Big Thief

Two Hands

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  • 色久久色撸撸撸撸久久凯文教育:增收不增利 重资产模式下的负“重”前行


      太宰偷偷看雲瑯一眼,局促的搓著手道︰“這不合適!”   太宰說完話,就把他腦袋上的那頂破舊的紗帽戴在雲瑯的頭上,還細心的幫他拴好帶子。色久久   “那就殺啊!來一個殺一個,來一百個殺一百個,殺掉一百萬個,就沒有匈奴敢來了。”色撸撸   雲瑯是一個很會取舍的人,既然得不到更好的,眼前的這些人的能力也需要發揮到最大。   怪不得曹襄看不起做生意的商賈,他這樣做,幾乎不用什麼本錢,就能撈到很多錢,比搶劫要好的太多了。撸撸久久   城牆與山洞頂部混為一體,好在因為有垛堞的存在,雲瑯還有一些空間鑽進去。 Following quickly on the heels of the spacey, artful U.F.O.F. -- by five months, to be exact -- Big Thief's fourth long-player, Two Hands, was recorded just days after its contrasting sister album. However, while U.F.O.F. was tracked at a wooded facility outside of Seattle, the band deliberately moved to the 100-plus-degree environs of a desert studio west of El Paso for Two Hands. The humid-versus-dry distinction makes for a convenient musical simile, as Two Hands commits to a crisper, more jagged sound on a rawer set of indie rock songs. Though less improvised-sounding on the whole than its predecessor, the loose Two Hands was recorded live with few overdubs by the same crew (producer Andrew Sarlo and engineer/mixer Dom Monks, though drummer James Krivchenia helped mix this time around). The album opens with "Rock and Sing," a short, lullaby-like introduction. Typically intimate lyrics from singer/songwriter Adrianne Lenker sound more stream of consciousness than composed on the track, with lines like "Hand me that cable/Plug into anything/I am unstable/Rock and sing, rock and sing." It's followed by catchier album highlight "Forgotten Eyes," which settles into the visceral, full-band folk-rock of Big Thief's earlier albums but with a distinctly immediate recording quality. (Though any such descriptions are relative in the case of this band.) Likewise living and breathing, the simmering "Not" has a slightly out-of-breath Lenker delivering near-constant lyrics alongside insistent drums, fuzzy guitar chords, and dissonant, impulsive guitar effects until the song breaks open into a sometimes-screeching jam just past the midway point. Other songs on Two Hands are memorable for different reasons, such as the quirkier guitar tones of the skittering "Two Hands," the folksy harmonies of "Replaced" (by guitarist/co-writer Buck Meek), and the stark tenderness of "Wolf" ("How you seem to follow through/On everything you yearn for"). While it's hard to talk about Two Hands in 2019 without the context of the stunning U.F.O.F., the album's quality stands on its own, offering its own grade of intimacy, sound, and feel for alternate moods.

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