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Miguel De Pedro has instead delivered an oeuvre that plays like a stream-of-consciousness narrative of his growth, and of his many, many tangents, as a musician.
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Call it retro in service of sweat and smiles, celebrating the ridiculousness of dance music at its loudest and most unmannered.
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On Shout at the Döner, De Pedro makes sure he has all his bases covered, all the flesh lined up before he can cannibalize it, taking good shit and doing evil things with it, and vice versa.