Princ€ss
Label: Wherethetimegoes
Format: LP
Genre: Electronic, Experimental
$36.99
Out of stock
Taken from Boomkat: “Bit of a special one this; described as an avant-pop supergroup involving “serious legends”, Princ€ss land a strong debut album of modified shoegaze x ambient chamber musick slotted somewhere between Hysterical Love Project, Kevin Shields, A.R. Kane and Astrid Sonne, and tipped if yr on the spectrum between any of those trip/dream-pop integers.
OK what’s the craic here, then? As far as we can tell, Princ€ss are somehow related to shadowy label wherethetimegoes and wish to keep their identities lowkey, a thing that’s quite obviously gonna only encourage speculation. Their self-titled first album is a delicacy evidently crafted by artists who know their way around a song, and likewise happy to mess with the form, deploying perfectly half-cut structures with a gauze of illusive woo that keeps everything ideally out-of-reach, and everyone guessing in the spaces between. The effect is as palpable yet intangible as a shifting barometric pressure front on the mind, leaving you light-headed as the music proceeds to hit levels of weirdo sensuality.
Perhaps best described as waking dream-like, Princ€ss have us hanging by a silvery thread for the duration. They instantly pull us in with the fluttering electronic thrash and soured fiddle in a keening instrumental lament ‘Crying’, setting up a run of songs, proper, with something like Salem meets Hysterical Love Project in the slackened slowcore genius ‘Point of View’, and the scalp-tingling dematerialisation of languid guitar sublimated to pure, thizzing vapours with canniest compression trickery.It all beautifully unravels from there, with a gorgeous chamber piece for cello, harp and electronics ‘Hoist Point’ leading to the serotonin-scrape iridescence of ’Shining Star’ into the emo succour of ‘In My Head’, the pigbaby-like blooz of ‘Last’ and a stunning bit of wild flute abundance on ‘In The Morning’, reminding us of Peter Gabriel and Laurie Anderson’s ‘Excellent Birds’, as if produced by Vegyn.A perfect soundtrack to crawling out of hibernation for spring, consider us fully hooked.”–Boomkat
OK what’s the craic here, then? As far as we can tell, Princ€ss are somehow related to shadowy label wherethetimegoes and wish to keep their identities lowkey, a thing that’s quite obviously gonna only encourage speculation. Their self-titled first album is a delicacy evidently crafted by artists who know their way around a song, and likewise happy to mess with the form, deploying perfectly half-cut structures with a gauze of illusive woo that keeps everything ideally out-of-reach, and everyone guessing in the spaces between. The effect is as palpable yet intangible as a shifting barometric pressure front on the mind, leaving you light-headed as the music proceeds to hit levels of weirdo sensuality.
Perhaps best described as waking dream-like, Princ€ss have us hanging by a silvery thread for the duration. They instantly pull us in with the fluttering electronic thrash and soured fiddle in a keening instrumental lament ‘Crying’, setting up a run of songs, proper, with something like Salem meets Hysterical Love Project in the slackened slowcore genius ‘Point of View’, and the scalp-tingling dematerialisation of languid guitar sublimated to pure, thizzing vapours with canniest compression trickery.It all beautifully unravels from there, with a gorgeous chamber piece for cello, harp and electronics ‘Hoist Point’ leading to the serotonin-scrape iridescence of ’Shining Star’ into the emo succour of ‘In My Head’, the pigbaby-like blooz of ‘Last’ and a stunning bit of wild flute abundance on ‘In The Morning’, reminding us of Peter Gabriel and Laurie Anderson’s ‘Excellent Birds’, as if produced by Vegyn.A perfect soundtrack to crawling out of hibernation for spring, consider us fully hooked.”–Boomkat
