Detroit-based Texas-born producer Matthew Dear wed the figure of the microhouse dj and the
figure of the singer-songwriter in his energetic early singles,
Dog Days (2003) and Anger Management (2003), and on the
vocal tracks of Leave Luck To Heaven (Spectral, 2003), such as
It's Over Now.
The mini-album Backstroke (2004), containing Tide and
Grut Wall, was less successful.
As introduced by the EP Kisses (2004) and
by the 70-minute anthology Suckfish (Spectral, 2005),
Audion is another side of Matthew Dear, the primal, driving, loud,
The album collects singles and some new material.
It is roughly divided into
more physical (The Pong, Vegetables)
more pyschological (Wield, Your Place Or Mine)
pieces, but overall this is a much more straightforward kind of dance music
than the one released under Dear's name.
Matthew Dear started singing on his next two albums, first to accompany the
dancefloor bliss of Asa Breed (2007), with the catchy
Don and Sherri and Deserter,
and then to further disorient the intricate production of
Black City (Ghostly International, 2010). The latter includes the
erotic tour de force of You Put A Smell On Me and virtuoso shows like
the way he deconstructs the synth-pop of Little People
(like a remix of
Human League's Fascination).
The EP Headcage (2012) continued to move towards the then fashionable
synth-pop of the 1980s (Headcage) and the then fashionable soul-hop ballad
(In the Middle).
This music's main drawback is his voice, that can hardly be called "vocals".
(Translation by/ Tradotto da xxx) |
Se sei interessato a tradurre questo testo, contattami