Fourth Corner. Physisch der Ort an dem vier Staaten sich kreuzen in den USA. Symbolisch dort wo in China die vier großen Flüsse zusammenfließen zu einem noch größeren gewaltigen Strom. Oder es beschreibt den Zyklus des Lebens mit seinen vier Jahreszeiten. Für Trixie Whitley aber ist es eine Metapher für den Versuch das Gleichgewicht zu finden und eine Zugehörigkeit über ihre Songs, jene die ihr schillerndes Debüt-Album ausmachen, Fourth Corner.
Perhaps the thing that’s most striking about Delphic’s second album isn’t that it’s a quantum leap forward from their debut. It is – produced by former DFA man Tim Goldsworthy and Ben Allen, whose previous work takes in everything from Animal Collective to Bombay Bicycle Club, it forsakes the very Mancunian, rain-spattered dance-rock of Acolyte in favour of a whole new raft of influences and sounds.
Taking a tangential turn away from solo home-recording of past releases toward the more collaborative environment of the studio, Ducktails' Matt Mondanile roped in close friends and colleagues to make something more adventurous yet easy-going. The ten songs on The Flower Lane move across a range of expressive pop songs that are bright and expansive, but venture even further with forays into saxophone leads, synth lines and piano accompaniment that would have been at home on the early records of sophisticated guitar pop icons such as Aztec Camera and Prefab Sprout.
“It was exciting,” he says, “it filled me with hope for limitless possibilities and I realized I’d had a similar feeling when I first put the band together for the last two tours.”. Mark Oliver Everett (aka E), EELS recorded “Wonderful, Glorious“ at Everett’s new Los Feliz, CA studio. Dubbed “The Compound,” the new space invigorated Everett’s writing process.
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