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And the combination of Rosser’s Southern grease and Skibic’s guitar acrobatics kept astounding me.
Skibic is a master of atmosphere: the sounds he makes on ‘Oriole’ are like a cosmic smoke machine.” The Afghan Whigs’ soul side also rises to new heights on he truly harnesses their soul power on songs like “Toy Automatic.” “I brought the horns in on ‘Toy Automatic’ for emotional devastation,” Dulli explains.
“Birdland” commences , however, goes even further, probing the unconscious self to its fullest metaphysical extent.
“There’s a difference between nostalgia and connecting with your past,” Dulli notes.
“Greg’s reached a place where he can now say more with less,” Curley says. “The way the album sounded as it took direction was a surprise, but then with Greg, it always is,” says Curley.
“Having a break from the Whigs helped me remember what made it so rewarding,” Curley continues.
– the forthcoming album by The Afghan Whigs, from which the new song “Oriole” hails – is defined only by its own mystical inner logic.
The term means to divine, in a supernatural manner, a prediction of destiny from the random casting of lots: the throwing of dice, picking a card from a deck.
Every record I have a favorite child, and ‘Toy Automatic’ is that here.
also reveals a new, brutalist minimalism to Dulli’s wordplay: lines like “Don’t you cum when they come for me” and “Taste your fear/They rely on volunteers” (both from “Arabian Heights”) succinctly distill the vivid, paranoiac eroticism he’s become famed for. Watching him upped my quality control, and opened my eyes to the absolute joy and necessity of self-evolution.” As such, while tracks like “Light As a Feather” exude the rhythmic tension and psychosexual aura of signature Whigs numbers like “John the Baptist,” other songs fearlessly enter completely uncharted waters.
“For the last few years, I’ve been in touch with the younger me: I clearly don’t want to get too far away from that kid.