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Max Turnbull aka Slim Twig, lives on a different wavelength it seems, at least that’s how I would describe his music. Slim Twig, born in 1988 (he’s my age jeez) is a musician for multiple bands in addition to his solo project in addition to being an actor, most notably The Tracey Fragments with Ellen Page and scoring by Broken Social Scene.

Speaking of his music style, if there’s one thing you can’t fault in Slim Twig is his willingness to be creative or “weird”. I was big fan of the track of Whiite Fantaseee when now former writer Adam Morrison reviewed Vernacular Violence.

I’m surprised to see that not many American publications review this album as Pitchfork did at least review his EPs. As for reviews on Contempt!, I’ve heard mainly positive reviews from Exclaim, Eye Weekly and Chart except fellow blogger T.O. Snob giving it a 3.5 out of 10 (which I have to say I disagree with).

Slim Twig being from Toronto was labeled as Toronto’s best artist by Now Magazine. Which is a meaningless label since, who likes Now Magazine anyway? (kidding, I read the magazine though I’d wish their music section was better). Where the T.O. Snob cites and criticizes Slim Twig for being weird, at the same time critics are going to eat this up. You probably won’t find someone as unique as Slim, until you start throwing out names like Spencer Krug or the likes of Animal Collective and Panda Bear. In that sense, Sunset Rubdown and Animal Collective just isn’t for everyday and that could be said for Slim Twig. Besides it’s ironic if you have contempt for Contempt! .

Using a variety of samples and his Frank Zappa-like vocals (props to the girlfriend for that reference), Slim Twig’s Contempt is no easy ride. No one is probably mentioning the “New Weird America” genre, but Slim Twig should very well be given this label.

The album starts off with Young Hussies which seems like an angry track but gives you a sense of Slim Twig’s style. There’s rough sampling with rough vocals with tons of effects in the background giving a lo-fi feel while being incredibly complex. Slim Twig does explore the boundaries of music and perhaps the boundaries in which weird you out. Nonetheless, while being an oddball or bizarre, Slim Twig explores different samples throughout his album. Giving it a rough sort of fell while listening to the album (I’ve hard a tough time personally) but while he explores different music sonically, it really shows that he’s quite a talent. Most of his combinations seem to work (though at times it could either feel redundant or just a little too much) and he gives off a horror-thriller movie type of feeling. He can give you goose bumps but I can’t stop listening.

Rating: 4 out of 5
Slim Twig with this record sets out to create a masterpiece, while he fails in this regard and may alienate a few listeners. I was thoroughly entertained.

As for favorites, it’s a tough one. I like a lot of tracks despite a lot of them being abstract. (I have an inkling to write a boat load more to justify the score, you’ll just have to take my word for it now)
Young Hussies by Slim Twig
Gate Hearing! (Redux) by Slim Twig
Photo from Exclaim Magazine.

Previously:
#76-100

Next in the series:
Part 3: #26-50
Part 4: #1-25

Numbers #51-75:
#51 Creator by Santogold w/ Switch and Freq Nasty (myspace/video -unofficial was canceled?)
The intro is risky, brave and wildly effective.
#52 Crystal Stilts by Crystal Stilts (myspace)
A song should be good if it’s your band name.
#53 I Wish I Could Keep You by Little Pictures (myspace/live)
This song makes me wish I was a kid again.
#54 In The Kitchen by The Pomegranates (myspace/live -poor visual quality)
A song I want to play on the guitar.
#55 Never Miss A Beat by Kaiser Chiefs (homepage/video)
The kids on the street, are scary! Shiiet.
#56 Death To The Los Campesinos! By Los Campesinos! (myspace/video)
“I’ll be control-alt-deleting your face with no reservation”.
#57 Marry Me Annie by Matthew and The Arrogant Sea (myspace)
Hey Annie, I’m serious, MATAS is a great band.
#58 Whiite Fantaseee by Slim Twig (myspace)
How about an Asian fantaseee?
#59 Dance Dance Dance by Lykke Li (myspace/live with Bon Iver)
Lykke Li’s hips lie and she’s shy. I’m in love.
#60 Galaxy Of The Lost by Lightspeed Champion (myspace/video)
Emmy The Great makes this song gold. Weird video.
#61 Skinny Love by Bon Iver
Bon Iver should try BBW. Morbidly Obese Love anyone?
#62 Good Time by Brazilian Girls (myspace/video)
I just want to have a good time too.
#63 Can’t Shake It by Kate Miller-Heidke (myspace/video)
I can’t dance either though this song is danceable…
#64 New Soul by Yael Naim(homepage)
I’m a new ipod product with a new catchy song.
#65 Boneless by The Notwist (homepage)
Great song off a slightly disappointing album.
#66 Shadow Falls by Hello, Blue Roses (myspace/live)
Awesome duet, too bad they were bashed by Pitchfork.
#67 Get Better by Mates of State (myspace/video)
“Forget your politics for awhile”. 2008 was a tough year.
#68 Xavia by The Submarines (myspace)
The Submarines don’t let me down in this song.
#69 Home Sweet Home by Those Dancing Days (myspace/video)
A perfect holiday song.
#70 Not Your Savior by Peasant (myspace)
Peasant keeps it honest, leave him alone.
#71 Call It A Ritual by Wolf Parade (myspace)
I enjoy Spencer Krug’s metaphorical writing.
#72 Black Rice by Women (myspace/live)
Best Song that ends in a whimper.
#73 The Rip by Portishead (homepage/video)
Just beautiful.
#74 That’s Not My Name by The Tings Tings (myspace/video)
Wait..what is her name again?
#75 Gila by Beach House (myspace/live)
Giiiiiiiiillllllllllllllllllllllllaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa.

After some self-releases, Slim Twig signed with Paper Bag Records to release the Derelict Dialect EP on April 1st, followed soon after by this EP. He describes his own genre as “concrete rockabilly,” but Slim Twig’s music is unlike anything I’ve heard.

The music here creates atmosphere using a variety of subdued techniques. “Brothl Hunting” sounds like a group of computers approximating a rockabilly rhythm, “Street Proposition” brings to mind the image of the house band of a dark saloon playing a beat that never changes, while acoustic guitars and sustained synth lines create an organic and slightly sinister backdrop in “Tormen.” Throughout all, there’s an unmistakable notion that it’s all for show—You’re supposed to feel a certain way while experiencing the music, not taking the specifics seriously. every sound serves the final product, and the components are not meant to be analyzed.

The vocals are interesting, too—Slim Twig has a borderline storytelling style, although the lyrics paint pictures as opposed to anything linear. Much of the lyrics are hard to catch, which makes the snippets here and there even more baffling. His voice isn’t particularly musical, but he exudes a kind of charisma—imagine the kind of person whose conversation you barely overhear from a nearby table in a restaurant, and you incline your head towards them without realizing you’re doing it.

I love every song on this disc, but “Whiite Fantaseee” is the standout. It’s about as epic as unbombastic songs come, reaching its peak and then maintaining it for what seems like forever, before continuing to progress. The vocals disappear as instruments and noises are added, and when Slim Twig’s voice reappears … It sounds as caught up and lost in the song as the listener. “Whiite Fantaseee” runs just long enough for one to gain everything possible from the experience of listening to it. It is evidence that sound can tell a story and generate feelings without any literal reference points. In this way—and the following comment applies to the whole album—Slim Twig shares stories that are unopinionated and unfiltered.

Bottom Line: Toronto musician Slim Twig is an artist. Vernacular Violence is an audio recording, but it’s as cinematic as any movie, as entrancing as any painting, and as captivating as any book. I’m not often prone to cheesy simile wen describing music, but I’m not often this impressed.

Buy this album

Whiite Fantaseee by Slim Twig