Headcage EP
Matthew Dear
Ghostly
International.
SCQ Rating: 75%
Matthew Dear’s pop
trajectory looked pretty well paved out in wake of 2007’s Asa Breed. He’d
abandoned some techno momentum in favour of catchy dynamics and streamlined his
lyricism to a contagious filter of kinetic longings – the sort of template one
could technically run on for years. But those who anticipated Dear’s eventual
follow-up to carry a sound closer to the rave-up dance styling of LCD Soundsystem
were roundly bemused when Black City reorganized the tenets of dance music
around Dear’s carnal instincts. Looming on sinister rhythms and abrasive
layers, Black City was difficult enough to navigate without guessing what lay on
the horizon of its outskirts but that reality – here in the form of Headcage EP
– isn’t some terrifying sequel.
Instead, these four
songs thrive on the same off-kilter rhythms and Dear’s warped growls but
breathe a little sparser than usual. Stripped of its saturated layers, the
title track’s stuttering chorus hook feels sharp and purposeful next to its
curious, near-funky bounce. The success of ‘Headcage’ as a return to less
art-damaged origins merely hints at the surprises on this new EP, since the subsequent
material finds Dear’s go-to sonic trademarks increasingly evaporative. His
always claustrophobic sense of percussion feels thwarted by the relaxed organ
permeating ‘In the Middle (Where I Met You)’ and the choral ambience stretching
‘Around a Fountain’ over minimal techno patterings.
It’s a brave move
for any electronic artist – reducing one’s overall attack to a nuanced exercise
in bare-boned songwriting – and I think a natural reaction for many fans will
be to decry its focus as something undercooked. But Dear has made a firm
believer of me with this song-cycle, offering a sleeper set of new tunes that seek
peace as much as a reliably strange beat to live by. In the wake of Black
City’s cesspool of confrontational armor, Headcage EP sounds as though Dear’s
cleansing himself for another evolution.
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