Max Tundra | WIG168 | Released: 20/10/08
"What sets Max Tundra apart from any other band in the world is his attention to detail. This album is impossibly full of ideas, seeking out every imaginable sound in the world and giving each their own curtain call. When you listen to this album, you'd think that it was made by an eccentric millionaire, with every name-brand pop music producer in the world contributing their own two seconds of material. Upon closer inspection, you'd realize that it's been six years since Mastered By Guy At The Exchange; in that time, Max probably hasn't had a single good night's sleep." - Owen Pallett
There are more ideas crammed into the 41 minutes of Max Tundra’s third album than most bands manage in their whole careers. Parallax Error Beheads You, the third Max Tundra LP and his first since 2002’s Mastered By Guy At The Exchange, is a masterpiece of micro-melodies and sound-bytes; a triumph of splicing, dicing and editing. It’s an intricate mosaic of sounds and styles, some of which you might recognise from the last 30 years of pop, rock, prog, disco, funk, techno, rap, metal and soul, but many of which are completely new: either from a startling recombination of existing genres, or from Max inventing an original one himself. The attention to detail, and the sheer speed at which ideas whizz past you in the mix, will leave you stunned.
“Each song contains many facets and genres, and the starts of songs are often stylistically extremely different to how they each end up, touring via a few styles along the way,” says the man himself, going some way towards explaining why there are multiple, simultaneous or sequential, melodies during each of the 10 tracks on Parallax Error Beheads You, and why one song can sometimes sound like seven different bands from totally different worlds playing at once - "Glycaemic Index Blues", to name but one of the songs on the album, is like Yes playing glitch techno with Pharrell Williams fighting Todd Rundgren at the controls while "Green Gartside" offers his creamiest falsetto. Just call it cosmic glitch-pop R&B.
“There are micro-melodies on the album – generally, layers and layers of stuff,” says Max. “Hopefully, the more you listen to it, the more new stuff will reveal itself, stuff you didn’t notice the first few times you played it. It’s intricate but that should mean it’s more rewarding over the distance, so that people can go back to it and hear new things each time.”