|
|
|
|
viewing 1 To 23 of 23 items
|
|
|
|
|
|
|
|
|
|
|
|
2LP
|
|
MP 035LP
|
$38.50
PREORDER
RELEASE DATE: 10/29/2021
Double LP version. Porter Ricks is a collaboration between Thomas Köner and Andy Mellwig. Following the re-release of the legendary album Biokinetics (MP 026CD/LP), which is superb subaquatic dub techno, Mille Plateaux re-release Porter Ricks' first album on the label, a self-titled album released in 1997. The album demonstrates the move to a kind of discoid funkiness with an underlying almost organic rhythm might, but still, it's not music for beautiful souls. Instead, it combines funkiness with alien sonic fluxes and the rhythm of a killing mover.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
MP 035CD
|
Porter Ricks is a collaboration between Thomas Köner and Andy Mellwig. Following the re-release of the legendary album Biokinetics (MP 026CD/LP), which is superb subaquatic dub techno, Mille Plateaux re-release Porter Ricks' first album on the label, a self-titled album released in 1997. The album demonstrates the move to a kind of discoid funkiness with an underlying almost organic rhythm might, but still, it's not music for beautiful souls. Instead, it combines funkiness with alien sonic fluxes and the rhythm of a killing mover.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
2LP
|
|
MP 029LP
|
$35.00
PREORDER
RELEASE DATE: 10/8/2021
Simona Zambolis's first album on Mille Plateaux Ethernity is a piece of haunting music -- vibrating, pulsing and cutting through the concrete and the chaos at the same time, when you listen close enough. The album is a journey through trans-reality, not only as a melancholic drama, but also as a travel to alien worlds, hence as a necessity of an electronic intervention. Ethernithy is radical fiction in a non-expressive, non-melancholic and ultra-black sense. Profound music demands blackness, not silence. When we speak of communication or mediation, the reference is always that of the mystical tradition of the via negativa; mediation and communication always imply the dissolution of sender and receiver, leaving not only the message that is the gulf or abyss, but a perception out there, which senses should be able to recognize and even love.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
2LP
|
|
MP 034LP
|
$38.50
PREORDER
RELEASE DATE: 10/1/2021
Double LP version. Aubrite was first released 1995 on the label Barooni. Thomas Köner is one of the most influential modernist minimal composers. His music is often defined as dark ambient or drone, because of the use of low frequencies, material from gongs, shadowy resonances and boreal ambience, but at the same time its sound with constant fluctuation and vulnerability of sonic events, what makes it organic, human and almost comforting. Köner's soundscapes are no longer simply dark, the question now is that of a profound blackness. Such is the generic darkness of the abyss, the void and vacuum, the darkness of more than silence, of catastrophe and cataclysm, but also the soundscapes have utopian moments. It is a cosmological blackness, the black of nonbeing. "The more subtractive, the blacker the sound synthesis", Köner writes. Such blackness is non-music. Music will never be music until it ceases to represent and begins to sound like non-music or monochrome. "Whoever hears the distortion of all sounds, will soon become Ultrablack. Whoever listens to this world, but has no affection for any of its sites, even to the place of Black Noise, may soon reach Ultrablack. Whoever understands the spirit of impartiality through ten thousand million partial tones, hears Ultrablack and can no longer be measured. No measures, no enclosures, no properties are the sign of ultrablack scores." Roland Speckle helped with production of the album. Aubrite is the name of a group of meteorites named for Aubres, a small achondrite meteorite that fell near Nyons in 1836. Includes two bonus tracks. Double LP version marks the first time the album has been released on vinyl.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
MP 034CD
|
Aubrite was first released 1995 on the label Barooni. Thomas Köner is one of the most influential modernist minimal composers. His music is often defined as dark ambient or drone, because of the use of low frequencies, material from gongs, shadowy resonances and boreal ambience, but at the same time its sound with constant fluctuation and vulnerability of sonic events, what makes it organic, human and almost comforting. Köner's soundscapes are no longer simply dark, the question now is that of a profound blackness. Such is the generic darkness of the abyss, the void and vacuum, the darkness of more than silence, of catastrophe and cataclysm, but also the soundscapes have utopian moments. It is a cosmological blackness, the black of nonbeing. "The more subtractive, the blacker the sound synthesis", Köner writes. Such blackness is non-music. Music will never be music until it ceases to represent and begins to sound like non-music or monochrome. "Whoever hears the distortion of all sounds, will soon become Ultrablack. Whoever listens to this world, but has no affection for any of its sites, even to the place of Black Noise, may soon reach Ultrablack. Whoever understands the spirit of impartiality through ten thousand million partial tones, hears Ultrablack and can no longer be measured. No measures, no enclosures, no properties are the sign of ultrablack scores." Roland Speckle helped with production of the album. Aubrite is the name of a group of meteorites named for Aubres, a small achondrite meteorite that fell near Nyons in 1836. Includes two bonus tracks.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
MP 012LP
|
$29.00
PREORDER
RELEASE DATE: 7/30/2021
Grains is the debut album by Numinos on Mille Plateaux. The Cologne-based producer, DJ, author, and lecturer has been writing the tech-reviews in Groove for many years, tests equipment for various specialist magazines and teaches at the Institute for Pop Music (IFPOM) and Institute for Computer Music and Electronic Media (ICEM) of the Folkwang University. In his current creative phase, he conceptually deals with the topic of "granular synthesis". A "grain" is thus, to a certain extent, a tiny spectral snapshot from a larger musical context -- an infinitely expandable, flowing intermediate state. This is also where the connection to the cover motif is found that shows the negative of a photograph of a wild field and has been taken Bernd Adamek-Schyma: The negative as an eternal intermediate state between the motif and the developed image. And despite the fact that Numinos has a fully equipped studio with a wide range of instruments, the 20 Euro iPad app "Borderlands Granular" turned out to be the creative catalyst that enabled the trained pianist to implement his sound ideas with direct haptic influence. The app gives the Cologne-based sound artist the opportunity to extract tiny fragments from the sample based on their specific tonality, to recontextualize them and thus work out structures that are not audible at the original tempo. The results are polyrhythmic sound scenes that appear harsh, artificial and strange in a moment, only to transform into contemplative, warm and familiar frequency stratification minutes later. Numinos deceives the listener in many ways. Above all with the supposed rhythm that does not exist. Because in fact almost all granular clusters within the pieces run in completely asynchronous loops. The addition of a simple kick drum then forces the brain to suddenly hear apparent triplets, quintoles, or dotted eighths in these mathematically completely chaotic structures, which are purely fallacy.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
2LP
|
|
MP 026LP
|
Mille Plateaux present a reissue of Porter Ricks' Biokinetics, originally released in 1996. Techno isn't a genre that has birthed many consistent albums, and the dub techno subgenre even less so, but one indisputable classic is Porter Ricks' debut Biokinetics. Originally issued on the legendary Basic Channel sub-label Chain Reaction in 1996 following a trio of 12"s, Biokinetics was the first of the label's album releases, and still stands as its crowning achievement. Porter Ricks are Thomas Köner and Andy Mellwig, and between them they re-framed the techno sound, imbuing the spacious ambience pioneered by label bosses Mark Ernestus and Moritz Von Oswald with a frosty, isolated experimental bent, and combining it with the sort of haunted minimalism of early Plastikman. What separated Biokinetics from other albums at the time was its unwavering narrative -- the exact sound has been interpreted countless times since, but the immersive qualities of this singular record have rarely been touched. Maybe it is down to the silvery underwater concept that ties each track together -- the bubbling pads, sub-aquatic basses and muffled kick drums. But as with any great album, it's hard to exactly put your finger on what makes it a classic. Simply put Biokinetics is one of the most important records in the genre and one of techno's finest albums. It has been re-released ten years ago by Type Records, and now Mille Plateaux is celebrating the 25th anniversary of Porter Ricks and Biokinetics with this sumptuous double vinyl edition.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
MP 027LP
|
LP version. Mille Plateaux present a reissue of Thomas Köner's Nuuk, originally published as one of four CDs on the 1997 compilation Driftworks and re-released in 2004 by MillePlateauxMedia. Thomas Köner is one of the most influential modernist minimal composers. Alongside Wolfgang Voigt's Gas project, Köner has been centrally responsible for electronic music's fascination with depth and reduction. His signature sound is vast, seemingly endless, which at first seems homogenous and infinite, but once exposed to it, when our senses calibrate to the fine nuances of changes, you discover and immerse into abundance of textures, richness of modulations, and almost infinite range of sonic titillations. Köner's work was inspired by his frequent travels in the Arctic, and listeners feel his music as a journey to mysterious worlds of the Arctic region. The experience of being exposed to the extreme cold, the heightening of our senses and ability to notice even the slightest changes in color, sound, light or density that creates this dangerously reductive environment, is like an immersion in the sonic world of this German artist, where masterfully crafted layers of sound open into colossal spaces, teeming with aural life, waiting to be discovered by those who venture into it. The titles of Köner's highly regarded albums from the '90s ever so often play with this affinity -- Nunatak, Permafrost, Teimo -- all reference to the world of the Artic region, just as his album Nuuk that points us to the capital of Greenland. Subdued and minimal at first glance, this album is brimming with low-end frequencies, shadowy resonances, and boreal ambience, but at the same time, constant fluctuation and vulnerability of sonic events, makes it very organic, human and almost comforting, like the tiny harbor existing in the sea of ice, it is named after. It also served as the source of music material and inspiration for Thomas Köner's video art by the same title, which was awarded a Tiger Cub Award at the 34th International Film Festival in Rotterdam a year later.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
MP 026CD
|
Mille Plateaux present a reissue of Porter Ricks' Biokinetics, originally released in 1996. Techno isn't a genre that has birthed many consistent albums, and the dub techno subgenre even less so, but one indisputable classic is Porter Ricks' debut Biokinetics. Originally issued on the legendary Basic Channel sub-label Chain Reaction in 1996 following a trio of 12"s, Biokinetics was the first of the label's album releases, and still stands as its crowning achievement. Porter Ricks are Thomas Köner and Andy Mellwig, and between them they re-framed the techno sound, imbuing the spacious ambience pioneered by label bosses Mark Ernestus and Moritz Von Oswald with a frosty, isolated experimental bent, and combining it with the sort of haunted minimalism of early Plastikman. What separated Biokinetics from other albums at the time was its unwavering narrative -- the exact sound has been interpreted countless times since, but the immersive qualities of this singular record have rarely been touched. Maybe it is down to the silvery underwater concept that ties each track together -- the bubbling pads, sub-aquatic basses and muffled kick drums. But as with any great album, it's hard to exactly put your finger on what makes it a classic. Simply put Biokinetics is one of the most important records in the genre and one of techno's finest albums. It has been re-released ten years ago by Type Records, and now Mille Plateaux is celebrating the 25th anniversary of Porter Ricks and Biokinetics with this CD edition.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
MP 027CD
|
Mille Plateaux present a reissue of Thomas Köner's Nuuk, originally published as one of four CDs on the 1997 compilation Driftworks and re-released in 2004 by MillePlateauxMedia. Thomas Köner is one of the most influential modernist minimal composers. Alongside Wolfgang Voigt's Gas project, Köner has been centrally responsible for electronic music's fascination with depth and reduction. His signature sound is vast, seemingly endless, which at first seems homogenous and infinite, but once exposed to it, when our senses calibrate to the fine nuances of changes, you discover and immerse into abundance of textures, richness of modulations, and almost infinite range of sonic titillations. Köner's work was inspired by his frequent travels in the Arctic, and listeners feel his music as a journey to mysterious worlds of the Arctic region. The experience of being exposed to the extreme cold, the heightening of our senses and ability to notice even the slightest changes in color, sound, light or density that creates this dangerously reductive environment, is like an immersion in the sonic world of this German artist, where masterfully crafted layers of sound open into colossal spaces, teeming with aural life, waiting to be discovered by those who venture into it. The titles of Köner's highly regarded albums from the '90s ever so often play with this affinity -- Nunatak, Permafrost, Teimo -- all reference to the world of the Artic region, just as his album Nuuk that points us to the capital of Greenland. Subdued and minimal at first glance, this album is brimming with low-end frequencies, shadowy resonances, and boreal ambience, but at the same time, constant fluctuation and vulnerability of sonic events, makes it very organic, human and almost comforting, like the tiny harbor existing in the sea of ice, it is named after. It also served as the source of music material and inspiration for Thomas Köner's video art by the same title, which was awarded a Tiger Cub Award at the 34th International Film Festival in Rotterdam a year later.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
MP 304CD
|
Originally released in 2008 on the Swollen Glands label, this is the debut release from Úlfur Hansson aka Klive, a young musician from Reykjavík, Iceland. He is the bass player of notorious noisecore band Swords Of Chaos and a touring member of Jónsi (Jón Þór Birgisson of Sigur Rós). Klive is his solo project. Sweaty Psalms has a strong organic feel, mixed with tongue in-cheek brass samples and orchestrations that compliment heavily-processed field recordings. It definitely sounds like water and wood. It bubbles, whistles and rattles indefinitely, with merely seagulls to be spotted. In fact, "Don't Give Up The Ghost" includes sounds from the vehement battering of pots and pans outside the Icelandic Parliament, after the nation's financial crash and burn in 2008. Its inverted folkiness and warm concréte touch makes Sweaty Psalms a musically and tonally remarkable album, and perhaps Mille Plateaux's least electronic sounding album so far.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
MP 307CD
|
Mille Plateaux presents an album by Japanese noise/glitch artist, Yu Miyashita. By definition, Noble Niche is a glitch album. So why doesn't it sound like one? Well, this album is based on the most neglected type of glitch sound: noise. Naturally, noise is not exactly easy listening, and Noble Niche is no exception. However, it is not to be confused with rather provocative or even trashy (Japa)Noise. Instead, Yu Miyashita managed to apply the fine (glitch) aesthetics known from many classic Mille Plateaux releases to digital noise. The sounds suggest that Yu managed to make digital data audible that was never meant to be played back with an audio player. Ever listened to a CD-Rom? This music is highly abstract, with no more than traces of musical chords, not even enough to get any real world associations: a life support machine, perhaps, or a Japanese pachinko hall in hell. Often intense and powerful, sometimes delicate and fragile -- food for audio junkies desperate for the next unheard sound.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
MP 306CD
|
The influential electronic label Mille Plateaux kickstarts its newest chapter with its flagship: a new edition of the legendary Clicks & Cuts compilation series that in fact, named its own genre of electronic music. Volume 5.1 is a special bonus package featuring seven full-length versions available only as shorter versions on the original 5.0 release from a totally new generation of young artists, giving a 360-degree view on fresh glitch sounds: from minimal clicks to IDM-/dub-ish tracks via ambient and sound art. There is also a free album teaser, revealing 20 seconds of each track from the album. Each song has its own distinct character, and with a significantly higher amount in melodic and compository details than its predecessors, this is probably the most musically substantial Clicks & Cuts compilation ever. Other artists include: Lodsb, Rimacona, Pleq, Damián L. Felitte, Aoki Takamasa, Wyatt Keusch, Ametsub, Kiyo, Manathol, Nicolaus, and Sifa Dias.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
MP 303CD
|
The fourth album by French producer Kabutogani is his most conceptual to-date. Made entirely of mostly rhythmic glitch sounds (aka Clicks & Cuts), the album still has traces of melodies or tones -- unlike many other minimal glitch productions. The cold, dry and noisy sound transports an almost morbid atmosphere. Experimental electronic music is seldomly so full of feelings -- rather inconvenient ones, but feelings nevertheless. This is what makes this album special.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
MP 300CD
|
Volume 5 of the legendary Clicks & Cuts series. The influential electronic label Mille Plateaux kickstarts its newest chapter with its flagship: a new edition of the legendary Clicks & Cuts compilation series, that in fact, named its own genre. Volume 5 (subtitled Paradigm Shift) features a totally new generation of young artists giving a 360-degree view on fresh glitch sounds: from minimal clicks to IDM-/dub-ish tracks via ambient and sound art to the two Evac tracks going to art-core and organic extremes. Each song has its own distinct character, and with a significantly higher amount in melodic and compository details than its predecessors, this is probably the most musically-substantial Clicks & Cuts compilation ever. Other artists include: Scattertape, Aoki Takamasa, Wyatt Keusch, Loom, Ametsub, kiyo, Marow, Manathol, Kabutogani, Nicolaus, Sifa Dias, Flive, Gultskra & Artikler, Yu Miyashita, and Alinoe.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
DVD/CD
|
|
MP 127DVD
|
A multi-media art project from the rejuvenated Mille Plateaux label. The DVD disc (two-sided, both NTSC and PAL formats; for worldwide viewing) features a 40-minute feature film written & directed by Slavin. The CD features 77 minutes of post-clicks'n'cuts atmospheric sound design that acts both as a soundtrack to the movie and a completely separate audio listening experience.
Insomniac City is a cinematic project in parts which morphs, changes form, story and length as it develops, by Israeli audiovisual artist Ran Slavin. A time-specific video, this Mille Plateaux release features the latest episode, Insomniac City [vers3]: Did I die? Did I kill? A man suffering from insomnia tries to recall how he had been shot in one of the city's underground car parks. A fragmented nonlinear stream of events that encompasses day and night, Tel Aviv is spliced through chaotic observations, a vague notion of reality, physical and mental spheres, drifting between the known reality and a hallucinatory one. The movie blends urban spaces and modes of perception. It encounters estrangement, loss of identity, loss of memory, dreams and floods, a gun, futuristic architecture and artificial islands. Through the memory of the figure at play, an exploration of the city spaces takes place, as the city is experienced through an obscure labyrinth of insomnia fighting to distinguish real from unreal. It explores through video and sound possible scenarios of a city in transit, shifting and decaying while checking the boundaries of inner and external worlds, documentary and fiction, present, dream and future, architecture, physical and metaphysical. Insomnia dictionary translation: Chronic inability to fall asleep or remain asleep for an adequate length of time. A periodical suspension of the functions, as well as of those of the voluntary and rational soul; that state of the animal in which there is a lessened acuteness of sensory perception, a confusion of ideas, and a loss of mental control, followed by a more or less unconscious state. This is the soundtrack and movie all in one.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
MP 075CD
|
"The first Crank album, Wanton Phenomena, was hailed by The Wire magazine as 'a staggering album... a stunning advance for U.S. electronica'. Just months prior to that album release, the artist Danny Zelonky introduced the lavishly-praised Approximate Love Boat album under his LowRes moniker on the Plug Research label. Now, Mille Plateaux presents a third, all-new album, Heftibag, which continues to build upon the many innovations of the above-mentioned releases. Although Heftibag is again an entirely electronic collection, the fact of being electronic no longer seems to be so central to the work. And, though again evoking jazz, hiphop, Cuban and electro-acoustic themes, the music strives neither for faithfulness to reality nor complete abstraction, though it allows itself to draw near both poles over the course of the album. Crank enlists a superb Swedish artist known as Smyglyssna to produce a remix for this release, and the result is a most perceptive reinterpretation of the lovely/ugly track 'Mala Vista', which perfectly complements the very particular landscape of Heftibag." Limited stock.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
2LP
|
|
MP 091LP
|
Double LP version. "The heterogeneous mixture of remixers and styles here is not accidental. By selecting remixers and their way of working (pluralistic), the individual components which are essential for the monistic Pluramon sound are highlighted clearly. There's the fat, dark rock of the Scottish band Mogwai, but also an airy track from Sensorama: working with guitar sounds & processing the sounds of the laptop master Hecker (Mego); or the melodic approach of the British High Llamas. As a band, Pluramon moves between electronic and guitar instrumentation and not least because of this is regarded as one of the most interesting acts internationally. Today, even the more obscure Lo-Fi bands work with digital equipment, i.e. with 'electronics'. Many of the discourses concerning this topic and the points which emerged from it have long been their focus. Unlike the first Pluramon album from the year 1996, when hard disc recording made the search for references to one's medium urgent, today music can be refined with the entire range of technical equipment in the digital domain. Therefore the latest Pluramon release Bit Sand Riders is a remix album. The bands who have been invited for the remix challenge are: The striking Sensorama of L'age d'Or as well as London's High Llamas; Mogwai,'the best guitar band 99` (Viva 2); F.X. Randomiz, the hyperactive electronic freak and M. Schmickler's label colleague; Hecker, processing sound in Mego style; Matmos, who is known for playful drum & bass from San Francisco on Matador; electro mastermind Atom Heart (Rather Interesting); the New Yorker Lee Ranaldo, the guitarist from Sonic Youth; SND, the minimal techno heroes from Sheffield; the noise evangelist Merzbow from Tokyo; and a remix from Pluramon themselves, on the vinyl version, there is an additional mix of Cristian Vogel which has already been released on 12"."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
12"
|
|
MP 076EP
|
"This is an amazing collection of dance remixes of Pluramon's track 'Formant' from their album Render Bandits. Stunning mixes by Brighton techno hero Cristian Vogel, Cologne's minimalist Thomas Brinkmann, minimal house of Frankfurt based label Perlon (Pantytec), and one mix by Pluramon producer Marcus Schmickler himself. Postrock goes techno and house."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
MP 072CD
|
Neina is a unit produced and assembled by Hosomi Sakana, a keyboard player and producer active in Japan's music scene. The unit is comprised of an unrestricted and irregular lineup. Neina is the word for 'song' in Ainu, the language of the indigenous people of Japan. After graduating from the conservatory, Hosomi commenced his career in 1984 as a professional keyboardist for a variety of artists and bands. Before long his talents as a programmer, arranger, and producer came to the attention of many; and the number of artists with whom he has collaborated since, in performance and recording, has exceeded one hundred, the number of records he participated in easily over two hundred. Alongside accomplishing a busy schedule of support work, he has continued tirelessly in pursuit of the challenge of his own mode of expression, mainly in his own studio. Meanwhile as an arranger, continuing to work with ever-increasing variety of musical instruments utilizing digital technology has led him to new methods of working. The vast information contained within the digital world and the often, almost organic logic within it, as well as the image it holds of chaotic and limitless possibility, grew to fascinate him. Eventually, all this came into being in the shape of Neina. Techno, drum 'n' bass, noise, ambient, all the music of recent years, and its rapid progress and proliferation, has brought an anticipation for the emergence of the next, new music, for both the enthusiast of the floor and the contemplative in the living room. Neina brings a new musicality into digital weirdness, one step further than projects like Oval and Microstoria. Neina also involves new processes of production, distribution, and reception."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
12"
|
|
MP 067LP
|
Awesome vinyl-only extended 3 track EP, following up the self-titled full length Sturm album on Mille Plateaux (MP 60). "Sturm is a project by Cologne artist Reinhard Voigt who is part of the Kompact scene. Basic structures on this maxi contain heavy loops, repetitive keyboard patterns and microscopic effects. It is fragile music, music without center. Regardless of genre, dance or ambient, sound are travelling through time and space."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
MP 016CD
|
The obscure debut from 1995 by the human (or operation) known as Steel. Last copies.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
MP 023CD
|
Empire's 4th album, from 1996. "Another step in the ever-evolving art of Alec Empire. Not a mere interpretation of easy listening and jazz, Hypermodern Jazz 2000.5 is full of humor and gusto; an all-out destruction of musical forms and their genesis in jazz. Entering a field in which there is neither perspective nor limit nor outline nor center, Empire uses the power of repetition as a mechanical forces that pursues an infinite movement. Speed and slowness of beats and the strange use of jazz keyboard patterns reconstruct a smooth space. In one lone effort, Alec Empire has invented space jazz." Limited stock of this now deleted release.
|
|
|
|