Abtomatic Miesterzinger Mambo Chic

Even in this age of near-total Internet accessibility, Charlie Megira is a modern mystery. A casual search turns up little aside from a few cryptic articles. His brief career unfolded during a changing of the guard in the music industry, opening on the death of the compact disc and ending just prior to Spotify's IPO. For an artist like Megira, living far away from a major music outpost, there was more chaos than structure for his recordings to exist and find an audience. His was a music both familiar and entirely alien at once. It touches on corners of darkness, an isolation both lonely and sweet, all wrapped in a cold glow that draws the listener into each note, each melancholy melody triggering unrecorded experiences. His various projects put out music which began as a junction point between Link Wray's surf guitar and the theatrical psychobilly of The Cramps, took a turn towards goth-inflected post-punk, and towards the end of his career would sojourn back into his earlier musical fascination with late 1950s and early 1960s rock 'n' roll. The Israeli guitarist recorded seven albums worth of material in 15 years during his all-too-brief 44 trips around the sun. Armed with only an Eko guitar, a black tuxedo, and his signature wrap-around shades, Charlie Megira was a mold-breaking artist who disintegrated while we were all staring at our phones.