While we do our best to ensure the accuracy of our listings, events may be postponed or cancelled without notice. Please confirm with the organizer before making any plans.

Torres, Ariana And The Rose

Torres, Ariana and the Rose
Ace of Cups
Tuesday 14,September 2021
8:00 pm
Tuesday, 14 Sep 2021 @ 8:00 PM
12.0 12.0 USD
Torres, Ariana and the Rose
{"https:\/\/\/49341-2.jpg":"Michael Lavine^:^https:\/\/\/torres\/^:^"}

A person whose words are so potent that they cause the people and beings around them to vibrate is said to have a silver tongue. Its apt, then, that Mackenzie Scottwho has spent the 2010s making boundary-pushing pop music under her TORRES monikerhas chosen to call her fourth album, and first release on Merge, just that.

Recorded at ODeer in Brooklyn, New York, Silver Tongue is a full-scale realization of the world Scott has created over TORRES last few albums. Even when singing in more subdued tones, Scotts voice is fervent, her lyrics stirring and unyielding as she draws from both the divine and the everyday.

Its also the first TORRES record produced solely by Scott. After having shared production duties on her first three albums, the latter two alongside PJ Harvey collaborator Rob Ellis, she found the process liberating: I made exactly the record I want, and it feels very me.

Silver Tongue fastidiously chronicles the impulses that make up desirefrom the dreamy first blushes of infatuation through the slightly terrifying wonder that accompanies connection with another. In between, Scott wrestles with the highs and lows of what being in love might mean over heady guitars and swirling synths. This is immediate in album opener Good Scare, which details the courage one finds when chasing the person of ones dreams: When you said you couldnt swing it, you gave me a good scare for a minute there I had never seen that look from you before You were eyeing all the exits.

While potent vocal hooks punctuate songs like the sparkling Dressing America, which combines New Wave glitter with hovering frustration, and the brooding Good Grief, which gently pokes at the idea of fetishized sadness, the knottiness lurking underneath reflects Scotts real-time processing of her emotions while making the record.

I was trying to make sense of things as they were happening to me, she says. Its more difficult for me to examine something clearly enough to write about it when Im in the middle of it, and yet thats what it demands. Youve got to see things for what they are if you want to make truthful observations about them. When youre writing about the past, you can manipulate it a little bit to fit a narrative, clean it up sometheres less room for bending the present. This desire to stick to the truth manifests in her lyrics, from the exposed longing of Records of Your Tenderness (I cant get one word in front of the other You know my minds an overgrown orchard Oh, I do not want this to be over) to Two of Everything, the blistering letter to her lovers lover (To the one sharing my lovers bed Do you hold her when she sleeps Does she also call you Baby You should know she calls me Baby).

Silver Tongues musical world is vast and at times seemingly infinite. Edge-of-the-world synths add gravity to the vulnerability of Two of Everything, and refracted guitars offer a gnarled counterpoint to Scotts increased determination at the end of Last Forest. On Gracious Day, one of TORRES most forthright love songs, Scotts voice hovers over a starlit landscape in a way that transcends the mundane and enters the otherworldly as she sings, Gracious day You moved in like a wave of quiet grace No surprise Honey, Im gonna love you all my life.

TORRES music has long navigated the space between the physical and the metaphysical, and Silver Tongue faces that conflict head-on, examining the ways in which the actions of others can stir up deep-seated feelings and seemingly alter the space in which one exists.

Have an issue with this listing? Report it here.
playlist Close
- Playlist
Click Click