All the tracks released on Workbench Recordings in 2010, except for those from the James Beaudreau album Astral Law.
Would it be stretching the patience of the ear to suggest domestic analog? The adding of psychedelic flesh to the bones makes for a creepy kind of old-school sound, but there's something irresistible about the intensity of the vision. You might think we didn't hear anything, but be reminded that the sound matches the geographic setting, that art is exemplary, and global. Effective structures, a new kind of constructivism, ambivalence to formula, reinterpretation, patterns, style and the avant-garde: we like to think of these as cars. Cars, with more than one rider, purposefully trundling, crossing bridges (importantly). They said it was eclectic, but disagreement protruded. Ducking the accusations of eclecticism is, admittedly, zeitgeisty, but it's also necessary. The powerful presences of hipsters, genre-rifling, focuses the organism, whether it be stupid or sad. It's admirable. But to the point. Following the release of a trio of harmonically laden recordings (one 12" and two 7"s), was, for anyone thirty or older, a keyboard melody repeated interminably (DVD-A). It's tempting to misquote the famous remark: "there were obvious shortcomings and a trombonist." An exact choice?