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Junior Boys

Ask most musicians about the inspiration behind their latest magnum opus and, at best, you'll get some barely thought out guff about wanting to emulate the Beatles/Kraftwerk/Miles Davis/insert any other exalted artist within the canon of popular music. At worst you'll be confronted with shoulder-shrugging indifference: "Just listen to the music, man."

Ask Junior Boys' Jeremy Greenspan about what motivated the making of his and partner Matt Didemus' fourth album, It's All True, however, and you're soon basking in a multitude of cultural, geographic and gastronomic touchstones: namely Orson Welles, Howard Hughes, China, in particular Shanghai, Japan (the band, not the country), Banana Ripple ice cream, Carl Craig and analogue synths, but mostly Orson Welles.

But then Junior Boys, as their three albums to date (2004's Last Exit, So This Is Goodbye from 2006 and Begone Dull Care from 2009) attest, are not like other outfts. Musically, they marry everything from post punk, disco, techno, R'n'B and electronica with soul, dubstep, house, splintered pop and traces of world music into one cohesive whole. They are at once warm and inviting, yet ice cool; clever but instantly accessible; mercurial and utterly fascinating --all descriptions that go some way to defining their most comprehensive musical statement to date, It's All True.
Ask most musicians about the inspiration behind their latest magnum opus and, at best, you'll get some barely thought out guff about wanting to emulate the Beatles/Kraftwerk/Miles Davis/insert any other exalted artist within the canon of popul...
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