By Elizabeth Wells

Suitably for their music, Twine operate a kind of virtual partnership, with one half living in Colorado and the other in Ohio, and their music hovers somewhere in between, in the digital no-man’s land of feedback manipulation and noise interference.

Twine have performed all over the US and recently also internationally, performing with acts such as Thomas Brinkmann, Mouse on Mars and Richard Devine, and it’s easy to see the parallels, although Twine are arguably even less interested than these guys in conventional sound structures. Many of their sounds appear to derive from more organic sources, and like Scanner’s early work, feature snatches of conversation and radio which are played with and distorted, giving the impression that their music is delving into the uneasy depths of your psyche. This is evidenced on the excellent Factor, a piece of edited brilliance, featuring chopped-up percussion, sampled conversation, staccato breaks which eventually form a kind of abstract subterranean breakbeat. Cign creates the effect of a train racing past and skitting on the rails, underpinned by an eerie atonal backwash that sounds like a ghost chorus. Many of the tracks cultivate a hypnotic effect, lulling you into a dream-like state because the sounds recreate something familiar to the brain, like dream language. So it is on Fine Music, where swells of sound build then die away, to be replaced by something yet more slippery and alien. It is impossible to actually concentrate on anything else whilst this music plays, so really it is worth just succumbing to the experience.
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