Matthew Dear

Black City

  • MOG Editorial Review

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    He reserves monikers like Audion and Jabberjaw for his less accessible minimal techno tendencies, Matthew Dear's birth name has always been reserve for electro-pop perfection, and Black City is no exception. Still, the album might be the closest the Detroit producer has come to merging his schizophrenic personalities, adding a shade of dark, left-field touches while still creating songs for the casual indie fan. On top of it all, he continues to have one of the most intriguing voices in pop today, a baritone croon that few others can pull off today. Talking about his pop side can almost make you forget that this music to dance to, though, and most of these tracks will make you want to shake your groove thing, especially high-energy, cowbell-heavy title track, which clocks in at just over nine minutes.
  • AMG Review of Black City

    Amg
    Andy Kellman
    All Music Guide

    Black City is Matthew Dear at his least penetrable and most alluring. If the David Bowie comparisons were to continue, the album would place him somewhere in Lodger territory. The dominance of inscrutable lyrics, peculiar characters and subjects, and alien rhythms makes the album more akin to the likes of Lodger's "African Night Flight," "Yassassin," and "Repetition" than the relatively straightforward "Boys Keep Swinging." Like Asa Breed, Dear's previous full-length, Black City is best described as avant pop, but there is an absence of lucidity, and no song sticks as quickly as "Don and Sherri" or "Deserter." It's all slippery, sleazy, murky sound-substance -- knotted rhythms with irregular gaits made all the more surreal by Dear's generally vague, suggestive lyrics and wordless, droning background vocals. Depending on your taste, this will likely be instantly off-putting or progressively pleasurable. Either way, it will probably make you feel like you could use a shower. That Black City is Dear's most creative and individual album is not, however, up for debate.

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