Album Review: Vanishing Twin-Ookii Gekkou (2021, Fire Records)

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Album Review: Vanishing Twin-Ookii Gekkou (2021, Fire Records)

Posted on

9 Nov 2021

by

Gary

I cannot even begin to write about the ironically apropos and prescient title of Vanishing Twin’s second album. At least not with a straight face. Somewhere a masonic temple’s granite eyeball finial must have been struck by black-and-white lightning and gained access into a colorfully rich, well-marbled dimensions.

Given their well known habits for experimentation, I think I could be similarly excused in such synesthesia. Co-mingling ready-made genres and samples into beautiful Frankensteins is, after all, air and water to Vanishing Twin. Coming on the heels of that 2019 album The Age of Immunology, their third such exploration switches from French to Japanese kookiness. Ookii Gekkou starts with an ostensibly odd but oddly-working merger between ’60s/’70s movie soundtrack and full lyrical song.

Busier, more vocal (not just in voice but tone) and more esoteric in comparison to Age of Immunology, Ookii Gekkou resembles a circus freak show in the best positive meaning of that term. With less thematic cohesion, the tracks have individual personalities like they busted out of a soundtrack from an Italian psycho movie on schizophrenia. I kid of course, about the country of origins for the brand of weirdness – the band is based in London. But if we are after a dose of stereotypical minor key hijinks, “In Cucina” does have that and some. Together with the album’s namesake “Big Moonlight”, it bookends a first phase of the album that has fresh, propulsive notes. Ookii then offers a more familiar imprint from Age seemingly designed to please previous fans, and almost as if on-cue, submerges into more electronica territory thereafter. While never trite, it is also never predictable. It is delightful to discover that genuinely enjoyable, not just artsy-fartsy, music can erupt this way.

On the notes of “Phase One Million”, then, I will be glad to return to my insouciant and carefree stroll (indoors) while chewing on marbled beef tacos de ojo, however ill-advised that might be. And on the fact that both this and the other album reviewed this week featured pink covers, I have no comment.

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