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iTunes Review

One of the Internet’s exquisite perks is the ability to stumble upon great things: music, recipes, knitting circles, and people who think like you do. This is how San Diego’s Rafter Roberts (Rafter) and London’s Simon Lord (Simian) came together, and their long-distance creations celebrate another benefit of the connectivity of this brave new world we’re in: music’s transition from compartmentalized to “blenderized.” Eponymous is an unlikely blend of George Michaels, reggaeton, post-rock, electro, and Prince, as well as both digital (Lord’s vocals) and analog (Robert’s 4-track music) recording. The key here, sonically, is percussion-driven rhythm, sparsely dressed, with most songs built on clattering wood blocks, what sounds like empty barrels being thunked, fuzzy bass notes doled out in miserly fashion (to help the white spaces shine), and equally spare guitar or keyboard parts woven in for added flavor. Lord’s vocals are crispy and pleasant, full of friendly pop tones and casual hookery. Eponymous is arty without being pretentious, smart without smacking of cleverness, and clearly rooted in a spirit of fun.

Customer Reviews


This album's greatness is because of how incredibly different it is from a lot of stuff out there, yet it's very accessible.


Genre: Alternative

Years Active: '10s

Indie electronic collaboration Roberts & Lord combine the talents of producer/musician Rafter Roberts and indie/electro-pop performer Simon Lord. The duo’s origins are something of a fairy tale of the electronic age: in early 2011 Lord, seeking a creative outlet beyond his current band, the Black Ghosts, took to the Web for ideas and landed on a music video by Rafter, Roberts’ noise pop project. Some messages were exchanged and ideas shared, growing into a full-length album. Roberts, who co-owns...
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Eponymous, Roberts & Lord
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