Strange-folk phenomenon Wax Mannequin is well-travelled. He has traversed a range sonic and physical terrain this past decade. Through his catalogue of secretly renowned recordings and his riotous live performances at countless venues and festivals, Wax continues to bring his essential voice and vision to both sides of the Atlantic. His legend grows through word-of-mouth as his music is passed from hand-to-hand — his influence trickles down from the minds of wayward kindred souls, insidiously seeping into the poetic heart of this country.
Chris Adeney adopted the moniker Wax Mannequin in 2001 when he released a strange, circuit bent psych-folk bedroom recording and began a series confrontational, awkwardly interactive but decidedly feel-good performances around his province. In 2003, with the release of his second album ‘and Gun’, Wax hit the trans-Canadian road where his performances took on a decidedly harder edge — absurd lyrics delivered with persuasive earnestly over distorted finger-style nylon string guitar and trashy electronic accompaniment. In the struggle of travel and survival, Wax’s more alienating performance-art urges were abated, like bloody roses ripped from the skin and tossed to the multitude. Between 2004 and 2008 he released two band-backed rock records — ‘The Price’ (2004) and the more prog-infused ‘Orchard and Ire’ (2007) — that captured the vein-busting fervour and strange charisma of his live show.
While his personal idiosyncrasies, lyrical depth and other-worldly melodic sensibilities have kept Wax Mannequin safely out of mass-appeal, they also make him impossible to dismiss or forget. With a name that is muttered with alternating bewilderment, scorn and reverence in galleries, garages and pubs throughout Canada and Europe, Wax Mannequin continues defiantly and indefinitely to bring his timeless brand of strange folk and absurdist pop music to the far reaches of the western world.