Black Swan [Deluxe Edition]

The Black Swan [Deluxe Edition]

by The Triffids
     
 

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The unpredictability and diversity of The Black Swan undoubtedly challenged longtime Triffids fans. With producer Stephen Street, the band trades Calenture's wide-screen orchestrations and grand-scale arrangements for a more direct, more honed sound, also making greater use of the burgeoning digital technology of the late

Overview

The unpredictability and diversity of The Black Swan undoubtedly challenged longtime Triffids fans. With producer Stephen Street, the band trades Calenture's wide-screen orchestrations and grand-scale arrangements for a more direct, more honed sound, also making greater use of the burgeoning digital technology of the late '80s. And while previous Triffids albums were never homogeneous, on The Black Swan strikingly disparate stylistic elements rub shoulders, sometimes during the same song, from opera to funk to jazz to rap and hip-hop. Frontman David McComb saw the potential of rap and hip-hop to reenergize rock's increasingly dull, uniform idiom and several numbers blend genres in modest but prescient ways. Funky electronic beats, synths, guitar loops, and sampled horns weave through "The Spinning Top Song" and McComb raps, after a fashion, on "Falling Over You." His eclectic vision finds many expressions here: "One Mechanic Town" gallops along with Morricone-esque western flourishes, "The Clown Prince" suggests cabaret music, mixing accordion-driven tango with Rita Menéndez's operatic vocals and there's a hint of '50s pop about "Fairytale Love." Elsewhere, Jill Birt's little-girl voice and an electronic sheen make "Goodbye Little Boy" one of the band's purest pop statements. While the Triffids explore new ground and refuse to settle into a formulaic identity, the one constant here is the strength of McComb's songwriting, which displays new levels of confidence and adventurousness. Indeed, the evocative "Too Hot to Move, Too Hot to Think," the austere, spooky "Blackeyed Susan," and the moving, country-flavored ballad "New Year's Greetings" are career highlights. The Black Swan isn't the band's most consistent, seamless statement; like its namesake, the album is a curious, contradictory beast with nomadic tendencies. Above all, it offers a fascinating glimpse of the myriad directions the Triffids might have taken, had this not been their swan song. [Domino's 2008 reissue goes some way towards honoring McComb's initial concept of The Black Swan as a double album, integrating tracks omitted first-time around and revising the running order. Although "Go Home Eddie" and "Shell of the Man" are superior to some of the original material, the expanded, restructured version doesn't change the album's overall character or quality. It does, however, provide further evidence that McComb was enjoying a period of exceptional productivity, working deftly with an overflowing palette of ideas. The reissue also includes a disc of demos, giving insight into the development of the songs.]

Product Details

Release Date:
06/17/2008
Label:
Liberation Blue
UPC:
9325583048845
catalogNumber:
138
Rank:
149791

Related Subjects

Tracks

Disc 1

  1. Too Hot to Move, Too Hot to Think
  2. American Sailors
  3. Falling Over You
  4. Goodbye Little Boy
  5. Bottle of Love
  6. Go Home Eddie
  7. The Spinning Top Song
  8. Butterflies into Worms
  9. Can't Help Falling in Love
  10. New Years Greetings
  11. Good Fortune Rose
  12. Shell of the Man
  13. One Mechanic Town
  14. Jack's Hole
  15. Blackeyed Susan
  16. You Minus Me
  17. The Clown Prince
  18. Fairytale Love
  19. How Could I Help But Love You

Disc 2

  1. Too Hot to Move, Too Hot to Think
  2. American Sailors
  3. Why Don't You Leave for Good This Time
  4. Bottle of Love
  5. The Spinning Top Song
  6. Butterflies into Worms
  7. New Years Greetings
  8. Good Fortune Rose
  9. One Mechanic Town
  10. Jack's Hole
  11. Blackeyed Susan
  12. You Minus Me
  13. The Clown Prince
  14. Fairytale Love
  15. (You've Got) A Funny Way of Showing You Love Me
  16. No More After You
  17. In the Dark

Album Credits

Performance Credits

Triffids   Primary Artist
Martyn Casey   Bass,Background Vocals
Jack Emblow   Accordion
Helen Kamminga   Viola
Evil Graham Lee   Acoustic Guitar,Banjo,Electric Guitar,Keyboards,Background Vocals,Noise,Classical Guitar,Track Performer,Lap Steel Guitar
David McComb   Organ,Synthesizer,Acoustic Guitar,Percussion,Piano,Glockenspiel,Electric Guitar,Keyboards,Vocals,Background Vocals,Human Whistle,Sampling,Track Performer,Soloist
Adam Peters   Organ,Bass,Piano,Track Performer,Electric Cello,Musician
Stephen Street   Shaker
Katherine Shave   Violin
Jill Birt   Organ,Flute,Keyboards,Vocals,Track Performer,Korg
Alsy MacDonald   Percussion,Cymbals,Drums,Tambourine,Background Vocals,Claves,Clavier,Sampling,Track Performer
Robert McComb   Guitar,Harmonica,Mandolin,Violin,Electric Guitar,Background Vocals,Noise,Track Performer,E-bow,Fuzz Guitar,Guitar (Tremolo)
Robert Woollard   Cello
Andrew Davis   Double Bass
Ross Bolleter   Accordion
John Metcalfe   Viola
Rita Menéndez   Maracas,Vocals,Background Vocals,Track Performer,Spoken Word
Phillip Kakulas   Acoustic Guitar,Bouzouki,Percussion,Glockenspiel,Electric Guitar,Tambourine,Background Vocals,Double Bass,Sampling,Snare Drums,Track Performer,Shaker,Guiro,Bazouki,Cabasa
Will Akers   Bass,Electric Bass,Background Vocals

Technical Credits

Luigi Creatore   Composer
Phil Kakualas   Engineer,Liner Notes
Evil Graham Lee   Liner Notes
Graham Lee   Liner Notes
David McComb   Composer,Producer,Engineer
Adam Peters   Composer,Programming,Loop
Stephen Street   Composer,Producer,Engineer,drum programming
Victor Van Vugt   Producer
Jill Birt   Composer,Programming,Engineer
Alsy MacDonald   Composer,Programming,Engineer,drum programming,Program Notes
Francois Tetaz   Reissue Producer
Ross Bolleter   Accordian Arranger
Naomi Neville   Composer
John Metcalfe   String Arrangements
Rita Menéndez   Liner Notes
James Paterson   Composer
Phillip Kakulas   Composer,Sound Effects,Engineer,Liner Notes

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