Big Thief

Two Hands

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  • 男人的天堂东京热!一起射一起撸美联储恐引降息潮 新一轮宽松怎样影响加密货币市场

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      雲瑯有一樣本事是大漢人無論如何都無法企及的。   輕徭薄賦是拿來收買早就成為自由民老油條的漢人的,他們會心安理得的享受自己的權力,而奴隸還是算了。男人的天堂东京热!   “咚咚咚……”一起射   何愁有很想看雲瑯是如何執行他的計劃的,沒想到雲瑯卻沒有去找郭解,反而召集了居住在軍營附近的一大群羌人婦人來到軍營。   “把他們變成漢人也就是了,過上一兩代人,誰還記得他們自己是羌人?我馬上要頒布的法令,就是要摧毀羌人這兩個字對他們的影響。”一起撸   雲瑯想了一下,就對屋子里的甦稚道︰“想說話了就來找我,給你煮面吃,不是白天吃的那種。” Following quickly on the heels of the spacey, artful U.F.O.F. -- by five months, to be exact -- Big Thief's fourth long-player, Two Hands, was recorded just days after its contrasting sister album. However, while U.F.O.F. was tracked at a wooded facility outside of Seattle, the band deliberately moved to the 100-plus-degree environs of a desert studio west of El Paso for Two Hands. The humid-versus-dry distinction makes for a convenient musical simile, as Two Hands commits to a crisper, more jagged sound on a rawer set of indie rock songs. Though less improvised-sounding on the whole than its predecessor, the loose Two Hands was recorded live with few overdubs by the same crew (producer Andrew Sarlo and engineer/mixer Dom Monks, though drummer James Krivchenia helped mix this time around). The album opens with "Rock and Sing," a short, lullaby-like introduction. Typically intimate lyrics from singer/songwriter Adrianne Lenker sound more stream of consciousness than composed on the track, with lines like "Hand me that cable/Plug into anything/I am unstable/Rock and sing, rock and sing." It's followed by catchier album highlight "Forgotten Eyes," which settles into the visceral, full-band folk-rock of Big Thief's earlier albums but with a distinctly immediate recording quality. (Though any such descriptions are relative in the case of this band.) Likewise living and breathing, the simmering "Not" has a slightly out-of-breath Lenker delivering near-constant lyrics alongside insistent drums, fuzzy guitar chords, and dissonant, impulsive guitar effects until the song breaks open into a sometimes-screeching jam just past the midway point. Other songs on Two Hands are memorable for different reasons, such as the quirkier guitar tones of the skittering "Two Hands," the folksy harmonies of "Replaced" (by guitarist/co-writer Buck Meek), and the stark tenderness of "Wolf" ("How you seem to follow through/On everything you yearn for"). While it's hard to talk about Two Hands in 2019 without the context of the stunning U.F.O.F., the album's quality stands on its own, offering its own grade of intimacy, sound, and feel for alternate moods.

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