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It should be noted that Max Tundra’s second album, 2002’s Mastered by Guy at the Exchange, is loved obsessively, lovingly and madly by many geeks and music critics, including those who understood the fact that you really join your descendants. But none of us had any illusions that our love – perhaps a 9.3 rating on this site – would someday make a particular record popular: the sound of real music is clearly not for everyone, and that’s where it comes from.
Hardly curated by a real Londoner named Ben Jacobs, this music by Max Tundra is amazingly unique and documents a whole different world of pop music that seems to live mostly in one person’s head. It has recognizable traits: quirky English pop and heartfelt parts, weird video game synthesizer programming, a keyboard sensibility that ranges from light funk to upbeat progressive musical theatre, and a blissful calm it brings that vaguely resembles that of Vince Guardaldi. . Walnut music. Tempting at lastTo put it all in an exaggerated metaphor: I imagine a reality in which XTC, Prince, Aphex Twin, and George Gershwin must live in the sound chip of a good aging gameboy. But that’s to make Max Tundra sound cartoonish as well as absent-minded, when this information surprises you with how beautiful, simple, and coherent it can seem.
Well, after spending six years programming old-school Amiga music software, Max Gives tundra brings us the Parallax Error Beheads You package. At first glance, this set of pop songs may seem more cluttered and hectic than its predecessor; Like the chord of the Jacobs remix, the music here is upbeat, but at the same time denser and far more melodically harrowing than ever before. However, listen to this thought a few times and you will feel that someone comes in while you are sleeping and picks up movie twists or smooths out beats.
The old phrase about the documents that make up a good book suggests How to read it; With this case, the disc can help you learn how to listen to it. What begins as complex and overwhelming quickly organizes in your personal head and becomes a pleasure to follow to the point where everyone can enjoy what Jacobs concludes: the path allows them to open up and then find harmony again. or why he does chord changes that move down a few steps after the whole song, like someone putting their thumb on a spinning record. What kind of programmer will spend six years on 10 pieces without making sure that all these parts work?
Let’s start with the least confusing song on the “The Entertainment” record. This is a whimsical and alluring track that sounds like hypnotic trance music for kids. Another track that is sure to be a big starter of an album of sorts is “Which Song” with its pop-soul vocals and creamy keyboards. The 10-minute “Until We Die” ending sounds like Tundra’s answer to Abbey Road’s mentorship of the two, but the whole song I can’t stop playing is literally “The Number of Our Days” this like some amateur music. tech plays the afterlife, interspersed with menacing synth-funk verses and angelic strumming in every chorus.
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