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To the sea.

Laurie Anderson - Mister Heartbreak

Eminently listenable, with pan-coastal instruments like conches, the kayagum, and, according to the liner notes here, the "double bell from the Cameroons," with which the ever-marvelous Laurie Anderson whips up wry observations, like "You know?  I'd rather see this on TV.  Tones it down." ("Sharkey's Day"), or "I got your letter. Thanks. A lot." ("Blue Lagoon"), into hypnotic heights. A gravel-voiced William S. Burroughs playfully closes things out ("Sharkey's Night") with deadpan panache.  1984

Wang Chung - The Warmer Side of Cool

A polished and overlooked luxury sports car of an album that hums with power, turns on a dime, and speeds to breathtaking acceleration, with an expansive sound that subversively glamorizes the materialism ostensibly deplored in "Praying to a New God," gives "At the Speed of Life" its prophetic intensity, and builds the ludic question in the middle of "Logic and Love," "Can't you see there's nothing to be gained in analyzing love?" into a towering bridge.  1989

Deep Forest - Deep Forest

Sanctuary for refugees fleeing the vacuous warbling and emetic melisma of the pop diva. Perfectly made recordings of indigenous peoples' chants have been digitally manipulated and cast into gorgeous synthesizer-built landscapes. Includes the original and an ambient remix of the proved-to-be remix juggernaut "Sweet Lullabye," the comforting "Night Bird," the quickening "Savana Dance," the resonant "Desert Walk," and the fulfilling "Second Twilight."  1992

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