• Deux Filles – The Letter
    • Deux Filles – L’intrigué
    • Deux Filles – Drinking At A Stream
    • Deux Filles – Oakwood Green
    • Deux Filles – Children Of Clay
    • Deux Filles – Sur La Plage
    • Deux Filles – Her Masters Voice
    • Deux Filles – The Draw In Room
    • Deux Filles – She Slides
    • Deux Filles – Fleurs Dolls
    • Deux Filles – Mortuary
    • Deux Filles – The City Sleeps
    • Deux Filles – Birds
    • Deux Filles – Silence & Wisdom
    • Deux Filles – Festival
    • 1. The Letter
    • 2. L’intrigué
    • 3. Drinking At A Stream
    • 4. Oakwood Green
    • 5. Children Of Clay
    • 6. Sur La Plage
    • 7. Her Masters Voice
    • 8. The Draw In Room
    • 9. She Slides
    • 10. Fleurs Dolls
    • 11. Mortuary
    • 12. The City Sleeps
    • 13. Birds
    • 14. Silence & Wisdom
    • 15. Festival

    **Repressed!**

    Deux Filles was not, in fact, two girls despite what the group name and its elaborate hoax of a backstory suggest. No, they were not Gemini Forque and Claudine Coule, French women who met as teenagers under tragic circumstances and became fast friends, recording two albums together before disappearing into the ether. In reality, Deux Filles was Simon Fisher Turner and Colin Lloyd Tucker, a UK duo who first worked together in an early incarnation of The The.

    Straddling the line between experimental and pop, Turner was an actor and teen singing star who later composed soundtracks for the iconic queer filmmaker Derek Jarman while Tucker’s career began as an engineer for the famed UK library music studio, De Wolfe, before forming experimental wave group The Gadgets. In Deux Filles, the duo found an outlet for their least commercial tendencies, combining lo-fi proto-dream-pop instrumentals with samples, tape experiments, ambient textures, and drum machines. Even in the vibrant, seemingly endless well of UK DIY, Deux Filles stand out.

    Silence & Wisdom – the duo’s 1982 debut – is a series of musical vignettes, like the score of an unrealized arthouse film. Blending processed guitars, sheets of synthesizers, echoey pianos, and washed-out vocal snippets to surprisingly varied effect, the album is recommended for fans of Durutti Column and Virginia Astley’s From Gardens Where We Feel Secure.

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