This Tamaryn article was written by Georgina Limb, a GIGsoup contributor
Since announcing her third full-length album ‘Cranekiss’ earlier in the year, New Zealand born musician Tamaryn has been keeping herself busy exploring new areas of music to delve into. With a new line-up of musicians accompanying her, Tamaryn was fully prepared to take a new approach to her music.
When the first single was released back in May, ‘Hands All Over Me’ brought a nice surprise to new and old fans alike. Instead of hearing a dreamy shoegaze track as expected, we were woken up with a synth-filled track full of energy. ‘Hands All Over Me’ gave us a taste of what was to be expected from the new album, and there certainly wasn’t any disappointment.
Released on August 28th, this brand new LP feels like a homage to 80’s goth and dream pop right from the first few seconds of the opening track. Beginning with the title track of the album, the first thought that comes to mind is that there is a heavy influence from Scottish band Cocteau Twins. One obvious difference between this album and 2012’s ‘Tender New Signs’ is that Tamaryn’s vocals are more to the forefront this time around. Whilst still holding onto the dreamy, reverberated quality, her voice sounds much more full, giving her the chance to show us what she’s capable of.
After a few tracks go by, including ‘Hands All Over Me’, we start to hear a more familiar sound when ‘Keep Calling’ starts playing. Here we see that Tamaryn hasn’t drifted too far from her roots, as a slower, more dream-like piece plays. ‘Keep Calling’ splits the more energetic tracks up nicely and gives us a chance to sit back and appreciate the airy quality that is repeated throughout Tamaryn’s work.
It is here that it becomes clear that the change of sound isn’t so drastic after all. ‘Fade Away Slow’ is another example of the dream-like quality that Tamaryn successfully demonstrates. Here, the album takes an even darker turn as influences from The Cure come through in a fairly low-end fueled piece. This is a prime example of the 80’s influence that is massively present in ‘Cranekiss’.
With the closing track ‘Intruder (Waking You Up)’, we hear some echoed guitar sounds that are recognisable from the previous two albums. Whilst not completely missing from the rest of the album, the guitar generally takes a back seat up until this point. With a perfect balance between new and old, ‘Intruder (Waking You Up) is the ideal track to end ‘Cranekiss’ with.
Overall, Tamaryn’s effort to create something different has succeeded admirably. With a fresh sound and new instrumentation, ‘Cranekiss’ manages to be unique whilst still keeping the dreamy quality that we all love about Tamaryn’s work. It is a brave thing to go from heavy guitar focused music to something more electronic in one swift movement, yet Tamaryn has pulled it off perfectly.
‘Cranekiss’ is out now via Kemado Records / Casadel Puente Discos