Well, it's finally here. Four years after his stunning full length debut "Leave Luck to Heaven" (translation of Nintendo from Japanese, apparently) and fantastic EP "Backstroke" comes "Asa Breed". If "Leave Luck to Heaven" got Matthew noticed outside of the techno scene, then this will cement his place as someone who isn't just a microhouse producer, but someone who can make a damn good pop/alternative album.
Gone are the heavy 4/4 kick drums, oscillating sawtooth synths and early-90s-Detroit nostalgia of his most recent and active alias Audion. Gone are the precise drum patterns and cut up vocals a la Akufen of Jabberjaw. Gone are his...well, minusy sounds of his False alias on Minus and Plus 8. Here, Matthew goes back to his Texan roots and makes an album full of soul and feeling.
"Asa Breed" is not a microhouse album. Of course, it's got Matthew's signature feel to it, and, being one of the true superstars of microhouse, it has many microhouse elements. But pretty much all of the tracks hover around the 3 minute mark. It's clear that Matthew is focusing on a more traditional song structure here, rather than, say "Mouth to Mouth". And, in fact, some of the songs play out like a pop song, with a verse and a chorus. Case in point, the exceptional first single "Deserter", the most heartfelt song he or any microhouse producer has ever made. Any comparisons to Ian Curtis here would certainly be on the mark, as Matthew's baritone voice, for me, at least, steals the show throughout the album. Of course, his falsetto is strewn throughout, but on many songs he sings as if he were the frontman of a band.
Which is not all that unreasonable. Matthew will be going on tour soon not as a DJ, but as the frontman of a three man band, with live drums and guitar and all. All this is very apparent on the second half of "Asa Breed" which contains a huge focus on acoustic guitar and instrumentation. Closer "Vine to Vine" is not a new version of "Mouth to Mouth" as I had hoped ("Mund zu Mund" was not Matthew's best effort to date), but rather a song full of acoustic guitar, Dear's falsetto throughout, and Dear referencing the "heat of the Texas sun". Thats not to say it's not a danceable album, rather the first half is fairly dancy, with "Shy", "Neighbors" and "Don and Sherri" probably being the most uptempo cuts.
This is an album for everyone, not just fans of microhouse. It is certainly the polar opposite of his new (coming out in two weeks) Audion single, "Noiser/Fred's Bells", which keeps the high quality of "Mouth to Mouth" going strong. "Noiser" is, well, a noisy as hell track, full of blaring synths and killer kick drums. "Fred's Bells" is the better and less noisy cut, something that I assume would be frightening at Berghain at 3 on a Sunday afternoon. It's spacial with little vocal cuts throughout and a killer kick drum pattern.It's certainly going to be Matthew Dear's year, as if he has't catapulted to stardom already. Both releases will prove his importance to techno as a whole, but it is his LP that will really cement his status as microhouse's most important producer.
Asa Breed is out June 5 on CD, 2x12" and digital through Ghostly International. Noiser/Fred's Bells is out May 22 on 12" and digital through Spectral Sound.
Check here for clips of Asa Breed and here for clips of Noiser/Fred's Bells.
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