As a drummer, I'm always fascinated when electronic/studio-basedprojects take to the road with extra musicians in tow; the humanelement provided to make the live shows a lot more exciting.Performances augmented by a live drummer, guitarist, etc. interactingwith pre-set samples and loops adds a new dimension to thecompositions, blending organic rhythms and tones with digitallyprocessed signals. The outcome generally takes the music to a whole newlevel and is, of course, much more interesting to watch than someoneconstantly keeping busy behind a mixing desk while note-for-noterenditions play out. For their latest release as the Two LoneSwordsmen, the dynamic studio duo of Andrew Weatherall and KeithTenniswood have tracked the bulk of their tunes with the live groupapproach. From the Double Gone Chapelhas the guys using four separate drummers throughout to hook their rawbass lines and overdriven synths on. They proceed to layer upon theirvarious rhythm sections for some novel, dark and sexy tracks. Thehalf-time squelching keyboard groove of "Stack Up" opens up the discfor distorted, dental drill-like whirs which weave through the soundsof a digital beach shore. The steady pulses of the guitar percussive"Formica Fuego" and sliding down-tuned bass of "The Lurch" back a mixof post-punk and new wave which should crowd the dance floor of anyretroesque club under its black lights and darkly attired patrons. Inkeeping with that particular timeframe, a distorted cover of Gun Club's"Sex Beat" appears early on in the mix; tight performance andinstrumentation but doesn't do too much for me. The lilting noisescape"Punches and Knives" and dirty shuffle of "Kamanda's Response" croonwith twisted lyrics and vocals which conjure up visions of a modern daySyd Barrett curled up in the corner of a dark smoke-filled studio.Having not followed the Two Lone Swordsmen too closely since their 2000release Tiny Reminders, I wouldn't have expected such an impressive mix of live, laid back tracks on From the Double Gone Chapelby comparison. Then again, there's only so many ways to use the studioas an instrument without filling it with musicians to play into theether. Read More
