Setul care m-a marcat cel mai mult in viata este de la Hell, la Mayday 99. Este momentul cand am inceput sa-l inteleg si sa apreciez ce face. Hell are 2 seturi majore, epocale. Ambele la Mayday. 1999 si 2001. Diferentele de calitate sunt minime, totusi il prefer pe cel din ‘99. Pe cat de eclectic, pe atat de unitar. Hell sound totally. Primele trackuri sunt exact genul de elektro a la Hell care m-au marcat. Straightforward, kompromiss-loss elektro tanzmusik. Cand Hell prelua pupitrul festivalurilor Mayday si Loveparade se schimba totul, efectiv stiai ca e Hell. Soundul devenea unul serios, dark, fascinant, intransigent, dar extrem de colorat si vital. Era ca un bodybuilder care incepea sa danseze in sala de forta. Sudoare, pasiune si an unsaturated need to jak. Sarea de la un sound la altul, dupa un techno tipic Hell dark si relentless urma un classic de disco, gen Donna Summer sau ceva similar. Dupa care un track de scoala muencheneza, semnat Richar Bartz. Kurbel was THE LABEL those days. Hell was the Unicorn.
deep, balearic, spatial, pe alocuri electro cu un disco twist tropical, influente moodyman si aeroplane, numele Zanzibar vine de la un club din new jersey de disco, celebru in anii ’80 si este de fapt alter egoul producatorului englez alex cordiner. ai zice ca e sound fix ca de-nceput de weekend, dar de fapt iti vine sa-ti iei campii si sa pleci in vacanta.
“‘Acid In The Style Of David Tudor’ is Florian Hecker’s first full length studio (as opposed to collections and commissions for art installations) album since 2003, when the groundbreaking ‘Sun Pandamonium’ was unleashed by Mego. Since then he has collaborated on audio projects with Yasunao Tone, Russell Haswell (as Haswell & Hecker) and a forthcoming live collaboration with Richard James as well a myriad of sound installation works, individually and with numerous artists worldwide.
As the title suggests this album is referencing the parallel universes of modern 20th century composition and hedonistic rave culture. A challenging but ultimately rewarding set of Electronic Music compositions which push these two reference points into unknown areas. Set in apparent contrast are the sequence of six pieces Acid In The Style of David Tudor, where hyperchaotic functions are inherently coupled to their sources of manipulation – a Buchla modular synthesizer in combination with a Comdyna analog computer – in opposition to the ASA pieces, fruit of a complex manipulation of distinct auditory patterns into a new acoustic whole. The closing Ten opens with an intense head related localization blur. Here, virtual binaural, stereophonic, biphonic and monaural sound reproduction coexist. All three approaches are displayed into a contrasting dynamics, where non- linear waveforms and psychoacoustic illusions that constantly push our perceptual and representational fabrics. Following the ideas of Robin Mackay, Hecker’s work reinstanciates the genetic ofness, once proposed by philosopher David Kaplan, cutting both genetic and cultural territories of hearing. This release is available as CD and download with an extensive 16 page essay ‘Climate of Bass Hunter: Florian Hecker Acid in the Style of David Tudor’ by Robin Mackay, founding editor of Collapse.
It is recommended to listen to this material on loudspeakers at high volume. Headphone use is not advised.” soulseduction
makunouchi bento says: Fresh nu mai e (e produsa acum 2 ani), a ramas sa fie doar good si minimal. Ne-am intalnit cu Ben acum multi ani, la TMBase. Ne-a placut ce facea si am luat atunci o piesa la remixat. N-am avut spor – piesa data de el nu ne-a inspirat prea tare. Dupa un timp i-am cerut o alta piesa la remixat. De aceasta data a fost o piesa care ne-a picat bine si ne-a condus la remixul pe care il ascultati. Piesa nu a avut o soarta prea vesela. Nu a vazut vinilul din cauza ca labelurile unde scoate Ben – din stiutele motive “de criza” – nu mai scot decat dance tracks. Am obtinut acordul lui Ben sa o releasuim FREE pe net si asa a ajuns in compilatia (fresh), de adio, de la cele doua netlabels surori canadiene (da, se inchid o gramada de netlabels din lipsa de feedback). Remixul este o viziune cinematica si cat se poate de makunouchi-bentiana a piesei originale. Pentru ca nu ne poate contrazice nimeni – Jesus was a b-boy !
Posted in buzz.RO on May 27th, 2009 by fresh good minimal |
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NuProg, Nouveau Psych, KrautDisco, dracu sa ii mai inteleaga. De la industrial, dark-wave, printr-un disco alienat, la psychobilly si progresiv dar totul cu clubul la baza, albumul asta este inca un semn al unei noi scoli franceze care vine sa inlocuiasca atmosfera infantila in care ajunsese electro-ul post-justice. Astia sunt fratii mai mari ai copiilor electro, trecuti prin mai multe curente si stiluri si care incearca acum sa creeze o sinteza a trecutului cu gandul la viitor. Saturati de muzica dance actuala, nostalgici dupa muzicile bune ale primei tinereti dar inca cu chef de dans. Albumul a aparut la Tigersushi, labelul lui Joakim si locul celor mai bune aparitii de pe zona asta iar pe cateva piese vocea este a lui Nicolas Ker de la Poni Hoax.
Krikor & The Dead Hillbillies – Dogs On Trial
Krikor & The Dead Hillbillies – God will break it all
Krikor & The Dead Hillbillies – Discipline (Paris)
2009 aduce Moderat cu un album omonim care înglobează preferințele lor muzicale. Modeselektor a venit cu bassul, iar Apparat a adus corzile. Au creat o fuziune între mister, visare și piese de dans care te robotizează, paradoxal, într-un mod natural. Apparat contribuie cu vocea, cântă mașinal, de parca ar fi inconștient și devine repede obsesiv. Hit dupa hit, mult sirop și dependență de beat, cu exceptia a doua piese cu iz de jamaica si hip hop. Acest album îl vor cânta și la București. Nu vor apărea însă pe scenă cu trei laptopuri, ci au pregătit un show audio video în care fiecare și-a adus contribuția personală la varianta live a pieselor. Artiștii vizuali Pfadfinderei au filmat și au produs imagini pentru fiecare dintre melodii, astfel încât pe scena vor fi cinci oameni, iar doi se vor ocupa de lumini si de proiecțiile ce te vor îmbăta olfactiv de pe trei ecrane.
Seamonkey
interview courtesy of BPitch Control
Why the long gap between the BPitch Control EP “Auf Kosten der Gesundheit” back in 2002 and the debut album?
When we started Moderat it was more some kind of fun live project. That was before our solo projects went off. We played totally improvised gigs together. It worked pretty well live, but when we tried to do this EP it was pretty tough. It took ages. It’s not always easy sitting in the studio with 2 other guys. A lot of discussions and talking is involved. Plus, we ́re never happy and change things 10 times. The day before the mastering appointment of our EP several years ago all of us got sick due to exhaustion, but we knew we would do a full lenght album one day, despite of it. It just took us a while before we could afford taking 1 or 2 years off from Modeselektor and Apparat. Our solo albums went well and we started playing a lot. And when one of us had time, the other ones didn’t, so Apparat did the record with Ellen which was great and important for him as well. After “Walls” and “Happy Birthday!” we felt like taking a break would be good. We wanted to do something different and Moderat was just perfect for that!
How long did the album take to make?
We started to collect song ideas in 2007. That was right after we decided to do the album. Each of us had unfinished songs which we couldnt finish on our own and so we hoped another one would reanimate those dead ideas. We produced some new ideas as well and by the end of 2007 we met and picked the best ideas to have something to start with. We spent most of 2008 together in the studio to work on these ideas. It wasn’t like being in a band where the drummer would be in chagre for his thing, we are 3 producers and each of us had different ideas about every little detail. We had endless discussions. Sometimes we talked
more than we made music…
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