In parapatric speciation, where two populations diverge in adaptation to varied ecological niches without total reproductive isolation, a sequence of … More
Finger-picked arpeggios fall with the regularity and impersonal melancholy of rain, offset by a vocal delivery that is hesitant not in its phrasing, but in its timbre. The sound of this four-song EP is intimate, extremely close to the listener’s ear, and it is formed from the kind of performative gestures in which the proximity of the musician is most pronounced: this is sound as embodiment, its aesthetics rooted in an erotic of human frailty. Lyrically and melodically it is concerned with the concrete, with particulars, but it is an idea of the concrete that is as ephemeral as smoke and as fragile as eggshells – Calming River’s voice
This album, originally released in 1989, was for a long time the definitive answer to the question ‘what do Thinking Plague sound like?’ It was ten years before In Extremis presented a new line-up and a changing sound to the record-buying public (sans legendary founder-member Bob Drake) – and let’s face it, bands as daring and un-commercial as this tend to communicate with their audience more by the medium of recordings than by live performance. Cuneiform Records, with whom Thinking Plague have been since that follow-up, characterise this album as the band’s ‘stylistic coming of age’, and that certainly seems a fair …
Some songwriters tell it how it is, laying their raw emotion directly on the line with simple language and an impassioned delivery; others burnish their lyrics with so much metaphor and wordplay that we feel an ironic distance from their subjects, irrespective of the ostensible pathos they may describe; some give every impression of writing autobiographically (although as listeners we can never really tell); and others adopt overtly narrative strategies, putting distinct fictional characters into each song.