The first revelation is Genders’ voice, a falsetto croon which rises over spiralling guitars on opening track The Harbour. There’s plenty of variation between the tracks; the squelchy synth stomp of Knife merges into the sparse kitchen sink sci-fi of Sun Gun, Play The Part crackles with strange rhythms and closing track Under The Ice is a story to music, softly spoken with a pulsating beat welling beneath it.
The pair are clearly still able to create tantalizing atmospherics and, combined with some more playful soundscapes, this is an album that ripples with intrigue. As a duo, they bring out the best in each other, with Lindsay’s bed the perfect resting place for Gender’s searching lyrics. Their respective work with Tunng and Diagrams suggests that they don’t need each other to make meaningful music, but it’s reassuring to know that the option is still there.
It isn't nearly as over the top as their previous work, but that doesn't mean it's any less creative or interesting either.
With the exception of songs like 'Silence In Between,' the duo have moved on from the freak-folk of Tunng and have instead turned their attention to exploring everything from eccentric-pop on 'Punch Drunk Sober' and glitchy electronics on 'Bask' to oddball psych experiments on 'Play the Part.'
The eerie spoken-word 'Under the Ice' and the piano-led breakup song 'Sun Gun' sees them moving into more cinematic spaces with breathtaking string arrangements provided by Amiina, coaxing just the right amount of tension and melancholy out of each song. Though it may take a few listens to reveal itself, Throws is a playful and inventive album that reveals little rewarding moments with each spin.