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The music of Contre Jour

Imagine Cut The Rope meeting Angry Birds Space somewhere in French children's literature, and you're getting close. If you've got a smart phone, you owe yourself a copy of Contre Jour for several reasons,...

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free download: Symptomatic EP, by La Machine

In March we met La Machine, concluding, "Sung through a pulse jet and stripped down to the sub-bass." Their dark-as-a-cave, quick-as-a-Zoloft releases continue with the Symptomatic EP. The title track sets paint-can percussion...

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video: “Same Old,” by Audioley

TMIM regulars are already familiar with Francois Peglau, who has been releasing a track-by-track follow up to The Imminent Failure of since December 2010. His singalong verse, campy wit and upbeat revolutionary politics are...

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video vault: “Snow,” by Pooma

How is this for degrees of separation? Desiree's new Finnish obsession leads us to a month-thence Soundcloud upload of a toddler-aged remix of a five-year old track. It's "Snow," by Pooma, from their...

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profile: John Harrison of Cedar Lines

Sunday, January 29, 2012, 11:45am John Harrison can’t find a kit that he likes. The drum line is already written: a smudged, industrial arrangement that summons Cleveland, not Cincinnati. It would work just fine on its own,...

Don't you just love Wednesdays? And Thursdays? And Fridays?

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For us the term “New Music Tuesday” is something of an intentional, ironic misnomer. It isn’t our intent to scoop Pitchfork or NPR on the latest Death Cab For Cutie release. We’re looking for the next Death Cab, not the current one, so if we’re a day or two behind on the news, it’s certainly not from lack of trying. And yes, we’ve probably still scooped Pitchfork and NPR.

And besides, sometimes it just happens that the best music comes later in the week. To wit, this week finds a compelling Thursday release: The Hut by Paul Damian Hogan the Third.

It’s been awhile since you’ve surfed these waves. It’s self-indulgent, to be sure, and maybe this is why I think of another one-man DIY arrangement, Self, known briefly as Matt Mahaffey, or do I have that backwards?

Hogan’s sound is carnivalesque, which as we know can spell either delicacy or bad intent. (In this case it may be both.) The album often meanders into yummy dissonance — then jazzy and progressive transitions, often within the same track — and the vocals rarely exceed a whisper. Under darker signs this would have turned out as Darlings’ Cabinet of Sundry Horror. And with a bit less cloud cover, Jellyfish.

I’ve described it all I can: it’s new (and old), and unpolished, and pretty weird. Go give it a whirl, then check out the rest of his material here.

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