Max Tundra - Parallax Error Beheads You reviews
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| Thephoenix |
 On his 2002 Mastered by the Guy at the Exchange, Max Tundra used outdated MIDI instruments (the obviously fake sounds usually heard on '80s pop and dance records), added the quick beat cutting of '90s electronic music (think Aphex Twin or Squarepusher at their most hyper), and sang over them with a fey British music-hall voice. When he used these techniques to create OCD pop, the album was fantastic, but as the songs became more spacious — more about sound than song — I missed his self-consciously cheeseball hooks. So I'm happy to report that Parallax Error excels in them....full text |
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| Independet |
'Parallax Error Beheads You' sounds like a previously unimaginable hybrid of Steely Dan and Scritti Politti, or a compendium of 1970s kids' TV themes gone berserk, except with a modern vocabulary of eBay, iPods and Myspace. It's so hyper-melodic that it almost flips over into being dissonant and tuneless... but not quite. Mr and Mrs Tundra can be very proud of their boy.
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| Cokemachineglow |
In his review of Saint Dymphna, Mark Abraham rightly challenges the conventional wisdom that bands that start out playing experimental music almost inevitably streamline their technique to produce records more palatable for mass audiences. While it’s clear—and I think Mark acknowledges this—that many bands do become progressively more user-friendly over the years, that doesn’t provide any hard-and-fast rule that such a phenomenon is inevitable, and it certainly doesn’t explain bands like Animal Collective who incorporate elements of pop while still churning out defiant, boundary-shifting music. Put simply: “pop” music which explores new possibilities within the pop framework can be far more “experimental” than some dude jerking off to his oscillator in the basement.
I mention this because, once you get past the fact that Parallax Error Beheads You is easily the most consistently hum-able and danceable album Max Tundra, aka Ben Jacobs, has ever put out, you realize it’s also his most experimental, intricate, sweated-over work. Beyond a doubt, even. What was Jacobs doing in the six years that have elapsed since his last record? Working temp jobs and making this record. And labeling soup cans by hand, apparently. Nothing else. If you don’t believe me, that’s because either you haven’t heard this thing or you’re an incorrigible stain on humanity’s apron. (Sorry.)...full text |
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