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 » The Top 30 Albums of 2010 - Fashionably, fabulously late, our favorite music (and believe me, there was a LOT) of 2010, the year that some have called the best year for music ever. And only some of those fools work here. Plenty of usual suspects, lots of ties and a few surprises that I won't spoil, including our unexpected #1.
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 » Live: Surfer Blood/The Drums at Lincoln Hall, Chicago, IL - Remember when Weezer used to put together records that you could sing along to and rock out to? That's what Surfer Blood's show was like!
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Music Reviews

Screaming Females - Castle Talk
»Screaming Females
Castle Talk
Don Giovanni
Trent Reznor & Atticus Ross - The Social Network [Original Soundtrack]
»Trent Reznor & Atticus Ross
The Social Network [Original Soundtrack]
The Null Corporation
Deerhunter - Halcyon Digest
Halcyon Digest
No Age - Everything in Between
»No Age
Everything in Between
Sub Pop
Robyn - Body Talk Pt. 1/ Body Talk Pt. 2
Body Talk Pt. 1/ Body Talk Pt. 2
The Walkmen - Lisbon
»The Walkmen
Fat Possum
Intr_Version Records

Rating: 9/10 ?

October 1, 2004
Quite often the naming of an album is seen in a rather insignificant light. However, if done well, an album's title may act as that crucial first impression through which the listener may find some initial sense of direction. With IamBrokenAndRemadeIAmBroken, instrumental destructionist duo Desormais have succeeded in providing that foreshadowing first impression. On his own, Toronto born, Montreal-based Mitchell Akiyama runs his own Intr-Version label and is responsible for a number of more avant-garde electronic compositions, such as the ten-song album Temporary Music, released on Raster-Noton in 2002.

Paired with Cincinnati-based Joshua Treble as the duo Desormais, Akiyama has a hand in creating a quietly experimental symphony of tones and voices. Some of the elements of IamBrokenAndRemadeIAmBroken are radically rearranged into glitch territory, but never so much that the computers overwhelm the creativity. Each of the album's individual pieces, from the whooping Moog-like synthesizer sweep of "Lullabye For Those Too Scared To Sleep" to the tremulous female voice found in "Under A Watching Sky," suggests an initial state of being in which the songs were actually rather appealing post-rock entities. As the work grew, however, Akiyama and Treble took it upon themselves to cut up these sounds and retile them into a mosaic of fuzzy guitar shards, organ fragments, various pieces of field recordings and digital interruptions. While this procedure may seem off-putting to some, in actuality the finalized song is all the better as a result of it.

The disc opens well with "From Now On," a blurry majesty brought forth by a strong sense of air passing quickly through brass, although electronic modification makes any such ascription problematic at best. With a lovely amount of discord, "To Sing Before Going To Sleep" verges on the sound of an orchestra tuning up. The song's heavily treated, triumphant swells of melody crawl out from underneath a bed of electronic squiggles and scrapes, reminding one of the more accessible moments found within by Fennesz's Endless Summer. "No Mysteries Can Be Tolerated" continues this trend, but instead uses smeared guitars, obscured strings and ghostly field recordings all woven into a melancholy tapestry.

Each of the pieces presented on IamBrokenAndRemadeIAmBroken are themselves bipolar: while the melody remains stuck in its groove, repeating endlessly in post-rock fashion, the textures evolve beautifully. Yet, even with the glitch processing occasionally bubbling in the forefront, a focus is maintained on trance-state tones and occasional melodies, all of which results in a work of dark ambiance, drowned in glitch cut ups and post-rock instrumentation. In the end, the album's dark, undulating waves, mysterious breathiness, and isolationist feel make for a subtle, richly textured, and enthralling, release.

Reviewed by Max Schaefer
Nocturnal qualms and eyes that brim like lamps betoken slender sketches, poetry and short stories strewn alongside piano playing, a fiddling of knobs and murmured dialogue with a medley of electronic gizmo\'s. A twenty-one year old person lodged within the University of Victoria, Max harvests organic sounds on a sullen sampler, watching water unwind like two broad lengths of ribbon and nursing a book below the canopy of a cheery-tree. Max believes that the world is made present by people\'s presence in it and that art is one such way in which a distinctive disclosure might be crafted.

See other reviews by Max Schaefer



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