Give Me Take You

Mine and many other's first introduction to Dominique Leone will be through his long stint as a writer for Pitchfork Media.  I found my tastes usually aligned most closely to his on that site.  So, for me, a non-musician, non-music maker, hearing his new album on Strømland could have been an uncommonly critical variety of listen.  Until now, my association with him was somewhat easy and personal, I got to know of him through association with lots of other music I heard.  It certainly got me thinking a little about what kind of music I might make and what pitfalls might be created by being a music enthusiast and critic (not that I'm much more than an "off the cuff" critic), then a music maker myself.  Thankfully, within the opening seconds of disc it was brightly clear that I was listening to energetic and personal music. 

"Wow, he's really going for it," is I think the first thought that popped into my head.  The songs do remind me in turns of Fennesz-like electronic warmth and complexity, Boredoms-esque guitar blowouts, and intellectually fused prog-rock anthems a la Magma, but I never feel like the reference points I'm mentioning are very much reference as much as they are Leone's personal takes on the form.  All of it's crafted with a somewhat lo-fi appeal, but most of it has the direct sonic presence and emotional interest that makes pop music actually "pop."  And at the same time, it is music for the music obsessed - just as likely to make the guy with every Pita record jump around gleefully as it is the guy who's just there for the party.  As for me, I like that his singing voice reminds me of Todd Rundgren a lot of the time, and it can be as much of a heady gathering record as it can be an introspectively upbeat one.