Torres

Torres

What an enormous room

Merge

***What an enormous room is not only the title of the new album by Torres, it is an incantation, a phrase Mackenzie Scott has had in her head now for several years, for as long as some of the songs found here. What an enormous room is an entirely new look at Torres. Scott’s undeniable skill as a guitar player is still the engine driving her songs, but in “Collect,” it’s pushed through a polyphonic octave generator, creating a sound that is sexy and alien and peak Torres, a provocative statement of purpose that’s both a call to arms and a call to the dance floor. “Wake to flowers” is a celebration of the unexpected joy of things turning out much better than one could have hoped. It’s on the slinkier side of What an enormous room, exploring new territory for Torres that Scott attributes to recording with her friend Sarah Jaffe, the Texan singer-songwriter whose inclination to break genre boundaries has led her to collaborate with Eminem and producer Symbolyc One. Jaffe provides What an enormous room’s rhythm section, playing bass and drums, and the easiness of her collaboration with Scott made it possible for songs like “Jerk into joy” to emerge—like the incantation central to it, and the album itself—after years in Scott’s head in a way that is simultaneously more direct and more sonically ambitious than any Torres record to date.

Torres

Silver Tongue

Merge

***CHECK STOCK!!!  Received a 7.4 rating from Pitchfork.  A person whose words are so potent that they cause the people and beings around them to vibrate is said to have a “silver tongue.” It’s apt, then, that MACKENZIE SCOTT—who has spent the 2010s making boundary-pushing pop music under her TORRES moniker—has chosen to call her fourth album, and first release on Merge, just that. Recorded at O’Deer in Brooklyn, New York, Silver Tongue is a full-scale realization of the world Scott has created over Torres' last few albums. Even when singing in more subdued tones, Scott’s voice is fervent, her lyrics stirring and unyielding as she draws from both the divine and the everyday. It’s also the first Torres record produced solely by Scott.