almost beatless 'IV'. Wven though they pick up the tempo on 'V', Ellis's fiddle works like a lead vocal, screaming over Turner's kalimba-like phrases and White's deceptive, byzantine taps. It makes the record's gusty final segment 'VI' breathe that much colder, exhaling into a quiet storm of refined strokes and tangled phrases that ramp up to a tempestuous conclusion of buzzing Nashvilleisms quieted by giddy washes of ambience. So, so good.
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Available To Order (Estimated Shipping between 7-14 Working Days)
This item is to the best of our knowledge available to us from the supplier and should ship to you within the time-frame indicated. If there are any unforeseen issues with availability we will notify you immediately
Split into six lush, cinematic movements, Dirty Three's first full-length since 2012 is a heady, windswept trek through arid deserts and moonlit forests, a contemplation of love that careens thru melancholy jazz, sinewy ambient folk and tender, blown-out post-rock. In other words, utterly sublime.
You can always rely on Dirty Three to bring the goods. Since the trio assembled in 1992, Warren Ellis, Mick Tuner and Jim White have established a reputation for producing instrumental music that defies simple categorization. White's drumming is unfastened and textural, owing as much to jazz as it does noise rock, Turner's riffs hum and twinkle with the ferocity of punk and the heartfelt rawness of Americana, and Ellis provides the theater, alternating between fiddle, piano and synths as he pulls the compositions into widescreen. 'Love Changes Everything' is a cool-headed and relatively subdued addition to their catalog, no-doubt strengthened by Ellis's extensive soundtrack work and White's tireless experimentation in the period since 2012's 'Toward the Low Sun'. They sound as if they've got nothing to prove on the opening segment: Turner slices into the silence with serrated, disfigured twangs, accompanied by Ellis's soaring strings and, at first, just sympathetic patters from White. When White intensifies the energy, forming his teasing sweeps into a militaristic thump and then a familiar motorik cycle, Turner and Ellis reply with dramatic country-blues shreds. They might not owe much to post rock at this stage in their long career, but they're still capable of hitting the same dynamic energy.
After pushing us into the basement, Dirty Three lift us into the clouds on 'II' obscuring murmured chorals with fairytale strings, slow-motion piano melodies and washy, tidal drums. Soft and contemplative, it's music that generates its own visuals: spectral faces and oily vapors. The album's paced like a film, drawing us into the trio's powdery territory with near-static shots punctuating the slow movements with rushes of fiery discordance. There's rock somewhere in the background, but it's folk music that's knitted into the seams of this one, in the misty minimalism of 'III' and the reverberant, decelerated nostalgia of the almost beatless 'IV'. Wven though they pick up the tempo on 'V', Ellis's fiddle works like a lead vocal, screaming over Turner's kalimba-like phrases and White's deceptive, byzantine taps. It makes the record's gusty final segment 'VI' breathe that much colder, exhaling into a quiet storm of refined strokes and tangled phrases that ramp up to a tempestuous conclusion of buzzing Nashvilleisms quieted by giddy washes of ambience. So, so good.
Available To Order (Estimated Shipping between 7-14 Working Days)
This item is to the best of our knowledge available to us from the supplier and should ship to you within the time-frame indicated. If there are any unforeseen issues with availability we will notify you immediately
Split into six lush, cinematic movements, Dirty Three's first full-length since 2012 is a heady, windswept trek through arid deserts and moonlit forests, a contemplation of love that careens thru melancholy jazz, sinewy ambient folk and tender, blown-out post-rock. In other words, utterly sublime.
You can always rely on Dirty Three to bring the goods. Since the trio assembled in 1992, Warren Ellis, Mick Tuner and Jim White have established a reputation for producing instrumental music that defies simple categorization. White's drumming is unfastened and textural, owing as much to jazz as it does noise rock, Turner's riffs hum and twinkle with the ferocity of punk and the heartfelt rawness of Americana, and Ellis provides the theater, alternating between fiddle, piano and synths as he pulls the compositions into widescreen. 'Love Changes Everything' is a cool-headed and relatively subdued addition to their catalog, no-doubt strengthened by Ellis's extensive soundtrack work and White's tireless experimentation in the period since 2012's 'Toward the Low Sun'. They sound as if they've got nothing to prove on the opening segment: Turner slices into the silence with serrated, disfigured twangs, accompanied by Ellis's soaring strings and, at first, just sympathetic patters from White. When White intensifies the energy, forming his teasing sweeps into a militaristic thump and then a familiar motorik cycle, Turner and Ellis reply with dramatic country-blues shreds. They might not owe much to post rock at this stage in their long career, but they're still capable of hitting the same dynamic energy.
After pushing us into the basement, Dirty Three lift us into the clouds on 'II' obscuring murmured chorals with fairytale strings, slow-motion piano melodies and washy, tidal drums. Soft and contemplative, it's music that generates its own visuals: spectral faces and oily vapors. The album's paced like a film, drawing us into the trio's powdery territory with near-static shots punctuating the slow movements with rushes of fiery discordance. There's rock somewhere in the background, but it's folk music that's knitted into the seams of this one, in the misty minimalism of 'III' and the reverberant, decelerated nostalgia of the almost beatless 'IV'. Wven though they pick up the tempo on 'V', Ellis's fiddle works like a lead vocal, screaming over Turner's kalimba-like phrases and White's deceptive, byzantine taps. It makes the record's gusty final segment 'VI' breathe that much colder, exhaling into a quiet storm of refined strokes and tangled phrases that ramp up to a tempestuous conclusion of buzzing Nashvilleisms quieted by giddy washes of ambience. So, so good.