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<title>Circlesquare Discography on Rhapsody Online</title><link>http://www.rhapsody.com/goto?rcid=art.6877659&amp;rws=%2Fcirclesquare%2Fdiscography.rss</link><description>&lt;p&gt;Circlesquare is the alias of Vancouver's Jeremy Shaw, who melds post-punk, ambient drones and steely techno overtones into a dark, molten sound overlaid with his own distinctive vocals. The plangent tones of steel guitar sometimes recall Angelo Badalamenti or Chris Isaak, while Shaw's breathy voice lends a smacking of Velvet Underground-style disaffected cool. But the pervasive atmosphere is a kind of narcotic haze of too-slow beats and melting tones.&lt;/p&gt;
&lt;p&gt;Shaw began the project in 1999 with "The Distance After" single for Trevor Jackson's Output label, but he really hit his stride with 2004's spellbinding &lt;I&gt;Pre-Earthquake Anthem&lt;/I&gt;. After 2006's &lt;I&gt;Fight Sounds&lt;/I&gt; EP, a collection of sketches and stylistic experiments, Shaw was left briefly in limbo after Output folded, but returned in 2009 with &lt;I&gt;Songs About Dancing and Drugs&lt;/I&gt;. Recorded with a full rhythm section and painstakingly remixed by Shaw, the album was at once sensuous and numb, an appropriate contradiction for a record (and an artist) so preoccupied with the comedown.&lt;/p&gt;
- Philip Sherburne</description><category>Downtempo</category><language>en</language><ttl>720</ttl><pubDate>Mon, 30 Nov 2009 18:47:19 -0800</pubDate><image>
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<description>&lt;p&gt;Circlesquare is the alias of Vancouver's Jeremy Shaw, who melds post-punk, ambient drones and steely techno overtones into a dark, molten sound overlaid with his own distinctive vocals. The plangent tones of steel guitar sometimes recall Angelo Badalamenti or Chris Isaak, while Shaw's breathy voice lends a smacking of Velvet Underground-style disaffected cool. But the pervasive atmosphere is a kind of narcotic haze of too-slow beats and melting tones.&lt;/p&gt;
&lt;p&gt;Shaw began the project in 1999 with "The Distance After" single for Trevor Jackson's Output label, but he really hit his stride with 2004's spellbinding &lt;I&gt;Pre-Earthquake Anthem&lt;/I&gt;. After 2006's &lt;I&gt;Fight Sounds&lt;/I&gt; EP, a collection of sketches and stylistic experiments, Shaw was left briefly in limbo after Output folded, but returned in 2009 with &lt;I&gt;Songs About Dancing and Drugs&lt;/I&gt;. Recorded with a full rhythm section and painstakingly remixed by Shaw, the album was at once sensuous and numb, an appropriate contradiction for a record (and an artist) so preoccupied with the comedown.&lt;/p&gt;
- Philip Sherburne</description>
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