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Leave Luck to Heaven

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Album Review

A Jabberjaw 12" on Perlon, a False compilation on Plus 8, two EPs on Spectral Sound, and now this. An album with a title worthy of Douglas Sirk — or perhaps a rough English translation of the name of a Japanese video-game company — Leave Luck to Heaven indicates that Matthew Dear was saving the best of his 2003 artillery for the end of the year. Formatted like a pop record intended for home listening, with most tracks falling somewhere in the four- to five-minute range, Leave Luck to Heaven has a flow unlike any other single-artist microhouse album to date. This is far from a handful of dancefloor-intended tracks apprehensively slapped onto a disc for a more private form of consumption. Vocal tracks — whether containing verses and choruses or samples reduced to vapor — are as common as instrumentals, and for every track with a 4/4 foundation, there's an upbeat pop song based around a sharp keyboard melody. "Dog Days" is where it all peaks, falling somewhere between the two approaches to devastating effect. No micro-pop-house single is as singsongy, as loose in the limbs, as springboard buoyant; Dear's baritone, followed tightly by his near-falsetto, rides the contours of a mass of wriggling keyboard tendrils, stabs of synthetic trumpet, an attenuated millisyllable ground into hiccups, and a rhythm that swings with a periodic Teutonic jack. Dear's voices repeat an elliptical four-line nursery rhyme several times over, all of which adds up to one of the most exciting and most unique singles of the year. From the introduction onward, the amount of depth the album is able to build is only increased — each track is essential to the whole. Rather than end it all on a joyous note, Dear opts to use the spot for the heaviest moment on the album. One of the best vocal tracks, "It's Over Now" expresses equal doses of fear and resentment in the face of impending war ("Kill all those f*ggots/Move on, don't stop"). The album closes out an exceedingly accomplished year for the producer. It also defines microhouse as much as it defies it, all the while carrying the baton for high-caliber, heartfelt techno-pop.

Customer Reviews


I already wrote a review for this and its gone :( but i have been listening to this cd for like 4 years I LOVE IT every song on this cd really good. i love matthew dears sound and i think anyone should check him out

Homophobic lyrics

What exactly does Matthew Dear mean when he says, "kill all those fa*gots" in track 11 IT'S OVER NOW?


I'm a new Matthew Dear fan. I have some of his later albums. I came across this one and decided to listen. I like it but I've got to ask the samw question spraypaintedgold asks: What exactly does Matthew Dear mean when he says "Kill all those fa*gots" in the song It's Over Now, Track 11? I'm sorry, but I think Matthew Dear is at least bisexual if not gay. So why the harsh words about gays Matthew?


Born: April 4, 1979 in Kingsville, TX

Genre: Electronic

Years Active: '00s, '10s

It didn't take long for Matthew Dear to catapult himself into the front rank of microhouse producers, emerging in the early 2000s with a string of high-quality releases for Spectral Sound, Plus 8, and Perlon. Dear broke out in 2003 with the singsongy single "Dog Days," at once a DJ favorite and something of an indie crossover, and continued to switch between (and sometimes fuse together) track- and song-oriented material. He wasn't just a constantly evolving producer but a DJ and a hard-working performing...
Full Bio
Leave Luck to Heaven, Matthew Dear
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