I was in the Virgin Megastore on
Matthew Dear is a transplanted Texan living in the Detroit area of Michigan. Apparently, he earned his chops as something of a techno/minimal/acid techno producer, and has released several tracks under various pseudonyms. Prior to my visit to Chicago, I’d never heard of him. Clearly I have a general idea of who he is now. He’s one of the few American producers I can say I seriuosly follow.
This is really a well prepared album. It’s very listenable, even though it’s often stripped down, each track carries with it a sound that is distinctly similar to the other tracks on the album, but each track has it’s own vibe and flavor. I particularly like some of the complex soundscapes between tracks with hushed vocals or bits of conversation that leave the listener with a sense of eavesdropping on a private conversation or some other clandestine event.
Here is what others have thought about “Leave Luck To Heaven”:
. . . . Leave Luck to Heaven is more like alchemy. Instead of genre-hopping from track to track-- substituting some sort of focused vision and sound for a lack of ideas dressed up as a surfeit of them-- Dear boils down his wide-ranging influences and combines elements of his own more catagorizable work. The result is his most satisfying release to date and (along with Ricardo Villalobos' Alcachofa) another techno-dub record that deftly straddles the line between home listening and the dancefloor.
As a result, Leave Luck to Heaven is an attractive listen for causal electronic listeners. Its ebb and flow of soothing melodies and lubbing beats-- and its blend of vocal and instrumental tracks-- keeps things lively and creates a sense of balance and dynamics. When the record peaks it's often when Dear stays closer to Detroit techno roots such as the invigorating stripped-and-clipped jaunt of "Just Us Now" or minimal second-wave melody of "The Crush". Elsewhere, gently snapping beats and gracious stabs and eerie washes of synths color Dear's deceptively complex rhythms, creating palpable sensations of tension and release on tracks such as "An Unending" and "You're Fucking Crazy", each of which twitch and hum with hollowed-out nervous energy.
Respected as a
producer of house music for a number of years now, it has taken