Never expected this: a pronouncedly proggy pop-rock threesome that's all women! I don't think it's been done before, has it? Sarah Glynn's the frontwoman on guitar, keyboards, violin, and vocals, with Rae Goldring on bass and Dena Gerbrecht on drums. The sound they create blends shoegaze, alt, ethereality, lite jazz, and the kind of uncategorizable material that ensembles like Guggenheim Grotto produce, but with a rockier vibe that almost escapes notice as cuts continually deceptively downshift. I hear quite a bit of Rain Parade as well, by way of Weekend and Overflower (Karen & John Orsi's delicious alt/prog/rock combo).
Glynn wrote all the cuts and has quite a way with that guitar, evolving her charts into interesting and gently arresting patterns. Her voice is a bit hidden in the mix and occasionally not quite up to snuff—I suspect a leap to the front of the mix would do a world of good—but the compositions have a foggily warm glow to them, full of subdued passion more than once climbing into the sky, as in Revolution Script. Goldring and Gerbrecht fill out the rest of the sonic stage so that Glynn never sounds either hollow or overly dominant.
Tribella is a good deal more energetic than, say, Durutti Column, Skate Park Instrumental showing this clearly, and I more than once was reminded of exactly the kind of offbeat material my eclectic buddies and I used to hunt for in the 70s, coming up with such groups as T.2, Clear Blue Sky, Spontaneous Combustion, bands that didn't sound like this but were treading the same path, looking for left turns on accepted modes. As the 80s came on, such hinterlands are precisely where the underpass led to. Tribella is simultaneously chill and insistent, droney and linear, kind of a more ordered, far less fractured Remy Zero or Don Caballero in a number of ways as well.
Edited by: David N. Pyles
Copyright 2010, Peterborough Folk Music Society.
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