Deux Filles
Shadow Farming
Boomkat Product Review:
One of post-punk’s greatest hoodwinks, Deux Filles return from beauty sleep with their first new collection in five years, reprising their oneiric ambience with shimmering appeal to fans of Pinkcourtesyphone, Teresa Winter, Annie Hogan, The Caretaker.
Legendarily, Deux Filles appeared to be a pair of wistful french lasses on their maiden trio of records issued circa 1982/83, even playing live shows in dresses and full make-up, but were eventually outed as the project of Simon Fisher Turner and Colin Lloyd-Tucker in drag. Their early records stand well out from the crowd, ‘fessing an anachronistic mix of parlour music and ether-dream ambience that speaks to a rarified sort of European life long gone. They returned in 2016 with a new collection ‘Spce & Time,’ and now supply a deliciously haunted new batch with Londons Glass Modern, who used to be called Glass Records, and come from that same original era of fecund, sophisticated experimentation in the early ‘80s.
On ‘Shadow Farming’ they further cultivate the myth with a beautifully discreet and secretive suite in their classic, time-out-of-joint fashion, and it doesn’t even matter that we know their identities now, as the music is so immaculately realised and sensitively arranged that it’s hard not to be seduced into their parallel world. The 18 parts drift with a sublime daydreaming quality from chamber string pieces and opiated orientalisms to especially gorgeous vignettes and interludes making sparing use of field recordings in a way that strikingly recalls Teresa Winter’s ‘Motto Of The Wheel’ album one minute, and the pharmaceutically tranquillised air of Pinkcourtesyphone the next, or even Annie Hogan’s decorous solo piano works.
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Boomkat Product Review:
One of post-punk’s greatest hoodwinks, Deux Filles return from beauty sleep with their first new collection in five years, reprising their oneiric ambience with shimmering appeal to fans of Pinkcourtesyphone, Teresa Winter, Annie Hogan, The Caretaker.
Legendarily, Deux Filles appeared to be a pair of wistful french lasses on their maiden trio of records issued circa 1982/83, even playing live shows in dresses and full make-up, but were eventually outed as the project of Simon Fisher Turner and Colin Lloyd-Tucker in drag. Their early records stand well out from the crowd, ‘fessing an anachronistic mix of parlour music and ether-dream ambience that speaks to a rarified sort of European life long gone. They returned in 2016 with a new collection ‘Spce & Time,’ and now supply a deliciously haunted new batch with Londons Glass Modern, who used to be called Glass Records, and come from that same original era of fecund, sophisticated experimentation in the early ‘80s.
On ‘Shadow Farming’ they further cultivate the myth with a beautifully discreet and secretive suite in their classic, time-out-of-joint fashion, and it doesn’t even matter that we know their identities now, as the music is so immaculately realised and sensitively arranged that it’s hard not to be seduced into their parallel world. The 18 parts drift with a sublime daydreaming quality from chamber string pieces and opiated orientalisms to especially gorgeous vignettes and interludes making sparing use of field recordings in a way that strikingly recalls Teresa Winter’s ‘Motto Of The Wheel’ album one minute, and the pharmaceutically tranquillised air of Pinkcourtesyphone the next, or even Annie Hogan’s decorous solo piano works.
Boomkat Product Review:
One of post-punk’s greatest hoodwinks, Deux Filles return from beauty sleep with their first new collection in five years, reprising their oneiric ambience with shimmering appeal to fans of Pinkcourtesyphone, Teresa Winter, Annie Hogan, The Caretaker.
Legendarily, Deux Filles appeared to be a pair of wistful french lasses on their maiden trio of records issued circa 1982/83, even playing live shows in dresses and full make-up, but were eventually outed as the project of Simon Fisher Turner and Colin Lloyd-Tucker in drag. Their early records stand well out from the crowd, ‘fessing an anachronistic mix of parlour music and ether-dream ambience that speaks to a rarified sort of European life long gone. They returned in 2016 with a new collection ‘Spce & Time,’ and now supply a deliciously haunted new batch with Londons Glass Modern, who used to be called Glass Records, and come from that same original era of fecund, sophisticated experimentation in the early ‘80s.
On ‘Shadow Farming’ they further cultivate the myth with a beautifully discreet and secretive suite in their classic, time-out-of-joint fashion, and it doesn’t even matter that we know their identities now, as the music is so immaculately realised and sensitively arranged that it’s hard not to be seduced into their parallel world. The 18 parts drift with a sublime daydreaming quality from chamber string pieces and opiated orientalisms to especially gorgeous vignettes and interludes making sparing use of field recordings in a way that strikingly recalls Teresa Winter’s ‘Motto Of The Wheel’ album one minute, and the pharmaceutically tranquillised air of Pinkcourtesyphone the next, or even Annie Hogan’s decorous solo piano works.
Boomkat Product Review:
One of post-punk’s greatest hoodwinks, Deux Filles return from beauty sleep with their first new collection in five years, reprising their oneiric ambience with shimmering appeal to fans of Pinkcourtesyphone, Teresa Winter, Annie Hogan, The Caretaker.
Legendarily, Deux Filles appeared to be a pair of wistful french lasses on their maiden trio of records issued circa 1982/83, even playing live shows in dresses and full make-up, but were eventually outed as the project of Simon Fisher Turner and Colin Lloyd-Tucker in drag. Their early records stand well out from the crowd, ‘fessing an anachronistic mix of parlour music and ether-dream ambience that speaks to a rarified sort of European life long gone. They returned in 2016 with a new collection ‘Spce & Time,’ and now supply a deliciously haunted new batch with Londons Glass Modern, who used to be called Glass Records, and come from that same original era of fecund, sophisticated experimentation in the early ‘80s.
On ‘Shadow Farming’ they further cultivate the myth with a beautifully discreet and secretive suite in their classic, time-out-of-joint fashion, and it doesn’t even matter that we know their identities now, as the music is so immaculately realised and sensitively arranged that it’s hard not to be seduced into their parallel world. The 18 parts drift with a sublime daydreaming quality from chamber string pieces and opiated orientalisms to especially gorgeous vignettes and interludes making sparing use of field recordings in a way that strikingly recalls Teresa Winter’s ‘Motto Of The Wheel’ album one minute, and the pharmaceutically tranquillised air of Pinkcourtesyphone the next, or even Annie Hogan’s decorous solo piano works.
Deep blue vinyl LP housed in gatefold sleeve.
Out of Stock
Boomkat Product Review:
One of post-punk’s greatest hoodwinks, Deux Filles return from beauty sleep with their first new collection in five years, reprising their oneiric ambience with shimmering appeal to fans of Pinkcourtesyphone, Teresa Winter, Annie Hogan, The Caretaker.
Legendarily, Deux Filles appeared to be a pair of wistful french lasses on their maiden trio of records issued circa 1982/83, even playing live shows in dresses and full make-up, but were eventually outed as the project of Simon Fisher Turner and Colin Lloyd-Tucker in drag. Their early records stand well out from the crowd, ‘fessing an anachronistic mix of parlour music and ether-dream ambience that speaks to a rarified sort of European life long gone. They returned in 2016 with a new collection ‘Spce & Time,’ and now supply a deliciously haunted new batch with Londons Glass Modern, who used to be called Glass Records, and come from that same original era of fecund, sophisticated experimentation in the early ‘80s.
On ‘Shadow Farming’ they further cultivate the myth with a beautifully discreet and secretive suite in their classic, time-out-of-joint fashion, and it doesn’t even matter that we know their identities now, as the music is so immaculately realised and sensitively arranged that it’s hard not to be seduced into their parallel world. The 18 parts drift with a sublime daydreaming quality from chamber string pieces and opiated orientalisms to especially gorgeous vignettes and interludes making sparing use of field recordings in a way that strikingly recalls Teresa Winter’s ‘Motto Of The Wheel’ album one minute, and the pharmaceutically tranquillised air of Pinkcourtesyphone the next, or even Annie Hogan’s decorous solo piano works.
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