Avey Tare & Krìa Brèkkan
Pullhair Rubeye

THE REVIEW

"Pullhair Rubeye"

1) Sis Around The Sàndmill
2) Opìs Helpus
3) Foetus No-Man
4) Who Welsses In My Hoff
5) Lay Lay Off, Faselam
6) Palenka
7) Sasong
8) Was ònaìp

After  the fruitful contribution to the Animal Collective in the composition of "Feels" (2005), the sweet Icelandic multi-instrumentalist Kristín Anna Valtýsdóttir (formerly of Mùm) marries David Portner, a member of the aforementioned Maryland band (vocals, guitar, pedals, keyboards, percussion). What usually comes from a loving union? The answer is not what you expect. From the two musician lovers comes an album, one of a kind in the world and destined to remain so forever, since the couple will have a short life.

The title already conjures up in the mind of those who are about to listen to it the image of the two at the moment of writing the songs: "Pullhair Rubeye". She twirls locks of hair, he rubs an eye from sleep, all while strumming high triads on an acoustic guitar that accompany melancholy minor piano tones. The childlike voice of Kría Brekkan and the finally "unplugged" voice from the equalizers of Avey Tare blend together, giving birth to a warm and blossoming acoustic sound of a picnic by the lake. At this point, one wonders: have they finally opted for a clean project devoid of flanger and rainsticks? Here I reveal the mystery: this time their experimental imagination set no limits, convincing them to produce the entire album in reverse. And here one judges in a different way. The content of the words no longer has weight, but the form gains much of it. The titles are discovered by interpreting the texts backward, as is the case with “Sis Around The Sandmill” or “Lay Lay Off, Faselam,” phrases that seem to appear on a tape that instead of unwinding rolls up. Here more attention is paid to each breath, to the form of the whole that is born from the unknown, from the opposite, nothing but conventional folk pop. "Pullhair Rubeye" played live, a bit "Winters Love" a bit "Ravine," is nothing more than the opposite of itself, the same recording split and at the opposite ends of the chromatic scale.

To bring it to another scope and show it through an example, suffice it to say that the two have declared to have been inspired by "Inland Empire" by director David Lynch, for the composition mentioned.