Believing in ghosts works about like this: Most people agree that ghosts don’t exist, but are still shudderingly fascinated by the thought of their probable existence. A child can be pretty unsettled by a mother who speaks in tongues. The british »Avant-Pop-Artist« Alexander Tucker was such a kid and now, the passion and burden of the supernatural are topics on his new album »The Third Mouth«. On the twelve songs, Tucker designs quite a mystical Psychedelica-bubble with profane means: rudimentary beats, synthies, guitar, bass, xylophone and – when used – a phenomenally grinding cello. We hear tales of visionary and fictional places (»Amon Hen«, »Andromeon«), which seem combined with present or past worlds (»A Dried Seahorse«, »The Glass Axe«). »Mullioned View« with its calling and buzzing rhythm, changes to the musical opposite in the last minute: It is the audible analogy to what Tucker describes as »Victorian glass where everything you see through it looks distorted«. It is never uniform, it is always cranky. In the subjective centrepiece »Rh« – alluding to his relationship with girlfriend Rhona – a male falsetto and a female timbre (by guest musician Francis Morgen) harmonise with the electronic space-sound to a singularly haunting wedding march. Nevertheless, ”Third Mouth« is a controversial album where the third voice from a parallel universe will only be audible by a few.
Third Mouth
