Posted by: detourmag on October 17, 2007 at 2:00 pm

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Matthew Dear does dancing for adults. With the help of a bassist, drummer, electric guitar, a new computer, and his rack of electronics and keyboards (hence the billing as Matthew Dear’s Big Hands) the former Ann Arborite brought the sleek, burbling minimal techno and esoteric pop jams of the celebrated Asa Breed to life as music that demanded as many arms thrown in the air (the rolling thump of “Neighborhoods”) as it did the adult capacity for listening (”Midnight Lovers,” for which he played acoustic guitar)

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Dapper in his vest and Grenier hair, Dear expanded on the Bowie and TV on the Radio-isms of his recent work while still giving the heads in the crowd tastes of both Breed’s stylish techno and his alter egos (False, Audion, etc.). Whatever you think of his licensing of “Don and Sherri” to Hummer, Dear’s Big Hands set illustrates why his music fits so seamlessly into the brand’s messaging: he has grafted the darkness and zero hour grind of the warehouse party to melodic indie rock elements and and an overriding sense of NOW, as in “This is how we party.”
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The crowd responded with cheers and knowing nods, and not only because it was his homecoming show. They were happy that someone had finally considered them in the present, instead of living in the past or becoming too esoteric to be enjoyed. — Johnny Loftus
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Pics: Erika Rich

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