Throwing Snow - Isthmus

A Closer Listen

After releasing a quartet of singles over the past year, Ross Tones returns as Throwing Snow with another exciting collection of beat-driven music.  The flow of Isthmus is so smooth – imitating water around land – that it almost seems like a DJ mix; yet in a twist, the most dynamic track contains no drums at all.

The attention-grabbing “Ribboning” starts the set off with the electronic version of a spinning top or plate speeding its wobble just before it comes to a halt.  But in this instance (attention, “Inception” lovers!), the top never comes to a stop; it simply transfers its energy to other instruments.  This brief opener leads to the big-beat “Apricity,” one of the early singles.  Apricity refers to the warmth of the sun in winter, but by extension it can also mean a positive feeling in negative times.  The track is upbeat, bolstered by a repeated vocal loop and a sense of propulsion.

“The Madness of the Bull” introduces Middle Eastern timbres, a reminder that Throwing Snow is not restricted by geography.  The passionate strings add a frisson of drama to an already-dramatic set.  The large chords of “Rasp” continue to elevate the heart, and a late doubling of tempo is likely to send dancers into a frenzy.  By “Whispers,” one realizes that the tracks are connected by chords as well as cords, as the sequencing makes a strong case that the album is designed to be heard as a whole, something that was not apparent as the singles were released, only two of them appearing here back-to-back.

The xylophone tones of “Ephemeral,” another early single, are blanketed by a pair of intertwined vocal samples: to use an intentional pun, tones upon tones.  This hint of chimes injects a spiritual angle, as suggested by the title.  The song is about love, prompting one to ask, “Is love ephemeral?” The next track, “Asunder,” heads in two directions at once, intimating loss while imitating church organ tones.  Side B continues to walk through the valley of the shadow of death; the dark chords and industrial timbres of “Hear the Tongue Fork,” suggest a trip to the underworld.  In respite, the very next sound is the album’s cheeriest: the first 30 seconds of “An Arrow to Follow” sound like a segment rescued from a lost Yazoo track.

The penultimate piece, “Mourn,” deepens one’s appreciation of the entire set, injecting a soft note of melancholy.  The violin hues suggest that one dances for other reasons than exercise; one dances to let out steam, to leave trauma behind, to find catharsis in movement.  While one does not expect to have one’s heart wrung out, the effect is cathartic.  The closing “Tides” rises gently, holding back the percussion until the tide returns.  These tracks allow one to interpret the album as a voyage; in the end, one lands safely on the opposite shore, shaken yet intact.  (Richard Allen)