Percussion trio Tigue blend experimental percussion with complex composition. Info
Brooklyn-based experimental percussion trio Tigue have found a lot of different ways to mess with the line between rhythm and melody. The three long tracks on Tigue's latest release, the new Strange Paradise, are ruminative and quiet explorations of sound, which settle into grooves that slowly alter as percussive elements fall in and out. Their 2015 release Peaks more often leads into explosions of precise noise. The opening track, "Crane" is all snares, cymbals, cowbell, bass drum, and steady clicks, revealing a surprising tapestry of textures and moods all drawn from hitting various objects with sticks. Later in the album, a synthesizer is added, mostly playing droning chords over which the percussionists develop hooks and patterns, flipping the script on songwriting that typically has the drumkit laying down the background.
While Tigue describe their music as "minimalist," their songs usually contain multiple layers and distinguishable movements, and they're fond of starting from simplicity and working up into a rhythmic explosion. A poppier highlight of Peaks is "Mouth," on which the synths, supported by clear, ringing bells, beat out a rhythm that's both percussive and melodic, and the drum-set takes on its traditional rhythm-setting role again, even as its various surprising emphases and fills provide the centerpiece of the track. Madisonian experimental musicians Carbon Bangle and Erik Kramer open. —Reid Kurkerewicz