You trudge through piles of velvety satin in a small corridor draped with the fabric of deep indigo. Sparsely placed candles are the sole illumination throughout the silky darkness, until you reach a grand room engulfed in the light of thousands of candles encircling the chamber. A hooded figure at the far end of the room steps out from behind the fabric, and pulls hard on the material. All of it comes down, revealing countless stars in endless blackness . . .
A breed of sound was born in the ’80s, a sound so tantalizingly sweet that its flavoring remains a fundamental component in many of today’s musical recipes. Cranekiss is the newest full-length from Tamaryn, a New Zealand-born, New York-transplanted vocalist that revels in the glossy sound originally conceived by artists like Cocteau Twins and This Mortal Coil. This is soaring, sparkling dream-pop in its most epic and lively state.
This record is filled to the brim with delicious hooks that firmly implant themselves into the listener’s mind. Tamaryn’s voice is ebullient and wonderfully versatile. She gracefully drifts on a soothing breeze during the soft ballads (“Keep Calling,” “I Won’t Be Found”), and confidently commands the more upbeat, joyous peaks (“Hands All Over Me,” “Last”). It’s gloomy and ethereal at times, buoyant and festive at others, and always captivating.
The polished quality of the music is largely due to the fresh instrumental contributions from Weekend’s Shaun Durkan, and production helmed by Jorge Elbrecht of Violens (who has previously worked with Ariel Pink and No Joy). This trifecta of enchanting vocals, innovative instrumentation, and pristine production results in heavily textured beauty. If you’re seeking melodically captivating dream-pop, this album is for you.
– stasi (@stasisphere)