Tamaryn, “Cranekiss”

Perhaps it has something to do with her intimate understanding of shoegaze’s moody fluctuations (as seen within her previous releases), but there’s a disturbing danger inherent to “Cranekiss.”
Reviews
Tamaryn, “Cranekiss”

Perhaps it has something to do with her intimate understanding of shoegaze’s moody fluctuations (as seen within her previous releases), but there’s a disturbing danger inherent to “Cranekiss.”

Words: Michael Wojtas

September 10, 2015

Tamaryn - Cranekiss - Album ArtTamaryn
Cranekiss
MEXICAN SUMMER
5/10

CranekissTamaryn’s third full-length album—features clearer vocal takes, sensually obsessed lyrics, and a newfound reliance on synths and samples. Additionally, it’s singer-songwriter Tamaryn Brown’s first LP to feature contributions from Weekend frontman Shaun Durkan and producer Jorge Elbrecht. Despite these surface changes and external influences, the essence of Tamaryn’s music has managed to remain mostly intact. Perhaps it has something to do with her intimate understanding of shoegaze’s moody fluctuations (as seen within her previous releases), but there’s a disturbing danger inherent to Cranekiss. It’s as if the album is perched on the precipice dividing sweet and sour and constantly remains in danger of tumbling down either side. Songs like “Hands All Over Me” and “Sugarfix” slide into the pop world in a jarring fashion, but thoughtful numbers like “Fade Away Slow” and the LP’s title track remind you of Brown’s talent. While it seems like her noisy roots have been smoothed out by the shiny allure of mainstream pop, Cranekiss shows that Brown still has a few sonic quirks worth discovering.