Heroin in Tahiti borrow Vannier’s clocks for the rhythmic foundation of “C’è la morte che ti cerca e tu sei in giro.” Low and high register keys duet with a guitar down the hall. Every note is struck with near Alessandroni-like abrasion. Every note rings out. Then, the dampness is wrung, fading under the stopwatch and a mangle of cassette tape.
The clock pushes forward into “La Madonna,” where the pace of Canicola’s remainder is defined. A worldly beat is up and running. Backwards strings run alongside the shaker, hi-hat, and tambourine. Two voices provide a “verse / chorus / verse” structure: one voice mutters while the other voice tells it on the mountain.
“Agri Deserti” is the heart of Canicola’s second side. It is a foliage of mystery and nicely cluttered percussion, strict in vibe. Its guitar lines peel off like paper bark and cover the ground, overlapping and turning as transparent as vermicelli, with the exception of the bass guitar, which swells and throbs with psych flexibility, mending the threads.
The ticking foundation of “Atlantropa (Panorama)” is proof that Heroin in Tahiti are never off the clock. The jam continues, cheerfully and with less mystery. The band is waking up from a fog and into lucidity; a vocal sample serves as their melodic searchlight. Their new triumphant tone is elaborated upon and resolved in “Granaglia.” After it peaks, an astral drone and a benedictory chorus interact, completing the well-calculated five-song cycle.
• Heroin in Tahiti: http://heroinintahiti.tumblr.com
• NO=FI Recordings: http://nofirecordings.blogspot.com
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