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San Serac

In a day and age when affordable music gear and virtual studio technology has produced common music whose depth and selection of expression could be measured in clicks of the mouse, more credence ought to be lent to artists like Boston-based singer, multi-instrumentalist, and producer Nat Rabb (San Serac). Some sort of post-Napster-era one-man music group, Rabb performs and creates most of his very own music, stages single live shows (aided just by basic tempo monitors), and operates an unbiased label (Frog Guy Jake) that acts as a one-stop-shop for his productions. Using the unavoidable evaluations to Prince or Todd Rundgren afoot, Rabb, a totally under-the-radar, nonmainstream musician, is certainly nowhere near such renowned status, but is certainly similarly idiosyncratic in his approach — evincing a flair for suave disco-house with critical chops along with a pale, deadpan croon much like David Bowie’s. A experienced of Baltimore post-punk rings because the early ’90s, Rabb concurrently nurtured a life-long love for new influx synth pop and electro-R&B (specially the groupings Shalamar and Midnight Superstar) — a pastime that dovetailed along with his afterwards discovery of traditional disco and home music. Proposing a mish-mash of designs with echoes from the innovative genre miscegenation of post-disco DJ-producers Larry Levan and Arthur Russell, Rabb rekindled his child years indie cassette label, Frog Guy Jake, in the first 2000s, retooling the imprint release a micro-edition CD-Rs of his wayward musical explorations. He ultimately released his first genuine material beneath the San Serac moniker, the full-length Human being Savagery Is really a Slippery Slope (2001). A pretzel-logic amalgam of ‘70s FM rock and roll, synthesized funk, and ersatz peaceful surprise jams, the recording received airplay from famed U.K. radio jock John Peel off, but its cryptic lyrics — earnest politics allegory covered up in tangle of unconscious imagery — remaining most critics baffled. An effective U.K. tour was accompanied by a second recording, Ice Age group (2004), that brought even more dance elements towards the fore, including, notably, MIDI-triggered timbales — a cornerstone of Rabb’s live display. A short stint at Trevor Jackson’s Result label yielded the 12″ solitary for “Tyrant,” a spotlight of San Serac’s third full-length, Professional (2007). Not really content in which to stay an individual musical monitor for too much time, Rabb began productive collaborations with ex-Junior Kids defeat programmer Johnny Dark (Stereo system Picture), Michaelann Zimmerman (the web), and French digital producer Em virtude de One (Cut and Soda); and in ’09 2009 released an EP (Music By no means Ends) for Morgan Geist’s well known dance music label Environ.

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