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Titania
Resplendent
Real sensuality and breathtaking eroticism do not spontaneously combustinto existence: both are difficult and intricate structures thatrequire careful study. Mandy Cousins and Michael Turner shape huge andsprawling spaces out of the most profane and sacred sounds; the resultis a stream of voluptuous and melting music bordering on the heavenly.Listening to Titaniafor the first time reminded me of rolling hills and fine mists,decaying architecture and ivy. The combination of Cousins' fine voicewith Turner's fluent orchestration creates an atmosphere that is nearlyholy: distant bells ring in towers somewhere beyond the horizon,guitars echo through long and decorated hallways, and fires burn onlonely mountain tops covered with snow. The music is epic and bloomingand I can literally feel it grow around and over me every time I listento it. With time I've come to realize just how sensuous the music isand the means by which it attains that sensuality is absolutelycunning. There's a void that permeates the whole of the recording; it'ssomehow present even in when the keyboards are ringing as if I were inthe midst of a grand cathedral. Slowly, over the course of the album,the music gets inside my blood and leaves me floating; it slowly peelsoff every common notion I have until I am stripped to nothingness.Songs like "Digitaria" and "Postscript" are like knives that cut deepand leave the strangest and most pleasurable numbness throughout mybody. In short, there's a strange play between the sacred and theerotic flourishing throughout every note of every song. It's a tangibleand all-consuming tension that manages to put butterflies in my stomachevery time. The strange psychadelia of "Tinsel Starred" all the way tothe ominous and hesitant "Blue Iris Eternal" keeps me suspended in avoid, in a constant struggle between peace and relaxation and theanxiety of chance.
Real sensuality and breathtaking eroticism do not spontaneously combustinto existence: both are difficult and intricate structures thatrequire careful study. Mandy Cousins and Michael Turner shape huge andsprawling spaces out of the most profane and sacred sounds; the resultis a stream of voluptuous and melting music bordering on the heavenly.Listening to Titaniafor the first time reminded me of rolling hills and fine mists,decaying architecture and ivy. The combination of Cousins' fine voicewith Turner's fluent orchestration creates an atmosphere that is nearlyholy: distant bells ring in towers somewhere beyond the horizon,guitars echo through long and decorated hallways, and fires burn onlonely mountain tops covered with snow. The music is epic and bloomingand I can literally feel it grow around and over me every time I listento it. With time I've come to realize just how sensuous the music isand the means by which it attains that sensuality is absolutelycunning. There's a void that permeates the whole of the recording; it'ssomehow present even in when the keyboards are ringing as if I were inthe midst of a grand cathedral. Slowly, over the course of the album,the music gets inside my blood and leaves me floating; it slowly peelsoff every common notion I have until I am stripped to nothingness.Songs like "Digitaria" and "Postscript" are like knives that cut deepand leave the strangest and most pleasurable numbness throughout mybody. In short, there's a strange play between the sacred and theerotic flourishing throughout every note of every song. It's a tangibleand all-consuming tension that manages to put butterflies in my stomachevery time. The strange psychadelia of "Tinsel Starred" all the way tothe ominous and hesitant "Blue Iris Eternal" keeps me suspended in avoid, in a constant struggle between peace and relaxation and theanxiety of chance.
