Frank Bretschneider - Rhythm (2007)

ARTIST`````Frank Bretschneider
ALBUM`````Rhythm
GENRE`````True Minimal, "Funk", Glitch
YEAR````````2007

Review:
Despite having been involved with all the highbrow minimal labels you can think of (Raster Noton, 12k and Mille Plateaux among others), Frank Bretschneider's pioneering use of pristine bass tones and clipped snares has as much in common with the careful machinations of Minimal techno, Hip Hop and Dubstep as it does with the undulating explorations of installation-based sound design. Of all the founding members of the Raster mothership Bretschneider has possessed the most populist agenda and some would argue that because of this his music is amongst the label's most influential. Incredibly, "Rhythm" is Bretschneider's first album since 2002's "Balance" collaboration with Taylor Deupree for Mille Plataeux and represents his most developed, full-bodied set of tracks to date.

Reviews:

Rhythm on Boomkat

Rhythm on Resident Advisor

Rhythm on Dusted Magazine

Tracklist:

01 A Soft Throbbing Of Time
02 The Big Black And White Game
03 We Can Remember It For You Wholesale
04 The Eight Day People
05 Other Days, Other Eyes
06 Construction Shack
07 The Moon Is A Hole In The Sky
08 All Summer In A Day
09 The October Game

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ANDERS ILAR - LUDWIJKA - EXTENDED VISIT (2006)

UNDER OUR RUGS
ARTIST`````ANDERS ILAR
ALBUM`````LUDWIJKA - EXTENDED VISIT
GENRE`````IDM, MICRO, GLITCH, EXPERIMENTAL
YEAR````````2006

WHY? BY ME
The glitch-IDM scene used to be a kind of an experimental, elitist field in which electronic music makers showed their skills in achieving a functional composition with a minimal set of sounds. Nowadays, as usual, it grew into a huge scene of crap, piss and an occasional good record. Sweden based artist Anders Ilar made a really good record and what separates it from the today's rest and from the past are his fine skills in producing details, full sound and especially his gentle but melting bass lines that can heal your speakers. He is most definetly not Murcof, but he has a crouching layer of quality that many IDM "artists" dream of while being stuck inside this basically quite narrow sub-genre.

If you liked this you should like this one.

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OVAL - 94 DISKONT + MICROSTORIA - INIT DING (1995)

2 STANDOUT GLITCH ELECTRONIC ALBUMS OF 1995
ARTIST`````OVAL
ALBUM`````94 DISKONT
GENRE`````GLITCH, ELECTRONIC, IDM, INDIE
YEAR````````1995

WHY:
2 outstading examples of advanced electronic albums from 1995 from the same artist.

ALLMUSIC ON 94 DISKONT:
94 Diskont is undoubtedly a standout in the field of electronically advanced, glitch-heavy music. In addition to having clear resonance with those primarily interested in process, this record resides in an autonomous and highly aesthetic sonic universe, where bits of production and granulated noise easily melt into warm, repetitive arrangements. 94 Diskont was made with a lot of productive mediation and gadgetry, but the seams don't show.

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ARTIST`````MICROSTORIA
ALBUM`````INIT DING
GENRE`````LEFT-FIELD, ELECTRONIC, IDM, INDIE
YEAR````````1995

DIRECKSHUN ON INIT DING:
Microstoria is a fine experimental electronic outfit composed of Oval's Markus Popp and Mouse On Mars' Jan St. Werner -- but you wouldn't expect the collaboration to be as literal as Microstoria turned out to be. For all their combined creative juices, Microstoria is simply a meeting halfway between the mechanical atmosphere of Oval and the complex melodic quirks of Mouse On Mars. A simplistic formula to draw, perhaps, but it's surprising how very well the two styles of music mesh. Oval's random aloofness is retained, but its mechanical clicks and whirrs is replaced by warm synths and sporatic bits of electronic melody, a clear influence from Mouse On Mars. It's a compliment to both styles of each groups, and a pleasure in and of itself -- there's a reason they continue to release albums eleven years later. Init Ding is a great debut album from two artists who understand different aspects of complexity, and the resulting chemistry is palpable.

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V.A. WE ALL DREAM OF RUBBER WINGS AND JELLY FEET (2008)

Cover design by me:-)

AS DREAMS TWIST AND BLUR
ARTIST````VARIOUS
ALBUM````WE ALL DREAM OF RUBBER WINGS AND JELLY FEET
GENRE````ELECTRONIC, IDM, EXPERIMENTAL, ELECTRO, MOOG, AMBIENT, GLITCH
YEAR```````2008
COMPILED BY PANDA STUFFER

ABOUT:
A compilation I made dedicated to those positive, inspiring and complex dreams we all like to talk about but cannot explain.

As many of my compilations go, this one is also an eclectic mix of different artists. Selection spans from early vintage moog sounds and IDM ambient music over glitch electro to experimetal minimal intros by some more known and mainstream artists. Feel free to express your opinion about this compilation in the comments.

ALBUM REVIEW?
If somebody wants to review this selection of mine, feel free to do it.

THE BLURRY, DREAMY TRACKLIST:
01 Elliott Smith - Ostriches & Chirping
02 Aphex Twin - 4
03 Mike And Rich - Eggy Toast
04 Chris Moss Acid - Up Periscope
05 Fuzakenna Forest Journey
06 Cornelius - Wataridori
07 Paul Bonneau - Extase
08 Fennesz - Uds
09 Telephone Jim Jesus - Birdstatic
10 Robert Lippok & Barbara Morgenstern - Please Wake Me For Meals
11 Daedelus - Dreamt of Drowning
12 Cornelius - Like a Rolling Stone
13 Four Tet-Prefuse 73 - Creating Cyclical Headaches
14 Black Moth Super Rainbow - Seeds
15 Datach'i - What It Is
16 Cubismo Grafico - Vaseline For 11 Basslines
17 Flying Lotus - 1983 (daedelus odd dance party remix)
18 Casino Versus Japan - Over Island
19 Daniela Casa - Vizio
20 T.O.N.T.O's Expanding Head Band - Ferryboat
21 Xploding Plastix - The Cave In Proper
22 Drexciya - Draining of the Tanks
23 Kid Spatula - Nordy
24 Sufjan Stevens - The Undivided Self (for Eppie and Popo)
25 Steve Jansen - December Train
26 Miaou - On A Sunday (Qua Remix)
27 De Phazz - Twang
28 Martin Rev - Ten Two
29 Philippe Cam - Caddie's Day
30 Kelley Polar - A Feeling of the All-Thing

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MOTORO FAAM - ...AND WATER CYCLES (2007)

SWIRLING EVAPORATION FROM JAPAN
ARTIST`````MOTORO FAAM
ALBUM`````...AND WATER CYCLES
GENRE`````AVANT-GARDE, AMBIENT, GLITCH
YEAR```````2007

WHY:
Enjoyable, lush soundscapes with infinite number of glitchy layered beats carefully mixed with piano melodies and violin variations obscured by clouds of white noise and tough pads describing abstract conditions and movements in an orderly fashion. A touch of noise here, a hint of japan-piano-naive-kitch there, a tiny broken-beat inside with some cream production outside and you get this quite enjoyable record.

SHORT BIO:
MOTORO FAAM is hailed from Kanagawa, Japan and is an act made by three 23 years old musicians. Mizukami Ryuta takes care of the electronic side of this unique project (samples and programming) while Kobara Daisuke (violin) and Kato Ayumi (piano) both classical educate have a main input in the musical part.

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MURCOF - MARTES (YESTERDAY) (2002)

FLESH AND BONES FROM A MICROSCOPIC WORLD
ARTIST`````````````MURCOF
ALBUM`````````````MARTES (YESTERDAY)
GENRE`````````````EXPERIMENTAL/GLITCH/MINIMAL
YEAR```````````````2002

MY VIEW:
All I can say is - This man uses real silence as an instrument and it sounds like a beautiful violin:)

SHORT ARTIST INFO:
Fernando Corona was born in 1970 in Tijuana, Mexico and was raised in the nearby port of Ensenada. In 2000 he returned to Tijuana where he has continued to live and work. He was for a time a member of the Tijuana-based Nortec Collective of electronic musicians under the Terrestre project name. Martes is his debut album under the name Murcof.

Short reviews:

"A very assured debut, creating a sound world that's undeniably 'now' yet conjouring an aura that is both active and peaceful, audaciously still... somewhere between Giya Kancheli and Apex Twin... a rare feeling of size and space"
John L. Walters, The Guardian

"Spooky and etherealmicro-dub from Mexico... Cologne-style crackles with an orchestral simplicity worthy of Arvo part or Henryk Gorecki... genuinely otherworldly and refreshingly bizzare"
dSide

"Strange, lucid, mysterious, heady and utterly compelling, it is without doubt the best thing ever to come out of Central America"
5 dancing men, 7 Magazine

ALBUM REVIEW:
taken from http://themilkfactory.co.uk

Martes mixes arid micro beats and electronic noises with beautiful atmospheric soundscapes to create a unique piece of highly emotional and textural music. Corona manipulates his delicate constructions with expertise, slowly introducing layer after layer of sounds to slowly build intense patterns where intricate melodies flourish freely. Despite Memoria being strangely reminiscent of Polygon Window's eponymous track, Corona establishes very little connections with the existing electronic scene, concentrating instead on developing his own rules. Strings, pianos and woods are fully integrated with the more electronic sounds, giving each track incredible consistency and evocative power. Again, when he introduces human voice, as on the stunning Mapa, Mir or the moving Muim, he works at creating symbiotic environments to the point where it becomes difficult to dissociate reality from synthesis. Muim, perhaps more than any other track on this album sums up the Murcof equation. Here, voice, cello, drones and static beats support and complement each other in the most exquisite way, creating a complex model of contemplative incandescence, not dissimilar to the composite minimalism of Pärt or Gorecki. Martes, by all means an elaborate Record, proves to be an extremely rewarding work. Far from being inaccessible and pretentious, the compositions are fluid and profoundly enjoyable. Corona seems to incorporate multiple levels of complexity all the way through, allowing the listener to appreciate this record from a different angle each time.

If the outer structure of Martes is electronic, the modern aspect of it is to be found in the more unusual components of Fernando Corona's music, and in the way they interact with each other. No other electronic record has ever offered such an extensive scope and sounded that coherent. This first Murcof album is intrinsically contemporary, and above all, a true masterpiece. Definetly, the 2002 Album of the Year.

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