Apr 20, 2013

RhoDeo 1315 Beats

Hello, as the US is over the moon yelling USA USA now this 'extremely' dangerous 19 year old dentist student has been captured and everybody in Boston can walk about again. The amazing manhunt shows the rest of the world how hysterical the US has become, events like the Boston attack are happening on a daily basis in Irac, Syria, Pakistan, Afghanistan and Tsetjenia with many more victims.  As for the 19 year old, clearly he was dragged in by his somewhat radicalized older brother, I tend to feel somewhat sorry for him, it's doubtful American Justice is able to understand that in his culture his elder brother (with the father gone) would be completely dominant and unopposed.

Meanwhile we're here for some beats, the past posts were kinda over the top and extravert so time to get serious and clinical and it should hardly be a surprise we turn a German ...N'joy

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German producer Thomas Brinkmann is widely regarded as one of the most unique and innovative voices in modern European techno. Working with some of electronic dance music’s best-known producers, artists like Richie Hawtin and Wolfgang Voigt, and releasing music on labels like Profan and Raster-Noton, Brinkmann has become synonymous with the vanguard of progressive techno. Over the last two decades and countless releases this producer has helped to define the sound of abstract and minimal dance music. His new work reaches toward traditional song forms and serves to illuminate this producer’s constant willingness to experiment.

Born in 1959, Thomas Brinkmann studied art at the Dusseldorf Academy. He began experimenting with audio in the early ‘80s. It wasn’t until the mid ‘90s that the producer began to release his work publically. He first gained the attention of the global techno community for his reworking of music by the above-mentioned Hawtin and Voigt. 1997 brought the release of Studio 1 — Variationen on Voigt’s Profan label. Voigt’s legendary “Studio 1” series, released under the Mike Ink alias, is among the most holy of grails in minimal techno. Brinkmann did a remix, or a “variation” as he calls it, of the entire Studio 1 album. Working from vinyl, Brinkmann loops sections of the music on a turntable of his own design that features two separate tone arms for the left and right stereo output. He then uses effects to further process and separate the original music. The results are totally hypnotic with Brinkmann coaxing entirely new patterns and shapes from the originals. By layering constantly shifting sections of beats he creates an aural moiré pattern of labyrinthine sound. In 1998 Brinkmann applied the same technique to the music of minimal pioneer Richie Hawtin’s “Concept 1” series. This resulted in the Concept 1 — 96:VR release, another genius rework that highlights the rhythmic complexities of so-called minimal techno.

Concurrent to the variations releases, Brinkmann started releasing his own productions in 1998. Spread across his confusingly titled labels Ernst, Max and Max Ernst, he releases a series of 12” records housed in bright orange sleeves with song titles bearing the names of women. The series went from ’98 into ’99 and has since become one of the most collectible runs in techno. The music is jawdroppingly good. Ostensibly minimal techno the tracks Brinkmann crafted for this series sound like nothing else. The music is funky, yet terse and dry; totally hypnotic and deadly serious but with a sense of humor that shines light on techno’s roots in American funk and soul. Ultimately its like nothing else around and to this date sounds absolutely fresh. The series was collected on CD and released as Rosa in 2000 on the Ernst label. It remains one of Brinkmann’s finest moments.

Brinkmann also releases more overtly experimental work under the moniker Ester Brinkmann, supposedly the name of his sister. He created the Suppose label just to release this music. ’98’s Totes Rennen, ‘99’s Weiße Nächte and 2001’s Der Ubersetzer — II Traduttore all feature vocal samples, mostly from modern philosophers, over throbbing ambient techno. It’s deeply disquieting music, dark and mesmerizing. Brinkmann’s contribution to Raster-Noton’s famous 20’ To 2000 series also falls under the Ester Brinkmann project.

Perhaps his best-known work has been released as Soul Center. Comprised almost entirely of samples from funk, soul and R&B, Brinkmann creates a dense, funky type of minimal house and electronic soul. It’s easily his most accessible project, aimed squarely at the dancefloor. ‘99’s I and 2000’s II were released on Brinkmann’s own W.v.B. Enterprises while III was released by Mute in 2001.

It’s almost impossible to keep up with this producer’s steady stream of 12”s, but an important full-length arrived in 2000 with Klick. Like most of Brinkmann’s earlier output this is process-oriented music. These tracks can be categorized as minimal techno, but just barely. This is a shuddering, loopy strain of ambient clicks and cuts that is strikingly original. Made by cutting grooves into vinyl with a knife, Brinkmann creates the same phasing, rhythmic pulse used on the variation releases. On Klick the sound is more effected, with reverb and delay adding extra layers of ambience. It’s electronic art music of the highest order.

Row was released in 2002 and serves to collect tracks from Brinkmann’s many 12” releases. These tracks are certainly still marked by the producer’s unique techniques but represent his efforts at material created for the dancefloor. There are some truly funky songs to be heard here, such as the classic “Loplop.”

2004’s Tokyo + 1 finds Brinkmann branching out. Still highly conceptual, these songs explore varied textures and deep ambience more so than previous releases. The music is based on field recordings made in Japan. Sounds of street activity, subways and public life are edited, layered and looped into dubwise ambient techno. There’s a stronger sense of the musical and the organic on Tokyo + 1 that points to where Brinkmann would take his music next.

Lucky Hands was released in 2005 and was a departure from the straight minimal dance music Brinkmann had helped to define. The tracks here are still certainly informed by minimal techno, but there’s an organic melodic sensibility in effect now. Also, there are plenty of vocals to be heard not to mention covers of The Smiths’ “The More You Ignore Me The Closer I Get” and the jazz standard “Charleston.” Lucky Hands is ambitious as it moves Brinkmann closer to pop territory. Admittedly it doesn’t always work, but the music is always engaging as it reaches for something new.

As if in reaction to the pop attempts of Lucky Hands, Brinkmann returned to the techniques of Klick in 2006 with Klick Revolution. The stripped down, bare bones rhythms are back this time augmented by heavy dub bass and some deeply textured electronic noise. Looser than Klick but boasting that keen attention to micro-detail, this album stands out as a reminder of what made this producer’s music so exciting in the first place.

2008 brought Brinkmann’s biggest attempt at proper song structure to date. When Horses Die… is an album of deftly arranged, electronically enhanced songs featuring Brinkmann singing on every track. Overall the tone is dark, electro-inspired synth-pop with influences from Depeche Mode and early Nine Inch Nails. Guitars, proper verse-chorus-verse structure and Brinkmann’s unadorned voice mark this album as something entirely new for this producer. There are genuinely harrowing moments here, such as the stunning “Birth And Death,” that indicate Brinkmann could take this newfound interest in song to soaring, emotive heights.

In 2009/2010 he released on Curle rec. and he had a solo show in a gallery with his sculptures next to collaboration with other artists and he also did "Klick" live performances more related to art and improv music. 2010 he`s back again with his new Soul Center album on Shitkatapult and he`s also contributing to the upcoming Richie Hawtin project.

Over two decades of work shaping minimal dance music has made Thomas Brinkmann one of modern techno’s respected elder statesmen. His conceptual, tersely funky early work continues to inspire a generation of minimal techno producers. That his new music is reaching into unexplored territories of traditional song shows a confidence and willingness to experiment that would terrify many musicians. Brinkmann’s defining trait is his ability to capture new musical forms. No doubt his future releases will continue to surprise us.

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Thomas Brinkmann's reworks of several tracks from the Studio 1 series by Wolfgang Voigt includes 13 tracks of Mike Ink reworkings, sublime electro-dub reminiscent of Panasonic's clips and clicks as well as the original source recording, Ink's Studio 1 series. True, the echoed phasing (almost completely separated between left and right channels) can be rather disorienting on first listen, sounding more like the equivalent of a photographic negative compared to the real picture of a straight-ahead techno track. The results tend to jell after several listens, as the lag-time on all those repeated effects begins to make some sort of twisted sense.

Thomas Brinkmann - Studio 1 - Variationen ( flac 269mb)

01 Untitled 5:20
02 Untitled 6:11
03 Untitled 7:19
04 Untitled 5:47
05 Untitled 4:23
06 Untitled 3:51
07 Untitled 6:38
08 Untitled 4:54
09 Untitled 4:38
10 Untitled 4:52
11 Untitled 7:15
12 Untitled 5:28
13 Untitled 7:16

Thomas Brinkmann - Studio 1 - Variationen (ogg 173mb)

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Thomas Brinkmann's Ernst series of 12" releases is compiled for Rosa. The tracks for the series were each named after females, with each side devoted to one name. Beginning with "Anna"/"Beate" and concluding with "Yvette"/"Zora," each release ran alphabetically. However, Q and R were skipped; Q wound up being a record bag and R eventually turned up as this CD. Rosa is comprised of 12 tracks, meaning this is really more of a sampler than a true compilation. Despite all of this mind-bending, Rosa is a surefire introduction to Brinkmann's own compositions (as opposed to his variations on Mike Ink and Richie Hawtin productions), containing minimal techno that ranges from sessile Basic Channel-minded dub experimentalism to funkier tracks that resemble his Soul Center works, albeit without the funk and soul samples. No two tracks truly sound alike, and with the exception of one or two selections, Rosa is devoid of a boring moment. Once again, Brinkmann doesn't allow his intellect to get in the way of a good time.

Thomas Brinkmann - Rosa ( flac 392mb)

01 Anna Beate 2:59
02 Clara Doris 6:30
03 Erika Frauke 6:03
04 Gisela Heidi 7:01
05 Inge Jutta 4:52
06 Karin Lotte 7:37
07 Monika Nikola 7:22
08 Olga Petra 6:25
09 Susie Trixi 4:47
10 Ulla Vera 6:50
11 Wanda Xenia 6:25
12 Yvette Zara 7:06

Thomas Brinkmann - Rosa  (ogg 179mb)

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Never one to play it straight, Thomas Brinkmann adjusts and re-shapes pieces from the Traum label's past and then forms them all into a flowing set that deserves as much notoriety as Richie Hawtin's DE9: Closer to the Edit or any of the Kompakt mixes. Let's get one thing straight, though: Tour de Traum's success isn't wholly reliant upon Brinkmann's mastery, and it's not that his tweakings have anything to do with righting wrongs. There's no doubting that the man has one of the most wide-ranging, consistent, and least-appreciated catalogs of the last several years to work with. Listeners familiar with the tracks as they were originally released should recognize what they hear; just the same, Brinkmann leaves his own traceable prints here and there, whether they're in the form of little baubles, or the odd treated bassline that resembles something off one of his Soul Center releases. (Some remixes are credited to his Soul Center alias, while others are credited to the pseudonym C.U.T., a move that's both a little confusing and somewhat explanatory.) Minus the brief introduction, the disc is as groove-oriented as any other minimal house/microhouse mix, made of tracks that are alluring in their stark simplicity and rich in effect. This is one of Brinkmann's most sensational accomplishments, and it's also a necessary acquirement for anyone remotely interested in Traum.

Thomas Brinkmann - Tour De Traum ( flac 407mb)

01 Tba / M.I.A / Miss Dinky / Detalles - Smattack / De-Frost / Spring Rolls / Rhodes Relejadas (C.U.T. Remix) 3:09
02 Tba / Philippe Cam / Fantasias Animadas - Smattack / Magic Ping Pong Mix / Mike's Road 5:59
03 Philippe Cam / Miss Dinky - Western (Salz Remix) / Sea Death 9:27
04 Miss Dinky / Philippe Cam - Sea Death / Western (Salz Remix) 1:44
05 Andreas Fragel / Jorge Gebauhr / Process - Icon / Just Feelings / Surface (C.U.T. Remix) 5:57
06 Process / Off Pop - Surface / Today (Soul Center Remix) 5:07
07 Off Pop - Today 2:44
08 Process - Pelican (M.I.A. The Pay Visit Mix) (C.U.T. Remix) 3:07
09 Process - Bye-Bye Gordian Knot (Joachim Spieth Remix) 4:56
10 Tomas Jirku - Pohádka 6:41
11 Oliver Hacke - Polar 1: 21:31 7:21
12 Adam Kroll & Riley Reinhold - Static People (Harmony Mix) 5:31
13 Philippe Cam / Adam Kroll & Riley Reinhold - Unicef Christmas Card / Static People (C.U.T. Remix) 6:40

Thomas Brinkmann - Tour De Traum (ogg 192mb)

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previously Germany, West (01/20/07) re-up

"Row" is a compilation of rare, unreleased, and reworked material from his MaxErnst catalog, many which were previously only available on vinyl., an excellent sampling. Brinkmann always keeps things moving along with a great beat - never falling flat with something that is too cerebral, he is definitely from the less-is-more school.

Thomas Brinkmann - Row ( ' 02  now in Flac 328mb)

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Anonymous said...

you're right about boston.

Normal thinking people can't understand this anymore.


bobbysu said...

thank you so much

Anonymous said...

hi, pleased to find (once again) that I am not a robot. This is another post I personally would love to see re-upped, especially Rosa and Studio 1 (Tour de Traum I managed to catch). Thank you for the music! msj