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It's packed with ideas, some of which work beautifully and some of which are just a joy to hear play out, but most of all, it's still a whole other world of pop music--an absolutely unique, enchanting, and irreplaceable vision of how the stuff can work.
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Parallax Error Beheads You improves upon [his previous] albums’ strengths--wide-eyed eclecticism among other things--managing greater coherence and scope than anything he’s ever done.
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Mannered English eccentricity never sounded so deliriously thrilling.
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It is a near masterpiece, elastic, eccentric and eclectic.
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What Max has created as a result is nothing short of amazing.
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Jacobs works in a peerless vacuum located in a hazy plot point on the pop timeline, located somewhere in-between outright sugary pop and nerdy bedroom electronica.
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This year has bubbled and bleeped with the sound of bedroom electronica that harks back to the past, but the third album by Max Tundra--aka London producer Ben Jacobs--is the most joyful of all.
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Max Tundra’s music is smart, engaging, and both challenging and fun to listen to. That’s what makes it unusual, and worth treasuring.
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The nostalgia of postmodernity, that backward glance, is apparent in every moment of Parallax Error Beheads You. While it can sometimes seem like a quagmire for the less creative, it’s transformative here.
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He still dabbles in more-chin-stroking fare, but he's able to ground his adventures in enough melody to preserve the album's flow--and your bearings.
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All things considered, as long as you don't go in expecting an album to change the world or to tax the grey matter, you'll find much to enjoy in Parallax Error.
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The WireHis maniacal energy is infectious. [Nov 2008, p.77]
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Somewhat hit or miss pastiche pop, Parallax Error Beheads You is harder to like that it should be.