[dream-pop, indie-rock] (2017) CCFX - CCFX (EP) [FLAC,Tracks] {100.XY}


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Torrent File Content (7 files)


(2017) CCFX - CCFX (EP) [FLAC,Tracks]
     01 - The One to Wait.flac -
40.28 MB

     02 - Venetian Screens.flac -
28.64 MB

     04 - 2Tru.flac -
23.32 MB

     03 - Ode.flac -
21.54 MB

     cover.jpg -
933.37 KB

     audiochecker.log -
392 bytes

     Icon -
0 bytes



Description



(2017) CCFX - CCFX (EP)


Review:
Despite their aesthetic overlaps, CCFX is formed around an odd couple of sorts. On the one hand, you have Chris McDonnell of Olympia band Trans FX — an artist methodically studied in writing romantic noir at its most evocative. In the three-part film that accompanied Trans FX’s 2016 album The Clearing, there are shots of goths dancing through tall grass, a kid in a Thrasher shirt smiling shyly in a backseat, silhouettes lounging languidly under a tree while the sky glows an apocalyptic pink. McDonnell is clearly well-versed in sex and death and cigarette poetry, but the ooze of it can feel almost too smooth, until Mary Jane Dunphe arrives to trouble it.
Dunphe — of driving punk outfit Vexx, and minimal wave pop duo CC Dust — is a visceral, magnetic artist, known for her lurching vocals and hyper-embodied performance style. From Iggy Pop to Priests’ Katie Alice Greer, punk’s most memorable front-people affect a sort of sinister simper, inviting the audience’s gaze only to shatter it. In Vexx’s live videos, Dunphe snarls, flails, shakes, taunts, and preens her way into this legacy, while leaving room to actually dance, to let a song move her as a participant, not just an architect. Accordingly, whether she’s riding out the storm of a Vexx show or dancing life into an oft-bloodless new wave tradition in CC Dust, her voice absolutely writhes.

Dunphe and McDonnell have collaborated elsewhere, like on the Lucinda Williams-styled country group the County Liners, but, as the name suggests, CCFX is a true marriage of their projects, rounded out by David Jaques and Mirče Popovic. McDonnell’s cinematic compositions create an atmosphere of lush, nostalgic melancholia while Dunphe explores more subdued vocal styles. Their first collaborations, “Ode” and “2Tru,” appear here as B-sides. On “Ode,” the most narrative moment on the EP, Dunphe and McDonnell’s voices intertwine in an elegy for female isolation under late capitalism. Dunphe moves from the abstract (“Locked up and closeted/No time to heal/Its solitude that shines a light but isolation kills”) to the howling personal (“I want to go to work/I want to live my life”) with a clarity framed by crisp beats held over from its inception as a CC Dust track. Conversely, in “2Tru,” written by Popovic (also of Trans FX), Dunphe’s hushed fragments are carried away on waves of thick shoegaze, becoming another instrument in a mix of droning guitar and textured helicopter synths. It’s deceptively simple, but it has a way of staying with you: Who here hasn’t wanted to fight the ocean?

The first half of the EP is more integrated. “Venetian Screens,” anchored by a swaying, swaggering bassline, nods to the best of gothic dream pop. Dunphe turns down to a melodic croon, the line “I never said a word that’s real/In my head/Like a melody” set as a near-direct analogue to Annie Lennox’s “Here comes the rain again/Falling on my head like a memory.” The second half dissolves gushing into a too-brief fully-Cocteau Twins coda, vox cascading in feathered layers.

The true standout is opener “The One to Wait,” a circular track that captures the iridescent limbo between leaving and staying—an abyss that tends to open quietly in small insular towns such as CCFX’s Olympia, dislodging people from their scenes and pulling them into the sky, or at least to New York or L.A. or a land project in rural anywhere. Dunphe’s vocals gulp air, sometimes breathy, sometimes breathless. “The choice was made for me/Now I don’t know when I should leave,” she sings, drawing out the last note, letting it dip grotesquely, until it catches in her throat like the choice itself. As Dunphe hashes out the moral value of transience versus permanence (“Is it right to stay? Is home a trap and growth a phase?”), McDonnell strings together melody after melody on airy, jangling guitar and warm, nostalgic synths straight out of a John Hughes soundtrack. It’s a track that begs for a hazy party scene, the main character moving slowly through a crowded house or dark club, fashion goths swaying to the steady padded breakbeats, lights fading in and out with the synths—bright but always a little sad.

McDonnell is elusive when it comes to press; Dunphe, even more so. With that, the circumstances around the CCFX EP remain undefined. But with all its thematic mourning and yearning for truth, it feels born out of a moment of change. That change is present in how the EP’s ebbs feel as poignant as its swells, in Dunphe’s triumph as she sings “and you know that I will miss you/but I’m selling everything,” and all the mundanity and ecstasy of such a choice.


https://cl.ly/ps8j/cover.jpg



Tracklist:
01 - The One to Wait.flac
02 - Venetian Screens.flac
03 - Ode.flac
04 - 2Tru.flac

Summary:
Country: USA
Genre: dream-pop, indie-rock


Media Report:
Source : CD
Format : FLAC
Format/Info : Free Lossless Audio Codec, 16-bit PCM
Bit rate mode : Variable
Bit rate : ~841-930 Kbps
Channel(s) : 2 channels
Sampling rate : 44.1 KHz
Bit depth : 16 bits














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