Northeast In-Tune feature, February 2006

by Daniel Lavagna

First, allow me to begin with a definition: Thylacine – a wolf-like marsupial from Tasmania/probably extinct. So how does this band’s name correspond to their musical message? Well, just as the Thylacine is an extremely rare and wild mix of animal, this band mirrors such qualities when it comes to their songwriting. Usually with a band consisting of two members, the music would reflect a sense of simplicity or perhaps accompaniment. While the latter half is true with Thylacine, the facets of their work, ranging from progressions to live performance, are anything but the run of the mill. With the aid of a Mac laptop this two-person band sounds as though there are at least triple the amount of musicians performing live. With the aid of their influences, this act definitely achieves an overwhelming originality via recognizable methods.

The first tune the band has up for grabs is one titled “Cold”. Right off the bat, the sense of electronica is evident. The opening hook sounds like something Duran Duran would write, while the reverberated vocals of Susan Cruickshank in the verse can be explained as Evanescence-esque, with less operatic styling and more delicate of a lullaby tone. Halfway through the song, the progression veers into a haunting effectual barrage, connecting darker melodies and a minor feel. I enjoy when a song surprises me, and this was definitely something I did not see coming. The programming and guitar work of Rob Mercier provides a vast and unique soundscape to Susan’s dark lyrics. I thought the song would go out with a bang, but rather it ends quite abruptly, leaving me wondering whether it was cool to defy the stereotype or whether an alternate conclusion would be needed. Even though I may be comparing some elements from other acts and precognitions, I must say that I haven’t heard anything like this before. Well, that is until track 2…

fuzz panning within my headphones, as a synthetic drum beats The band’s third tune, “Horribly Wrong”, opens with low volume percussion. At times these percussive qualities (the non drum kit ones) refresh thoughts of some of Bjork’s works, which just goes to say that this band contains indigenous qualities of rhythm in addition to the obvious sense of electronica. After a few listens of the three tracks, I also pick up the subtle ambiences, especially in this song. The synthesizers and guitar work well to craft and atmosphere where Susan’s voice melds perfectly between. The bio on the press kit website mentions that the band is always looking for other live musicians to join in the act. While I enjoy Rob’s programming (and the fact that he uses a Mac), I do believe that these songs would be even more in your face with a live drum kit. The pulse of this work is so essential to the music that a live person on stage could only multiply this factor. One final note about the song would be for me to comment on the vocal portrayal of the songs title near the middle/end of the piece. The way it is presented really sums up the piece, and even the others, as a whole.

So what’s my final thought on Thylacine? Like the animal they are dubbed after, this band is a rare hybrid of everything and nothing, combining to create something fresh. While the music creates tension and shock musically, I believe that the goal of doing such was preplanned and orchestrated to success. If I dissected every portion of Thylacine’s work, I could definitely group their hooks and ideas with the various influences they have listed. However, the adventure of combining these fields is where the originality lies, and the unsuspected twists and turns in progression and method may leave us bewildered, but then again that may just be the point. Sometimes the first serving is simply a preparation for what is to be enjoyed in its fullest later on, whether or not we are content with the taste the first time around.