Album Remarks & Appraisals:
Cream Cuts finds Tussle expanding upon it's own unique mix of drums, bass & electronics, at times echoing the elasticity & straight forward live approach of their debut, Kling Klang, but with more color & complexity, while also integrating the psychedelic pulsating pound heard on Telescope Mind. Moving above & beyond their first two releases, Tussle map out worlds upon worlds on Cream Cuts, riding songs from creation to destruction to rebirth. Thom Monahan's (Vetiver, Joanna Newsom, Silver Jews, Devendra Banhart) unconventional production techniques & talent for capturing intimate performances integrate with Tussle's krauty exploration of rhythm leading to the bands most epic, experimental yet holistic release to date.
CMJ - "Tussle first put steady rhythms in place, then eventually quicken the pace with colorful electronic overlays."
URB (Magazine) (p.88) - 3 stars out of 5 -- "Stripped down beats let the leaden bass lines stand out front and leave plenty of room for the rhythms to bulge beyond their foundations."
Tussle always had a more organic feel than your average post-rockers, an effect often achievied by throwing in a touch of post-punk/punk-funk for that extra bit of grit. Those influences remain on CREAM CUTS, but they are filtered through a more contemporary, cut-and-paste electronica sensibility that achieves an interesting stylistic paradigm. Add to that the fact that the band likes to throw in the occasional left turn, like the Brian Eno-meets-Steve Reich moments of "Personal Effects," and you've got a consistently compelling sonic course charted. Despite any ambient/atmospheric tangents, though, Tussle almost always returns to a hip-shaking groove, placing danceability near the top of their priorities, if not necessarily in the number one position.