Last year we found the EP by Thalie Némésis to be a potent example of an artist trafficking in totemic power at a time when all of the power looks to be flowing away from each of us. The power in society as well as in the microcosm of human relations. Thalie isn’t going to accept this passively. Recently, she released the second half of her assault on those who would seek to diminish her and the “Catarsi Apotropaica” EP now exists as the first half of her new album for this year, “Dé(s)figurations. “Side one” of it; quite neatly. Having discussed that music earlier, we’ll take a look and listen to the rest of what comprises the new “Dé(s)figurations” album.
“Defixiones” was a French language collaboration with British synthesist Eva|3 and though the synth textures were thick flowing, they shared the sonic space with snarling, deepfuzz bass. Very appropriate for the song as defixiones were known in the Greco-Roman world as curse tablets to invoke the power of the gods over others which have persisted through the ages. While listening to this, one may hope that their name isn’t on such a tablet as the intensity and vehemence of Thalie’s vocal [and bass] made no mistake about the caliber of their fury.
The intensity seemingly abated as “Ruptures” proffered a calmer, more methodical delivery from the artist; now singing in English. The relentless, numbing thrust of the song spoke to the “taste of collapse” in the lyric as the intensity ramped up by the time of the song’s midpoint. Where the bass and drums heralded a full-bodied intensity from Thalie’s vocal and the music offered the echoes of ancient ululations as the ancient and contemporary united as the ragged bass marched into the song’s coda.
Tablas and languid guitar offered a respite in the vibrant “Face To Face [Wild Horses]” which offered the possibility of the release of dance in a world that seemed only there to abrade us all. This time an anthemic power in the song allowed us to see the possibilities which might be our deliverance as the orchestral textures offered redemption in the stirring coda.
The martial power of “Stormbreaker” was built upon a monolithic drum pattern that inexorably advanced forward no matter what the obstructions thrown in its direction by an unthinking world. Here Thalie invoked the full power within to lay waste to her assailants. Making the song into a dark mirror twin of something on the order of Tears For Fears‘ “Shout.” And this was achieved this smartly in half the running time of that ponderous song.
“Let it rise
The storm I’ve carried all my life
Let it strike
Unbound fury, sharp as a knife
Let it rise
The storm I’ve carried all my life
Let it strike
Unbound fury, sharp as a knife”
Stormbreaker
The dissonant harmonics in the intro to “Forget My Name” evoked a wounded beast retreating to the shadows after a decisive and bloody battle. Then the orchestrations redolent of David Bowie’s “Warsazawa” coupled with the slow, methodical beat and the devastated vocal of Thalie confirmed that this song was precisely that. A final escape from a bleak encounter that has lasted far too long by one who is determined to survive.
⭐⭐⭐⭐⭐Rating: 5 out of 5.
All of the power that was promised by the first half of this album as the “Catarsi Apotropaica” EP was nicely delivered and expanded upon by this full album that, it must be said, is expertly paced and sequenced. Making the earlier EP now seem like an appetizer for the full flowering of “De(s)figurations.” The push and pull of the music never loses balance into the void of overstatement. Nor do any of the songs overstay their welcome. Thalie and co-producer/mixer Peter Rainman have done work with integrity here. This album was the creation of an artist with their eye on the goal and a disdain for the lure of easy comfort.
The image of the now destroyed Buddha of Bamiyan depicted on the back cover of the CD package spoke to the metaphoric power of the album. These symbols of ancient wisdom were destroyed by the Taliban in 2001. Both the Eastern and Western Buddha statues that persisted through the terror of Gengis Khan, which wiped out much of Bamiyan’s population in 1221 no longer exist. Having been destroyed by the Taliban in 2001, though the hope is that they may be refashioned one day. It seems as if Thalie Némésis can see ahead to that day on the basis of this resilient work. The DL on Bandcamp is in CD resolution for €9.00 and there also exists an edition of 50 CD-Rs which are available at a €13.00 price. DJ hit that button.