Name: Preacher's Sigh And Potion: Lost Album
Brand: Matthew Dear

Bonus disc

Bonus disc: No

Catalogue number

GI382LPC1

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Colour

Yellow

Colour details

Yellow / Black Marbled

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Discogs ID

Format multiplier

Download code

Download code: No

Rough Trade Exclusive

Rough Trade Exclusive: No

Extended format

Extended format: Yes

Format detail

Format Music GB

Limited edition

2100

Release date

2021-06-25

Signed copies

Signed copies: No

Supplier GB

Tax rate GB

Standard:20

UPC / Barcode

0804297838236

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Total Cap

1 / Extended format: Yes / LP / Rough Trade Exclusive: No / Signed copies: No / yellow

GI382CD

{"blocks": [{"data": {"text": "GI382CD"}, "type": "paragraph"}]}

Extended format: No

0804297838229

{"blocks": [{"data": {"text": "0804297838229"}, "type": "paragraph"}]}

1 / CD / Extended format: No / Rough Trade Exclusive: No / Signed copies: No

GI382LP

{"blocks": [{"data": {"text": "GI382LP"}, "type": "paragraph"}]}

Black

0804297838212

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1 / Extended format: No / LP / Rough Trade Exclusive: No / Signed copies: No / black

Artist

Matthew Dear

Genre GB

Techno / Electro

Label GB

Ghostly International

Ghostly International is a renowned music label based in Brooklyn, New York City. Established in 1999 by Samuel Valenti IV, the label has become a prominent figure in the electronic music scene. With its diverse roster of talented artists and innovative releases, Ghostly International continues to push boundaries and shape the future of music.

Over the years, Ghostly International has garnered a reputation for its distinct sound and commitment to quality. The label's catalog spans various genres including electronic, ambient, techno, and experimental music. From established acts to emerging talents, Ghostly International consistently delivers exceptional musical experiences that captivate listeners worldwide.

With its headquarters situated in one of the world's most vibrant cities for music and culture, Ghostly International draws inspiration from the dynamic energy of New York City. The label's forward-thinking approach coupled with its dedication to artistic integrity has earned it widespread acclaim and a loyal fanbase.

Matthew Dear is an artist who has made a name for himself in the techno music scene. Inspired by pioneers such as Mike Inc., Thomas Brinkmann, and Ricardo Villalobos, Dear has created his own unique sound within this ever-changing genre. With recent acceptance into the legendary Plus 8 roster and Berlin-based Perlon label, Dear has proven himself as a force to be reckoned with in pushing the boundaries of modern dance music. Despite his innovative approach, Dear remains focused on one simple goal - making people dance.

Similar Artists: Audion, Isolée, The Field, Pantha Du Prince, DJ Koze, Nathan Fake, Lindstrøm, John Tejada, Junior Boys, Michael Mayer,
John Talabot,
Superpitcher,
Robag Wruhme,
Matias Aguayo,
The Juan Maclean,
Herbert,
James Holden,
Fujiya & Miyagi,
Liars,
Lusine

Audion, Isolée, The Field, Pantha Du Prince, DJ Koze, Nathan Fake, Lindstrøm,
John Tejada,
Junior Boys,
Michael Mayer,
John Talabot,
Superpitcher,</

Twenty-plus years into his career, producer/vocalist/songwriter/DJ Matthew Dear remains artistically unpredictable in pursuit of his prescient strain of electronically-formed, organically-delivered indie pop. His work traverses myriad musical worlds, belonging to none. But these fluid moves have not been without a few forks in the road, decisive turns, and what-ifs. Most notable is the pivot-point following Dear’s acclaimed 2007 avant-pop LP, Asa Breed, in which he broke away from the 4/4 grid of his techno/house debut Leave Luck To Heaven and into something much more wild and idiosyncratic. Traveling between his adopted Detroit and his home state of Texas throughout 2008 and 2009, Dear amassed a set of personal, playful, looping guitar-centric recordings he’d consider for his next album. Given the new momentum of the hybrid electronic pop of Asa Breed which led to an opening slot for Hot Chip and remixes for ‘00 heroes like Spoon and Postal Service, Dear decided to shelf the material. He moved ahead to work on his watershed 2010 album, Black City, a steely noir set which earned him a Best New Music on Pitchfork and a worldwide tour with a besuited band. This “lost album” had a sound, a spirited country romp in the techno barn, and it had a rough title, a scribble on one of the CD-Rs passed to Ghostly label founder Sam Valenti IV, Preacher’s Sigh and Potion. He never fully walked away from it, and merely kept moving down the road, waiting for the audience to catch up. Over a decade later, that time is now.

Preacher’s Sigh and Potion finds Dear unknowingly at an intersection in his young run, a burgeoning songwriter at his most freewheeling and unaffected. In hindsight, there were hints of Preacher’s sound on Asa Breed, but the set still registers endearingly out of step with his eventual direction. This was the first time Dear tapped so directly into his late father’s influence as a fingerpicking guitar player in the 1960s and ‘70s and a gateway to the music of John Prine, Townes Van Zandt, and Emmylou Harris.

From the twang and tambourine stomp of album opener “Muscle Beach,” to the metronome-like pulse of “Hikers Y” complete with an unmistakable Matthew Dear dryly dismissive mantra, to the gloomy carnival-leaving-town pomp of “Gutters and Beyond,” Preacher’s Sigh and Potion is filled with the reckless notions of an artist dashing the history of pop and rock, the twang of country, the build and release of techno. Dear is an auteur, and in retrospect, so many of his signatures crop up in these relics from his former self. Dear remembers him well: “It’s crazy how music memory exists in a very deep and indescribable tangibility. I know the person who made all these, and remember glimpses of the desk, or studio set up for each recording. I know who wrote these lyrics, and where they were mentally during that process.” Revisiting this material now also has Dear thinking about his father’s legacy:

“He also showed me that anyone can play, and perform for people, regardless of having albums or not. He was a very controlled and skilled guitar player but made it look natural and smooth. He had hundreds of songs in his repertoire and would play them nightly for us in the living room. He lived for music, and I hope I can pass that along to his grandkids.”