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Tu Fawning

Secession

(Polyvinyl; US: 8 Jul 2008; UK: Available as import)

My roommate pointed me towards Tu Fawning back when they were just a name and a demo recording of “I’m Gone”. That was all it took. Wearing out the grooves on that MP3 we knew we’d hit some kind of magic: sparse, spooky, textured with voice and motif. Shortly thereafter the core duo (of many-project-involved Portlanders Corina Repp and Joe Haege) expanded to a quartet and issued 200 copies of their debut 12” on the Discourage label. This tiny release apparently enticed the alert folks over at Polyvinyl enough to re-release it, both as a 12”, and, for the first time, on CD. Given a full studio session to expand and embellish the unease of those early demos for the original release, Tu Fawning have only heightened their rich sense of dramatic tension. The songs end up feeling distinctly Gothic, not in the eye-liner-and-angst sense we’ve had since the ‘80s, but more in the 18th century literary sense, of mysterious disquiet and bookshelves that spin to reveal previously unimagined intrigue.

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Related Articles
31 Jul 2012
This Portland-based foursome has released one of the year's deepest, most emotionally resonant records, although you wouldn't know it from these 20 Questions, wherein singer Corrina Repp tells us about wanting to dine with John C. Reilly, the magic of Moab, UT, and how she acquired a deaf cat named Jazz Hands.
21 May 2012
Much of A Monument treads the same epic path that is reigned over by the Arcade Fires and Radioheads of the indie rock world. And while Tu Fawning never quite reach the same heights of grandeur as these masters of the form, their ambition and their technical prowess results in an album that reveals further depths with each listen.
By PopMatters Staff
5 Oct 2010
Portland's Tu Fawning have developed a sophisticated and mature sound that draws from the noirish elements of Tom Waits, the textures and moods of Portishead, and '20s and '30s big band tunes and folk music.
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