Twist Again

Chronique

On their earlier albums, the L.A.-based Bodies of Water went for an expansive, Arcade Fire-via-Polyphonic Spree kind of sound, with grand arrangements, ensemble vocals, and an everything-but-the-kitchen-sink aesthetic. For 2011's Twist Again, however, the group -- still based around multi-instrumentalist David Metcalf and his wife Meredith -- have changed things up a bit. For one thing, they've pared down their sound, in terms of both production and material. The songs they've come up this time around work on a smaller scale, largely devoid of their older recordings' big, bold gestures, and the arrangements operate accordingly, retaining an artful, elegant touch but generally utilizing a less-is-more approach. Interestingly, this sonic volte-face seems to have empowered the band to branch out in different stylistic directions as well. In fact, Twist Again is actually something of a schizophrenic outing. With its pulsing, minimalist motifs, opening track "One Hand Loves the Other" achieves a kind of Philip Glass-goes-indie-pop feel, while David Metcalf's deep, David Bowie/Nick Cave tones take "Mary, Don't You Weep" to a place somewhere between those two reference points. "Rise Up, Careful" begins as a spare, loping, jazz-tinged ballad before picking up the pace at the coda. "Like a Stranger" boasts an indie-disco groove, and "Lights Out Forever" and closing cut "You Knew Me So Well" are among a number of hushed, ethereal tunes whose gentle intimacy would have probably seemed wildly out of place on the last couple of Bodies of Water albums. While those who miss the band's old orchestral pop sound may cavil, Twist Again represents the opening of a promising new path for Bodies of Water.
© J. Allen /TiVo