{"id":11105,"date":"2018-05-19T17:22:47","date_gmt":"2018-05-19T21:22:47","guid":{"rendered":"https:\/\/www.altwire.net\/?p=11105"},"modified":"2023-12-06T06:40:01","modified_gmt":"2023-12-06T11:40:01","slug":"album-review-tt-lovelaws","status":"publish","type":"post","link":"https:\/\/altwire.net\/de\/album-review-tt-lovelaws\/","title":{"rendered":"[Album Review] TT – LoveLaws"},"content":{"rendered":"

\u201cI need a little room to sway.\u201d<\/em><\/p>\n

Exquisite Corpse <\/em>is a tremendously beautiful piece of work. Be it the dreamy, lullaby tones of \u2018Billie Holiday\u2019, or perhaps the gorgeously absorbing layers of reverb drenching the guitar licks of \u2018Krimson\u2019, Exquisite Corpse<\/em> stands tall as one of the most enchanting debut EPs of any band, painting a perfect and crystal-clear representation of exactly what Kriegsbemalung<\/strong> had to offer.<\/p>\n

From then on, it was only going to grow further: the likes of The Fool<\/em>\u2019s \u2018Set Your Arms Down\u2019 or Kriegsbemalung<\/em>\u2019s \u2018Keep It Healthy\u2019 stand as two easy examples from two albums that were absolutely determined to mesmerize and delight, continuing the band\u2019s ever-persistent maturity in exploring new territory and expanding beyond the initial psychedelic\/art rock roots to broader horizons. This eventually culminated in the more radical shift in the band\u2019s style with third album Heads Up<\/em>, seeing the incorporation of a more up-tempo, pop orientated focus throughout much of the record and lead single \u2018New Song\u2019 being a far more synthesizer-laden affair compared to previous works. With this all in mind, it came as absolutely no surprise that vocalist\/guitarist Theresa Wayman<\/strong>\u2019s debut solo track \u2018Love Leaks\u2019 is as wonderfully eclectic as it is.<\/p>\n

Brooding and soulful, Wayman<\/strong>\u2019s first offering of solo project TT <\/strong>spends much of its time gently navigating the desperation of steadily losing something and realizing it may be too late: \u201cI knew when love leaked out of the bottom of my cup.\u201d<\/em> As a reintroduction to Wayman<\/strong>\u2019s identity as a musician, the hauntingly poignant admission of \u201cI feel like we\u2019re failing, I feel like I\u2019m waiting on you\u201d<\/em> and mournful ending chorus line \u201cI feel like we fucked up, I feel like we lost our love\u201d <\/em>allows a brutally personal side of Wayman<\/strong>\u2019s song writing to shine through. And this is exactly the course that much of LoveLaws<\/em> takes: it\u2019s honest and personal and wonderfully so.<\/p>\n

Take introductory track \u2018Mykki\u2019, for example: the album opens with pulsing, popping electronics that subtly grow throughout the track, while the chorus explodes in a longing outburst of \u201ctell me you\u2019re alive, make it feel right. You\u2019ve got tonight, make it feel right.\u201d <\/em>With the track ending in softly delivered, reverb-laden guitar licks that pierce through the mix and contrast the introductory electronics, \u2018Mykki\u2019 establishes the album\u2019s intended direction perfectly, and \u2018I\u2019ve Been Fine\u2019s dissonant introductory guitar work continues this immediately. Utilizing subtle atmospherics and minimalistic instrumentation, \u2018I\u2019ve Been Fine\u2019 sways back and forth quietly throughout much of its duration, until finally breaching the surface and plunging the track in gorgeously absorbing synthesizers and Wayman <\/strong>crooning a desperate mantra of \u201cwhy can\u2019t you be next to me? Why can\u2019t you be next to me?\u201d<\/em><\/p>\n

Elsewhere, LoveLaws<\/em> continues with \u2018Tutorial\u2019 with an entrancing mellow bassline and fragmented percussion, while Wayman<\/strong> drifts back and forth between confident observations of \u201cI\u2019m feeling you, what\u2019s my body saying <\/em>and hesitant vulnerability of \u201cyou\u2019re only my love and it\u2019s like you know my secrets. Know me in the dark.\u201d <\/em>Lyrically, this introspective and agonizingly personal delivery is entirely captivating, even on slightly more upbeat tracks such as \u2018Safe\u2019 and \u2018Take One\u2019. Introduced with the brilliantly raw \u2018Sassafras Interlude\u2019, \u2018Take One\u2019 continues the spirit of Ludivine Anneliz<\/strong>\u2019s striking observation of \u201chappiness is only found when you stop comparing yourself\u201d<\/em> with popping, snappy electronics, alongside hazy synthesizers and Wayman<\/strong> opening the track in a confident gasp of \u201cand so I feel open, let\u2019s go. I can be myself, I can be myself.\u201d<\/em> Again, \u2018Take One\u2019 displays a delightfully eclectic approach instrumentally, breaking away from the moody introductory electronics to embrace a direction far more akin to a jazz track; implementing a slick bassline and some of the rawest percussion seen on the album, the last third of \u2018Take One\u2019 sees Wayman<\/strong> at some of her most experimental and it\u2019s so charmingly wonderful because of it.<\/p>\n

An album born out of raw, blinding emotion with strikingly haunting lyrical content and exquisitely atmospheric instrumentals, LoveLaws<\/em> couldn\u2019t have been a more appropriate introduction for Theresa Wayman<\/strong>'S TT. <\/strong>From the elegantly sombre guitar work of \u2018Dram\u2019, to the soothing vocal layering of finale \u2018Too Sweet\u2019, this staggeringly memorable body of work grips the listener and takes hold instantly. Make no mistake, like Exquisite Corpse,<\/em> as much as it may delight in gentle, dreamy soundscapes, LoveLaws<\/em> deserves your utmost attention.<\/p>","protected":false},"excerpt":{"rendered":"

\u201cI need a little room to sway.\u201d Exquisite Corpse is a tremendously beautiful piece of work. Be it the dreamy, … Weiterlesen …<\/a><\/p>\n","protected":false},"author":75,"featured_media":11106,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"episode_type":"","audio_file":"","transcript_file":"","podmotor_file_id":"","podmotor_episode_id":"","cover_image":"","cover_image_id":"","duration":"","filesize":"","filesize_raw":"","date_recorded":"","explicit":"","block":"","itunes_episode_number":"","itunes_title":"","itunes_season_number":"","itunes_episode_type":"","ngg_post_thumbnail":0,"footnotes":""},"categories":[3],"tags":[],"class_list":["post-11105","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-reviews","generate-columns","tablet-grid-50","mobile-grid-100","grid-parent","grid-50"],"_links":{"self":[{"href":"https:\/\/altwire.net\/de\/wp-json\/wp\/v2\/posts\/11105","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/altwire.net\/de\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/altwire.net\/de\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/altwire.net\/de\/wp-json\/wp\/v2\/users\/75"}],"replies":[{"embeddable":true,"href":"https:\/\/altwire.net\/de\/wp-json\/wp\/v2\/comments?post=11105"}],"version-history":[{"count":0,"href":"https:\/\/altwire.net\/de\/wp-json\/wp\/v2\/posts\/11105\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/altwire.net\/de\/wp-json\/wp\/v2\/media\/11106"}],"wp:attachment":[{"href":"https:\/\/altwire.net\/de\/wp-json\/wp\/v2\/media?parent=11105"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/altwire.net\/de\/wp-json\/wp\/v2\/categories?post=11105"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/altwire.net\/de\/wp-json\/wp\/v2\/tags?post=11105"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}