Lovesliescrushing: Voirshn (CD)


SKU: PRO00140. Categories: , , , ,

Product Description

  1. glixen
  2. riuj
  3. sovfx
  4. teguei
  5. ckaif
  6. juhl
  7. onovi
  8. shivon
  9. ronea
  10. vihygen

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Lovesliescrushing’s 2002 release

On Voirshn, Lovesliescrushing continues their trend further from the traditional rock elements that characterized earlier dream pop bands. From the beginning, instrumentalist Scott Cortez and vocalist Melissa Arpin distanced themselves from the genre by rejecting conventional song stuctures in favor of an intensified version of the meandering sound that was forcefully inaugurated by MBV’s classic Loveless. In Lovesliescrushing, this aesthetic has gradually approached pure ambience. Nevertheless, their typically warm guitars counterveil this tendency even with the absence of percussion and song structure. On Voirshn, their 4th recording, both are either minimal or entirely absent; wordless female vocals drift in and out while ‘electronic beats’ – guitarnoise softened by semi-lo-fi production – occasionally interrupt a wash of guitar. Although consistent in style, the album avoids sounding like one continuous song through adequately diverse guitar sounds ranging from the lush vibrant tone of the opening track ‘glixen’ to the subdued quasi-detatched feel of ‘sovfx’. Overall, Lovesliescrushing continues to exist between the worlds of shoegazer and ambience, although the ascendant former has once again conceded to the latter. This is pure glitch-bliss.

Lovesliescrushing. [Voirshn] is a synthesis of processed ambient gloss and lo-fi grit, creating a digital-analog hybrid that Scott terms ‘glitch-bliss’. Songs were compiled from a palette of sonorities extrapolated from a collection of voice and guitars, warped into rumbling subsonics, staticblast hiss, hazy chord clusters, extended infinite tone loops, melody spirals, avian-like whistles, glistening overtones, voices cut-up into splintered fragments, thoughtforms suspended over warm tonesheets like a ghost cloud, indistinct and luminous. Still eschewing bass and drums, rhythmic elements are culled from filtered guitar tones mutated into stroboscopic pulsations and digital dust clickings. Once again guitardamage is wrought upon six-strings, manipulated, deconstructed, reassembled to create bloodrush pulses reminiscent of a softly humming embryonic landscape of digitized lullabies.

This item is out of print, and here for historical reasons.

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Additional information

Weight .3 lbs


Release Year





  1. padmin

    A review by Ned Raggett from All Music

    After semi-disappearing via obscure rumors and Scott Cortez’s Astrobrite side effort, Lovesliescrushing made a long overdue return with Glissceule and then via Projekt with the wondrous Voirshn. Nearly ten years on from the spectacular Bloweyelashwish debut, Cortez and singer Melissa Arpin-Henry show once more that the particular magic of the duo is ever present. Cortez has more technical toys to play with this time out — everything is mixed onto his iMac — but the basic principle of four-track bedroom recordings translated into stunning post-shoegaze remains. If there’s a bit less of a rough edge on many of the songs, it’s only because Cortez has gotten ever more detailed with the sound. The swooping swirls of “Glixen,” feeling like a candy-colored storm on the moodiest day ever, and “Anovi,” with its ghostly droning shimmer, are just two examples of where everything the band can offer not only comes together but reaches a new height of transcendent beauty. Arpin-Henry’s ghostly keening, swathed in echo but a soothing center to much of the looped music, is an excellent counterpoint; while she’s not on every track, whenever she appears she adds a greater depth to the end results. On “Juhl,” her high, from-the-heavens vocals come flowing down over a series of low rumbles and distortion, the two elements perfectly balanced. Many songs feel like collages — not so much assembled in a random sense, but put together in parts that result in complicated constructions that are less traditional songs and more detailed mood pieces, like the mournful, transcendent build of “Ckaif.” The multi-part “Nuj,” with its percussion pulses and sudden descending feedback reverb blasts, and the combination of crackling feedback rhythm and swoon combined with Arpin-Henry’s chopped-up vocals on “Shivan” are two other fine examples out of many.

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