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There was a time in the late 1980s/early 1990s that American Music Club would release albums which would cut through the trendy indie rock scene like a rusty knife. The group meshed an influence of introspective artistic post-punk with American twang long before Bedhead and Low were recording Joy Division covers, or Ida and Red House Painters were releasing albums.
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The man behind Slicker and Hefty Records steps out from his protective shell to produce one of the finest soundtracks I have personally heard in a while. Hughes has certainly expanded his range from what has been the electro punchiness of previous Slicker releases to a conceptual effort which encompasses various styles of retro-fitted pseudo-pop post-electronica jazz-influenced multi-instrumentalist filmscapes. After about four listens in a row, my only complaint is that it's TOO DAMNED SHORT!
The quasi-anonymous Cerberus Shoal seems to be one of the most prolific and diversified bands that I've encountered. This Portland, Maine collective — and the constantly evolving lineup of the band merits that term — seems to have mastered a new style with each release. With 1999's "homb" cd on Temporary Residence, Cerberus Shoal delivered their exemplary thesis on dark, ambient rock. The dynamics and instrumentation, combined with minimal but rythmic percussion, fused together to make one of the most beautiful and original releases of recent years.
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