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Asa Breed

Rate It! Avg: 4.0 (101 ratings)
Asa Breed album cover
Fleece On Brain
Elementary Lover
Don and Sherri
Will Gravity Win Tonight?
Pom Pom
Death to Feelers
Give Me More
Midnight Lovers
Good To Be Alive
Album Information

Total Tracks: 12   Total Length: 40:51

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Wondering Sound

Review 0

Mark Richardson


Mark Richardson is the Editor-in-Chief of Pitchfork and he lives in Chicago. His column, "Resonant Frequency," appears on the site monthly.

Matthew Dear, Asa Breed
2007 | Label: Ghostly International / The Orchard

Lately appearing as Audion, purveyor of floor-friendly techno, Detroit's Matthew Dear saves his given name for work that marries lean, beat-driven tracks to structures that flirt with pop, featuring his deep and unusual singing voice. Indeed, flirting with pop is as far as Dear had gotten — until Asa Breed. Now, it seems, the relationship has been consummated. For evidence, check the track times: the first two Dear records averaged about five minutes per,… read more »

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It's okay. Pom Pom is fantastic


Decent electronica rock album. Not anything to write home about - except Pom Pom. Wow, what an unbelievably good song.

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great minimalist electronic


Matthew Dear improves with each album and recalls electronic greats New Order and Underworld. Desert is a great track. Also check out pom pom.

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Mood Music for the Masses


I can't help but repeatedly play Asa Breed on my commute when I'm walking through the streets of NYC. The downtempo, moody beats give me that personal soundtrack feeling. It's the kind of mind altering you want sometimes to take your mind off the real world. I'll buy anything Dear produces in the future! Don and Sherri rocks!

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Cant get enough


I hope that he continues on this kick when he works in more albums under this project. The music is simple but smooth and lyrically it surprised me with its depth and personal feeling. Its a favorite album and many of these songs continue to make it onto mixes for friends because of the depth of the albums content.

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Matthew Dear cool as always


More great electronica from a group that doesn't disappoint. Songs range in sound from Talking Heads, The Smiths, The Damned, Booka Shade, Lusine, Cut Copy, etc.

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Fantastic Experimental Pop!


Remember old Talking Heads, and the first recordings of Brian Eno's pop music? That is what comes to mind when I hear this album. The whole album is wonderful! Haven't heard electronic music like this in a long time.

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Tasty, somewhat dark electro-pop.


This is good stuff. Lots of interesting sounds, and unique vocals. Check out Deserter, Pom Pom, Midnight Lovers, and really, the whole album.

eMusic Features


Interview: Matthew Dear

By Andy Battaglia, Contributor

Matthew Dear came up in the murky, mesmerizing underground of electronic dance music before venturing out to start playing songs smeared with impressions of moody new-wave pop and rock. His debut Leave Luck to Heaven was instrumental in popularizing the timely sound of minimal-techno when it came out in 2003, and it helped establish the label Ghostly International as a rare American force in a scene that had migrated mostly to Europe and beyond. While… more »


Why Dance Music is Bigger than Ever

By Michelangelo Matos, Contributor

In 2010, the unthinkable occurred. I was 35, and I had never been so excited about electronic dance music. That's not usually how it works - dance music's turnover rate often leads to early burnout even among diehards, and particularly among diehards over 30. But throughout the past half-decade, dance music has been both cutting-edge and conscious of its own legacy; an irresistible combination for anyone who wants to have a good time first and… more »

They Say All Music Guide

Asa Breed furthers a seemingly happenstance shift to electronics-based indie pop that began on 2003′s Leave Luck to Heaven and continued on 2004′s Backstroke. Where the vocal tracks on those two albums sounded as if they began as instrumentals and just happened to benefit from lyrics and melodies thought up after the fact, there is an apparent deliberate attempt here at making songs. “Deserter” is the greatest example of Matthew Dear’s gradual development as a writer, one of the most affecting songs he has made — full of dazed textures, a very direct beat, and a typically disconnected vocal, it doesn’t seem built to move the listener in any way, but it unexpectedly grabs hold, not unlike Wire’s most subdued and straightforward material (such as “The 15th” or “Heartbeat”). One thing that hasn’t changed is the elusiveness of the lyrics: most of them could mean anything, or perhaps nothing at all, and what seems tossed-off could have some profound subtext. No matter the amount of effort Dear put into his lyrics, the sounds he makes with his voice still take precedence. A little exposure to his constantly morphing flat baritone goes a long way, even though it is used in so many ways; there’s barely intelligible gibberish, singsongy semi-sneering, exaggerated David Byrne deadpan, whiny whispering, and a few other methods used to convey stories, self-examination, and in-jokes. (With its resemblance to Japan’s “Visions of China,” “Shy” could use a David Sylvian impersonation, but that is not so easy to pull off.) Since producing dancefloor tracks remains Dear’s most natural talent, a few of the album’s songs would just happen to be effective as instrumentals when played in certain clubs; the likes of “Neighborhood,” “Don and Sherri,” and “Fleece on Brain,” when stripped of vocals, sound just like typical Dear productions, but they do bend toward the need of the song. If there is an unexpected aspect of the album, it’s within the last quarter of the program, where there are three scruffy songs dominated by acoustic guitar. Lurching and rumbling away, Dear sounds in need of shade and water, susceptible to being knocked over by some stray tumbleweed. – Andy Kellman

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