A firm acoustic fixture for both Jose Gonzalez and Johnny Flyn, James
Mathé’s transition from folk troubadour to Casiotone Casanova
has been a brave one.

After largely dropping the six-string in favour of keyboards, drum machines and analogue synths, ‘Bloodlines’ marks the reinvention with mournful,
soul-affected electronica made for deep, quarter-life crisis moments of

Shades of Junior Boys’ unrequited whisperings, Trailer Trash Tracys’ reverb drench, and Active Child’s wrenching, piano-laden emotion help make it an album designed to pull at the heart-strings,

the sombre pop of ‘The Load’ and swimming melodies of ‘Butterfly Prague’ doing so beautifully. Barbarossa

Elsewhere ‘Pagliacco’ comes alive with chunky !!! inspired
bass but quickly softens out, and ‘Turbine’ hits with Dirty Projectors’
offbeat jerk.

Gentle and pensive, this is one for the sensitive souls

Likewise, Lynch’s proclivity for routine, familiarity and ordinariness are his creative triggers for the opposite: the mind-meltingly surreal, the scattered, unfamiliar and the bizarre.

“I like things to be orderly,” he once said.

“For seven years [every single day] I ate at Bob’s Big Boy.
I would go at 2:30, after the lunch rush. I ate a chocolate shake and four, five, six, seven cups of coffee with lots of sugar.”

Lynch perhaps most perspicaciously captures this process.

“I like the idea that everything has a surface which hides much more underneath.

Someone can look very well and have a whole bunch of diseases
cooking: there are all sorts of dark twisted things lurking down there.

I go down in that darkness and see what’s there.
Coffee shops are nice safe places to think. I like sitting in brightly lit places where I can drink coffee and have some sugar.

Then, before I know it, I’m down under the surface gliding along; if it becomes too heavy, I can always pop back into the coffee shop.”

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