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neumu
Thursday, September 18, 2014 
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+ Donato Wharton - Body Isolations
+ Svalastog - Woodwork
+ Tim Hecker - Harmony In Ultraviolet
+ Rosy Parlane - Jessamine
+ Jarvis Cocker - The Jarvis Cocker Record
+ Múm - Peel Session
+ Deloris - Ten Lives
+ Minimum Chips - Lady Grey
+ Badly Drawn Boy - Born In The U.K.
+ The Hold Steady - Boys And Girls Together
+ The Blood Brothers - Young Machetes
+ The Places - Songs For Creeps
+ Camille - Le Fil
+ Wolf Eyes - Human Animal
+ Christina Carter - Electrice
+ The Decemberists - The Crane Wife
+ Junior Boys - So This Is Goodbye
+ Various Artists - Musics In The Margin
+ Rafael Toral - Space
+ Bob Dylan - Modern Times
+ Excepter - Alternation
+ Chris Thile - How To Grow A Woman From The Ground
+ Brad Mehldau - Live in Japan
+ M Ward - Post-War
+ Various Artists - Touch 25
+ The Mountain Goats - Get Lonely
+ The White Birch - Come Up For Air
+ Camera Obscura - Let's Get Out of This Country
+ Coachwhips - Double Death
+ Various Artists - Tibetan And Bhutanese Instrumental And Folk Music, Volume 2
+ Giuseppe Ielasi - Giuseppe Ielasi
+ Cex - Actual Fucking
+ Sufjan Stevens - The Avalanche
+ Leafcutter John - The Forest And The Sea
+ Carla Bozulich - Evangelista
+ Barbara Morgenstern - The Grass Is Always Greener
+ Robin Guthrie - Continental
+ Peaches - Impeach My Bush
+ Oakley Hall - Second Guessing
+ Klee - Honeysuckle
+ The Court & Spark - Hearts
+ TV On The Radio - Return To Cookie Mountain
+ Awesome Color - Awesome Color
+ Jenny Wilson - Love And Youth
+ Asobi Seksu - Citrus
+ Marsen Jules - Les Fleurs
+ The Moore Brothers - Murdered By The Moore Brothers
+ Regina Spektor - Begin To Hope
+ The 1900s - Plume Delivery EP
+ Alejandro Escovedo - The Boxing Mirror
+ Function - The Secret Miracle Fountain
+ Sonic Youth - Rather Ripped
+ Loscil - Plume
+ Boris - Pink
+ Deadboy And The Elephantmen - We Are Night Sky
+ Glissandro 70 - Glissandro 70
+ Calexico - Garden Ruin (Review #2)
+ Calexico - Garden Ruin (Review #1)
+ The Flaming Lips - At War With The Mystics
+ The Glass Family - Sleep Inside This Wheel
+ Various Artists - Songs For Sixty Five Roses
+ The Fiery Furnaces - Bitter Tea
+ Motorpsycho - Black Hole/Blank Canvas
+ The Red Krayola - Introduction
+ Metal Hearts - Socialize
+ American Princes - Less And Less
+ Sondre Lerche And The Faces Down Quartet - Duper Sessions
+ Supersilent - 7
+ Band Of Horses - Everything All The Time
+ Dudley Perkins - Expressions
+ Growing - Color Wheel
+ Red Carpet - The Noise Of Red Carpet
+ The Essex Green - Cannibal Sea
+ Espers - II
+ Wilderness - Vessel States

44.1 kHz Archive



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artist
Archer Prewitt
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Wilderness
Thrill Jockey
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I'm supposed to be typing words about Archer Prewitt, but all I can think about is Josh Rouse. Creepy little Josh Rouse, the exuberant American who reeks of desperation, whose recent records have been all about aping past pop styles and trying to impress the ladies, with any ideas of "artistry" squeezed out of the mix. But, damn it, the little-Nebraskan-that-could can write himself a pop song, that's for sure; he's able to work insidious melodies directly into your head. The contrast to Archer Prewitt, then, is whole. Prewitt is everything Rouse isn't: humble, generous, gentlemanly, of a decent stature, content to gently deliver his music in a bashful fashion. But, on his solo records, you find yourself longing for Prewitt to write that song, that instantly memorable number that bypasses your aesthetic appreciation and gets stuck in your head, the one that has you singing along rather than stroking your chin. Only he never gets there. His albums are grand and tasteful and beautiful, but never vital. They reward repeat listens, but never demand them. Prewitt is informed by those same '70s AM radio tendencies as Rouse, but he isn't obsessed with recreating authentic "tone," nor does he work with the sort of straightforward verse/chorus compositions that have long defined pop music. Having cut his teeth in Chicago's moist post-rock mouth — first in the Coctails, then as guitarist for the Sea & Cake — Prewitt is used to making things memorable via slow-building rhythm and repetition, and all the opulent strings, horns, analog organs, piano and pedal steel laid all over his fourth solo longplayer, Wilderness, don't make things more immediate. Of course, in saying such, I'm not necessarily delivering it as a condemnation. For all it lacks in the pop-song department, it's not a bad pop record; Prewitt makes another lovely album, in which his whispery voice and sad songs softly step through multi-part arrangements arranged gently around that compositional core, carefully dressed threads cloaking Prewitt's pale aesthetic in colors that don't clash, and fabrics that don't chafe.


by Anthony Carew




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