POLYIMAGE OF KNOWN EXITS

I initially considered Tartar Lamb's second album to be the second incarnation of Kayo Dot's Coyote. Bass harmonics, tortured melodies, growlingly distorted deep tones, and a general malaise of despondence make Polyimage of Known Exits an apt choice for a gloomy day. However, this album exhibits a wider range of jazzier fare and no tormented vocals. Overall, it is not a brilliant album, but others say it is, and I cannot deny that it is interesting and unique- I revisit it from time to time.

"1st Movement" The first movement weaves many of the aforementioned techniques, and employs a wailing saxophone and moody synthesizers.

"2nd Movement" There is even more minimalism here. The aspects that are present- animalistic noises akin to birds- are sparse and different. A bass solo over a lonely atmosphere leads to static and dark whispers. The second half changes shape, with mutated wind and brass instruments whirring over a languid, dingy bass.

"3rd Movement" The jazziest section of the album, this brooding, lonesome piece is full of sad, tired emotion. It grows livelier toward the end, but also more cumbersome and awkward.

"4th Movement" The final movement is as unhurried as the rest, using long, sustained notes to create a dreary, sleepy impression. Slightly before the midway point, the piece perks up in its own gloomy way, largely due to Mia Matsumiya's sweet violin.