This review thoughtfully includes a handy translation link, in French no less, for those of you who, like me, thought that French was pretty but on the decline, and that Latin would one day be useful for something other than guessing at the root of popular medical terms.
This one is from Internet Stalwart Pierro Scaruffi:
“Get There (Truckstop, 2001) is full of beautiful tunes enhanced by discreet arrangements like Unknown Flowers, Mello Hello and the sublimely romantic Here We Are, that, voice aside, hark back to Donovan, Simon & Garfunkel and Syd Barrett, with even one incursion in Bacharach-ain pop, Collage Made Of Air. While not everything shines, when it shines, it is epically simple and genuine.”
Another:
It’s a pleasure to talk about this fine record, because it is one of those rare instances where seduction really is the key word. Upon first listen, I didn’t quite get it, and was startled by the presentation, but it made me smile. I went back again, and began to warm to its charms. Third time lucky, it all fell into place, and I was in love. Get there I did, and it wasn’t a case of me getting into it, but it getting into me. Simply put, Chicagoan Matt Marque has created a minor masterpiece of leftfield guitar pop that is as humorous as it is heartbreaking. In 33 minutes, the silliest voice in pop (excepting perhaps, Ian Astbury) plays with words like building Mousetrap, with a comparable feeling of satisfaction when it all fits together and works. Introspective and playful, Marque pings out brief pop-blast after tiny loony tune after barmy ballad. It’s tatty but tight, and a joyous listen. But as I said, not immediate, because the voice takes a bit of chewing on. Like Will Oldham after a kick in the love spuds, Marque trills and wheezes some lovely lines of childlike observation: “Like a plastic bag up a tree / I am stuck to you and you to me” he squeaks in the delicious Piece of Candy, and how about the immortal “I can tell by your face / you’re not attractive” from the stunning We Should Never Have Dated..? Cheeky stuff, but none more so than on the wordless Here Is What I Have Been Trying To Tell You, with tinny sampled beats and acoustic Grubbsisms thrilling immediately. But it fades out before two minutes – mischief at work. Piece of Candy follows, and Marque’s job is done when I note that he manages to mention both condoms and midgets in a love song. Genius. I could go on, but there’s no point. You will either give this three listens and fall as I have, or you’ll detest it. A clue here is that if you don’t understand the importance of Stephin Merritt, Stephen Jones or Steven Malkmus in contemporary pop, then you needn’t read beyond this poi…
And here is one from a defunct Japanese site which was run through Babelfish:
The box head ensemble and the ロフティ - fall placing poetical sentiment and pathos in the wind even with the ピラーズ, the マイケルクラスナ which you make hear - being to have produced, same it purchased. If light of the warm window where you stop the usual return route step smell of the stew which starts spilling, the eye meets, the cat which keeps escaping, riding the rhythm which such a singing makes the 訥 々, you draw warm curved line. It is the good song where the pace it is light even in the cold night, soaks. (Willow)
More:
This last one is in Japanese, so I have taken the liberty of running it through Babelfish. The results, as with anything in Japanese run through Babelfish, are fantastic).
Returning, when it tries inspecting, coming out of the Chicago label, the る it seems. All the compilation acoustics. The too expert not to be with the voice which withers moderately, the song which is not too unskillful. Either tension not to be too low, too high not to be. Blue Gee arpeggio, リフ which is cut indifferent. When with, you write to here, whether it is the person of blues, that it is thought, however perhaps, the place as for ドッコイ and the rhythm hip hop flavor. If there is also ramming down, there is also a human strength. Adjusting to this rhythm, the bugle which the melody which is played with the guitar does, slips the loop the time on, the time フンワリ シンセ which is done, the piano which is made the polo remaining overnight the time. Because beat is cut properly very, it probably is to be balance feeling. Not straining, not to be dull, soft. Being lyrical, pathos it drifts.
Nothing Personal poster. Print one out in glorious
black and white on your office printer!
Press sheet and brief bio.