Titwrench 2012 at Glob and Mercury Cafe, 7/27/12 and 7/28/12
Tom Murphy Cardinal Veil at Glob
TITWRENCH 2012 @ GLOB | 7/27/12
It felt like the summer broke just in time for Titwrench 2012, and when things got kicked off a bit after 8 p.m. on Friday night, the climate inside Glob suited the music of opening act, Cardinal Veil. Julie Slater has played violin solo before and used the instrument in interesting ways, but for this show, she definitely added some new dimensions, with looped lines echoing and streaming to creating a haunted, melancholic, vibrant minimalism, like the perfect soundtrack to the dusk outside.
Tom Murphy Death In Space at Glob
Throughout the night, the sets ran smoothly and efficiently, so much so that there wasn't a huge gap between bands. At nine acts, this definitely made a difference in the schedule for the night, so it seemed like there were maybe five minutes before Death in Space got up to perform. A lone female act, as well as a Titwrench and Girls Rock alumn, Death in Space played a nice, white Gibson SG with three humbuckers. The sharp tone and rapidly picked leads made it sound like surf rock from time to time, but she also hit drones, over which she played Robert Smith-esque leads without using the same tonal palette. Overall, her songs resembled Chrome-like sketches without the evil.
Tom Murphy ADC at Glob
Seattle's ADC began its set with a sample that sounded like it came from one of those 1950s PSAs about sexual behavior. Then a SONAR-like tone sat in a pond of modulated white noise interrupted by higher pitched noise. The effect was like watching a TV for video anomalies for signs of communication from the other side through the black and white chaos of endless pixels. Later on, a sound that resembled a plasma cutter slicing through steel came in along with what could be described as an electric frog abruptly vocalizing.
Tom Murphy Mirror Fears at Glob
Kate Warner of Mirror Fears sampled an '80s R&B song for her first number and collaged it with her own synth work and vocals to create a song that sounded like it was constantly expanding and collapsing. Most of her set, though, was this richly melodic synth pop that at times recalled New Order circa Technique and Dare!-era Human League.
Vocally, Warner was reminiscent of Sinéad O'Connor without the lilting affectation. For the final song, Warner brought Julie Slater back to the stage for what she described as a "seven minute ambient song." While the track probably didn't and couldn't inspire dancing in any traditional sense, its shimmering, downtempo melody was brightened by moments of tonal incandescence and seemed pretty compelling.
Tom Murphy Mariposa
Mariposa's Madeline Johnston set up a chair near the front of the carpet that served as the "stage" and plugged her small, acoustic guitar into a delay pedal. With just those components and her delicately resonant voice, Johnston created subtle layers through her repetition of guitar lines. Her singing added accents to the minimal music to create an overall musical structure, and each spare lyric was a brushstroke of sound so unexpectedly affecting it was like listening to Joanna Newsom from The Milk-Eyed Mender but even more understated.