Hello, ok somehow i didn't get round posting work of today's artist earlier, the reason is simple with µ he drops to the absolute bottom, so my scrolling rarely reaches that deep. Then there is the schitzo nature of the artist releasing music under a great many alter ego's, what to post ? Luckily he has a main alter ego that's closest to his spirit. We'll be concentrating on that clever/not so clever µ-Ziq one the coming weeks.
Today's Artist is better known by his stage name μ-Ziq (pronounced "mu-sic" or mew-zeek), an English electronic musician from Wimbledon, London. He is one of the pioneering IDM electronic music acts during the 90's, alongside Aphex Twin, Autechre, and The Orb. He is also the founder of the record label Planet Mu. .......N'Joy
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One of the premier names in the field of electronic home-listening music, Mike Paradinas' recordings retain the abrasive flavor of early techno pioneers and explore the periphery of experimental electronica even while coddling to his unusual ear for melody, the occasional piece of vintage synthesizer gear, and distorted beatbox rhythms. While his side projects -- including Diesel M, Jake Slazenger, Gary Moscheles, Kid Spatula, and Tusken Raiders -- have often emphasized (or satirized) his debts to jazz, funk, and electro, Paradinas reserves his most original and exciting work for major album releases as µ-Ziq. Early µ-Ziq LPs were based around the most ear-splitting buzz-saw percussion ever heard (in a musical environment or otherwise), with fast-moving though deceptively fragile synthesizer melodies running over the top. As Paradinas began weaving his various influences into a convincing whole, his work became more fully developed, a fluid blend of breakbeat hip-hop and drum'n'bass with industrial effects and the same brittle melodies from his earlier work. Later works have reflected his interest in other forward-thinking electronic styles such Chicago's juke/footwork scene, while also looking back to his formative influences such as the British rave scene and Detroit techno.
Born in Wimbledon (though he grew up in several other spots around London), Paradinas began playing keyboards during the early '80s and listened to new wave bands like Human League and New Order. He joined a few bands in the mid-'80s, then spent eight years on keyboards for the group Blue Innocence. During that time, however, Paradinas had been recording on his own as well with synthesizers and a four-track recorder. When Blue Innocence disintegrated in 1992, he and bass player Francis Naughton bought sequencing software and re-recorded some of Paradinas' old material. After the material was played for Mark Pritchard and Tom Middleton -- the duo behind Global Communication and Reload as well as being the heads of Evolution Records -- they wanted to release it; recording commitments later forced Pritchard and Middleton to withdraw their agreement, though by that time Richard D. James (aka Aphex Twin) had also heard the tracks and agreed to release a double album for his label, Rephlex Records.
The debut album for µ-Ziq (paraphrased from the side of a blank tape and pronounced "mew-zeek") was 1993's Tango n' Vectif. The LP set the template for most of Paradinas' later work, with at times shattering metal-cage percussion underpinning a collection of rather beautiful melodies. The Rephlex label was just beginning to flourish, with added journalistic attention paid to Aphex Twin's recent Selected Ambient Works 85-92, and though James began to feature less in label doings than co-founder Grant Wilson Claridge, later Rephlex work by Cylob, Luke Vibert (aka Wagon Christ), Seefeel, and Squarepusher made it among the cream of electronic home-listening labels.
When Naughton began taking college more seriously (something Paradinas had attempted briefly, from 1990 through 1992), he officially bowed out of µ-Ziq. Second album Bluff Limbo was scheduled to be released in mid-1994, though only 1,000 copies made it out of the gate. (It was officially issued by Rephlex in 1996 after Paradinas served papers on the label.) Paradinas' first major-label release came later in 1994, after he undertook a remix project for Virgin Records. The EP µ-Ziq vs. the Auteurs was one of the most high-profile examples of the remix-by-obliteration movement, a burgeoning hobby for many electronica producers in which the reworking of a pop song would bear no resemblance to -- or trace of -- the original.
Though the EP was hardly a prime mover in the sales category, Virgin signed Paradinas to a hefty contract and gave him his own Planet Mu sublabel to release his own work as well as develop similar-minded artists. Written into his own contract was a provision for unlimited recording under different names, and during 1995 Paradinas definitely took it to task: he unveiled three aliases and released as many albums in less than a year's time. The nu-skool electro label Clear released his debut single as Tusken Raiders early in the year; it mined the fascination with Star Wars and electro music shared by producers like Global Communication, Aphex Twin, and James Lavelle, head of Mo' Wax Records. Clear also released the first Paradinas alias full-length, Jake Slazenger's MakesARacket, later in 1995. Although they were still audible, the LP downplayed his electro influences in favor of some rather cheesy synthesizer figures and a previously unheard debt to jazz-funk.
The distortion reappeared on Paradinas' second LP of the year, Spatula Freak by Kid Spatula. The first American-only release of a Paradinas album (it appeared on Jonah Sharp's San Francisco-based Reflective Records), its sound had the metallic feel of the first two µ-Ziq LPs but with a less-dense production job. Just one month after Spatula Freak, Paradinas released his first proper µ-Ziq LP for a major label, In Pine Effect. The album included tracks recorded from 1993 to 1995, and though it was quite a varied album, the distance appeared to give it quite a disjointed feel.
Paradinas spent 1996 releasing a second Jake Slazenger album (Das Ist Groovy Beat Ja? for Warp) and his first as Gary Moscheles (Shaped to Make Your Life Easier for Belgium's SSR/Crammed Discs). Both LPs journeyed further down the queasy-listening route of the first Slazenger record, with departures into '80s-style party funk and surprisingly straight-ahead soul-jazz. He also owned a half-share in the Rephlex-released Expert Knob Twiddlers (credited as Mike & Rich), the fruit of Paradinas' 1994 recordings with the Aphex Twin.
Paradinas entered 1997 ready to undertake the most ambitious style makeover in his career: the fusion of his home-listening techno with the hypertensive rhythms of street-level drum'n'bass. One year earlier, Aphex Twin had released a single of schizophrenic jungle noodlings ("Hangable Auto Bulb"), and Tom Jenkinson's Squarepusher project had provided the first convincing headphone drum'n'bass act. Paradinas waded into the pool with Urmur Bile Trax, Vols. 1-2, a double EP also released as one full-length compact disc. Though the changeover wasn't completely convincing, the next µ-Ziq full-length more than made up for expectations. Lunatic Harness presented a complete synthesis of the many elements in Paradinas' career, from synth-jazz-funk and beatbox electro through to ambient techno and jungle.
Paradinas and µ-Ziq were introduced to many rock fans after he toured America as the support act for Björk. This tour influenced 1999's Royal Astronomy, which focused on acid techno and hip-hop influences. Issued in 2003, Bilious Paths became the first µ-Ziq release to arrive on Paradinas' own Planet Mu label. The dissolution of his relationship inspired his unrelentingly dark 2007 album Duntisbourne Abbots Soulmate Devastation Technique. Paradinas' Planet Mu duties and his Heterotic project with wife Lara Rix-Martin -- whose debut album, Love & Devotion, arrived in early 2013 -- were among the reasons µ-Ziq took a break until the release of the juke-influenced XTEP and rave-inspired full-length Chewed Corners, both of which arrived in 2013. That year's Somerset Avenue Tracks (1992-1995) compilation celebrated µ-Ziq's 20 years of recording, and collected unreleased tracks from the beginning of his career. Rediffusion appeared in 2014, and XTLP, compiling both XTEP and Rediffusion, followed in 2015. Two digital collections of rare or unreleased recordings, RY30 Trax and Aberystwyth Marine, both appeared in 2016. Following in this vein, Challenge Me Foolish, a collection of tracks dating from the late '90s, was released in 2018, this time on CD and vinyl.
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Back in 1993 this was a welcome addition to the electronic world and really got the ball rolling for µ-Ziq. This was instantly hailed as a classic and rightfully so. Some even see it as Mike Paradinas' best album. The time period is pretty representative of where µ-Ziq was in the world of all his other comparing artists. Aphex Twin had only released Selected Ambient Works 85-92 and Squarepusher hadn't started for two more years. So that in itself should say where Tango N' Vectif lies in the spectrum of things. I still think it sounds fresh to this day. Songs are all particularly enjoyable to listen to and have a going on, not to mention the diversity on this album is stunning. From the beauty of Burnt Sienna to the fast pace of µ-Ziq Theme to the crazy sound of Caesium to the inviting metal sounds that are later accompanied by beautiful keyboard playing in Phi* 1700 (u/v). Really, this album has it all. It's definitely one to explore and give a lot of time to, but it's definitely worth it to unlock all the goodies Tango N' Vectif has to offer.
µ-Ziq - Tango N' Vectif (flac 417mb)
01 Tango N' Vectif 4:10
02 Swan Vesta 6:09
03 Burnt Sienna 8:06
04 Iesope 5:56
05 µ-Ziq Theme 4:36
06 Auqeam 3:58
07 Vibes 3:54
08 Ad Misericordiam 3:29
09 Beatnik #2 5:36
10 Die Zweite Heimat 5:31
11 The Sonic Fox 5:33
12 Caesium 5:39
13 Phi*1700 [u/v] 8:10
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µ-Ziq - Tango N' Vectif 2 (flac 433mb)
14 4 Time Egg 5:51
15 Phragmal Synthesis Pt. 1 5:32
16 Phragmal Synthesis Pt. 2 6:04
17 Phragmal Synthesis Pt. 3 4:51
18 Xenith Filigree Anus 7:45
19 Whale Soup 3:21
20 Amenida 2 5:34
21 Paco 4:03
22 Crosstown Traffic 6:04
23 Xolbe 2 7:14
24 Driving Is Easy 5:01
25 Methyl Albion 3:35
26 Glink 7:21
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Historically interesting from the standpoint of µ-Ziq's later work, shades of Jake Slazenger and Kid Spatula can be heard on Bluff Limbo. This is a cutting release even to the present date. Not a single sour track. Of course some songs are better than others. But don't let that deter you from checking this out since it holds a ton of strong material that I can't complain about. Gob Bots should be heard by everybody, I can't begin to tell the countless times I've blasted that song while cruising around at night. The Wheel is so chill, so so chill. Metal Thing #3 is truly embraceable underneath that metallic exterior. Every new element added in Zombies changes the entire dynamics of the song; it's so ace. And Riostand? Man, Riostand has to be my favorite on all of Bluff Limbo. Those enticing melodies that build it up and form the song along with the brilliant percussion, the unique emotion that is present throughout... like the undertaking of man's journey condensed into 6 minutes. It's exhilarating at times. Ethereal Murmurings is an introspective journey through peaceful and emotional soundwaves and a beautiful way to end the album.
µ-Ziq - Bluff Limbo (flac 563mb)
01 Hector's House 4:26
02 Commemorative Pasta 4:37
03 Gob Bots 4:50
04 The Wheel 6:15
05 27 1:18
06 Metal Thing # 3 5:51
07 Twangle Frent 7:06
08 Make It Funky 4:38
09 Zombies 5:17
10 Riostand 6:18
11 Organic Tomato Yoghurt 3:58
12 Sick porter 5:15
13 Sick Porter 7:38
14 Dance 2 5:46
15 Nettle + Pralines 6:29
16 Ethereal Murmurings 10:20
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In Pine Effect is the most stylistically developed album under the µ-Ziq name to date. Mike Paradinas was riding the peak of creativity sky high and released a fantastic album right here. There is tons of personality etched on In Pine Effect, an organic take meshing the past with the future. It makes me wonder why there's so few ratings for it at this point. Right from the beginning with the jaw dropping Roy Castle (a dedication to the man himself), you are automatically hooked in to the world of µ-Ziq. I think repeated listens is the way to go with this one, because at first a few tracks really stuck out to me, like Roy Castle and Phiesope. Then upon further listens the wondrous melodies and clever design that never gets old starts to pop out. Iced Jem and Pine Effect in general are two of my favorite songs around. This only goes farther to cement µ-Ziq in an even harder encasement of electronic mastery. Styles are changed up every album and In Pine Effect is just another example of that. Who knew pipecleaners could get so damn funky and fresh?
µ-Ziq - In Pine Effect (flac 459mb)
01 Roy Castle 6:41
02 Within A Sound 6:03
03 Old Fun # 1 7:04
04 Dauphine 6:36
05 Funky Pipecleaner 6:48
06 Iced Gem 6:00
07 Phiesope 6:01
08 Mr. Angry 5:33
09 Melancho 5:18
10 Pine Effect 4:49
11 Problematic 6:10
12 Green Crumble 3:56
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µ-Ziq peeks his head into the U.S. with this first Astralwerks-associated release, and with mixed results. The opening title track showcases ear-splitting atonal keyboard stabs and Kabuki vocal samples that finally give way to Mike Paradinas' trademark of over-distorted drum machines. "Happi" comes next, bouncing sweetly like some reworked Esquivel song with half the compositional value and twice the redundancy. Just as monotonous comes the simplicity and forward-thinking club-dub of "Loam" that, at best, has a good build to it. "Reflectiv" follows, sounding like the closing theme to a high-school-in-space, made-for-TV movie. Light at the end of the tunnel comes in the form of "Leonard," like a red-headed stepchild who surprises the listener with some engaging melodies amidst the crunchy diet of drums. But then something completely unexpected happens -- not since his mesmerizing "On (µ-Ziq Mix)" for Aphex Twin has Paradinas tapped into such brilliance -- this time for his own composition, "Balsa Lightning." Acoustic piano basslines give way to chewing-gum keyboard riffs and soaring counter melodies before a single burst of percussion ever comes through the door, and when it does there's no question that this is one of those "best of the artist" moments -- a great build with a great pay-off -- and it's easily overlooked because the rest of the disc seems to fall so short of the same caliber. A alter ego remix follows in its wake, "Balsa Lightening (Jake Slazenger Mix)," that puts the tempo at half-speed with funkier drums and thematic rock star keyboard solos that reveal his alter ego having a playful time. Simply by association, this is the second best track of the EP. It's hard to know how to rate a recording like this: it's a single diamond surrounded by so much rough. In the case of this release, "Balsa Lightening" only strikes once, but with such a crackle that it just about splits the sky in half. .
µ-Ziq - Salsa with Mesquite (flac 269mb)
01 Salsa With Mesquite 7:26
02 Happi 6:31
03 Loam 6:08
04 Reflectiv 6:52
05 Leonard 6:05
06 Balsa Lightning 6:49
07 Balsa Lightning (Jake Slazenger Remix) 6:42
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Today's Artist is better known by his stage name μ-Ziq (pronounced "mu-sic" or mew-zeek), an English electronic musician from Wimbledon, London. He is one of the pioneering IDM electronic music acts during the 90's, alongside Aphex Twin, Autechre, and The Orb. He is also the founder of the record label Planet Mu. .......N'Joy
xxxxx xxxxx xxxxx xxxxx xxxxx
One of the premier names in the field of electronic home-listening music, Mike Paradinas' recordings retain the abrasive flavor of early techno pioneers and explore the periphery of experimental electronica even while coddling to his unusual ear for melody, the occasional piece of vintage synthesizer gear, and distorted beatbox rhythms. While his side projects -- including Diesel M, Jake Slazenger, Gary Moscheles, Kid Spatula, and Tusken Raiders -- have often emphasized (or satirized) his debts to jazz, funk, and electro, Paradinas reserves his most original and exciting work for major album releases as µ-Ziq. Early µ-Ziq LPs were based around the most ear-splitting buzz-saw percussion ever heard (in a musical environment or otherwise), with fast-moving though deceptively fragile synthesizer melodies running over the top. As Paradinas began weaving his various influences into a convincing whole, his work became more fully developed, a fluid blend of breakbeat hip-hop and drum'n'bass with industrial effects and the same brittle melodies from his earlier work. Later works have reflected his interest in other forward-thinking electronic styles such Chicago's juke/footwork scene, while also looking back to his formative influences such as the British rave scene and Detroit techno.
Born in Wimbledon (though he grew up in several other spots around London), Paradinas began playing keyboards during the early '80s and listened to new wave bands like Human League and New Order. He joined a few bands in the mid-'80s, then spent eight years on keyboards for the group Blue Innocence. During that time, however, Paradinas had been recording on his own as well with synthesizers and a four-track recorder. When Blue Innocence disintegrated in 1992, he and bass player Francis Naughton bought sequencing software and re-recorded some of Paradinas' old material. After the material was played for Mark Pritchard and Tom Middleton -- the duo behind Global Communication and Reload as well as being the heads of Evolution Records -- they wanted to release it; recording commitments later forced Pritchard and Middleton to withdraw their agreement, though by that time Richard D. James (aka Aphex Twin) had also heard the tracks and agreed to release a double album for his label, Rephlex Records.
The debut album for µ-Ziq (paraphrased from the side of a blank tape and pronounced "mew-zeek") was 1993's Tango n' Vectif. The LP set the template for most of Paradinas' later work, with at times shattering metal-cage percussion underpinning a collection of rather beautiful melodies. The Rephlex label was just beginning to flourish, with added journalistic attention paid to Aphex Twin's recent Selected Ambient Works 85-92, and though James began to feature less in label doings than co-founder Grant Wilson Claridge, later Rephlex work by Cylob, Luke Vibert (aka Wagon Christ), Seefeel, and Squarepusher made it among the cream of electronic home-listening labels.
When Naughton began taking college more seriously (something Paradinas had attempted briefly, from 1990 through 1992), he officially bowed out of µ-Ziq. Second album Bluff Limbo was scheduled to be released in mid-1994, though only 1,000 copies made it out of the gate. (It was officially issued by Rephlex in 1996 after Paradinas served papers on the label.) Paradinas' first major-label release came later in 1994, after he undertook a remix project for Virgin Records. The EP µ-Ziq vs. the Auteurs was one of the most high-profile examples of the remix-by-obliteration movement, a burgeoning hobby for many electronica producers in which the reworking of a pop song would bear no resemblance to -- or trace of -- the original.
Though the EP was hardly a prime mover in the sales category, Virgin signed Paradinas to a hefty contract and gave him his own Planet Mu sublabel to release his own work as well as develop similar-minded artists. Written into his own contract was a provision for unlimited recording under different names, and during 1995 Paradinas definitely took it to task: he unveiled three aliases and released as many albums in less than a year's time. The nu-skool electro label Clear released his debut single as Tusken Raiders early in the year; it mined the fascination with Star Wars and electro music shared by producers like Global Communication, Aphex Twin, and James Lavelle, head of Mo' Wax Records. Clear also released the first Paradinas alias full-length, Jake Slazenger's MakesARacket, later in 1995. Although they were still audible, the LP downplayed his electro influences in favor of some rather cheesy synthesizer figures and a previously unheard debt to jazz-funk.
The distortion reappeared on Paradinas' second LP of the year, Spatula Freak by Kid Spatula. The first American-only release of a Paradinas album (it appeared on Jonah Sharp's San Francisco-based Reflective Records), its sound had the metallic feel of the first two µ-Ziq LPs but with a less-dense production job. Just one month after Spatula Freak, Paradinas released his first proper µ-Ziq LP for a major label, In Pine Effect. The album included tracks recorded from 1993 to 1995, and though it was quite a varied album, the distance appeared to give it quite a disjointed feel.
Paradinas spent 1996 releasing a second Jake Slazenger album (Das Ist Groovy Beat Ja? for Warp) and his first as Gary Moscheles (Shaped to Make Your Life Easier for Belgium's SSR/Crammed Discs). Both LPs journeyed further down the queasy-listening route of the first Slazenger record, with departures into '80s-style party funk and surprisingly straight-ahead soul-jazz. He also owned a half-share in the Rephlex-released Expert Knob Twiddlers (credited as Mike & Rich), the fruit of Paradinas' 1994 recordings with the Aphex Twin.
Paradinas entered 1997 ready to undertake the most ambitious style makeover in his career: the fusion of his home-listening techno with the hypertensive rhythms of street-level drum'n'bass. One year earlier, Aphex Twin had released a single of schizophrenic jungle noodlings ("Hangable Auto Bulb"), and Tom Jenkinson's Squarepusher project had provided the first convincing headphone drum'n'bass act. Paradinas waded into the pool with Urmur Bile Trax, Vols. 1-2, a double EP also released as one full-length compact disc. Though the changeover wasn't completely convincing, the next µ-Ziq full-length more than made up for expectations. Lunatic Harness presented a complete synthesis of the many elements in Paradinas' career, from synth-jazz-funk and beatbox electro through to ambient techno and jungle.
Paradinas and µ-Ziq were introduced to many rock fans after he toured America as the support act for Björk. This tour influenced 1999's Royal Astronomy, which focused on acid techno and hip-hop influences. Issued in 2003, Bilious Paths became the first µ-Ziq release to arrive on Paradinas' own Planet Mu label. The dissolution of his relationship inspired his unrelentingly dark 2007 album Duntisbourne Abbots Soulmate Devastation Technique. Paradinas' Planet Mu duties and his Heterotic project with wife Lara Rix-Martin -- whose debut album, Love & Devotion, arrived in early 2013 -- were among the reasons µ-Ziq took a break until the release of the juke-influenced XTEP and rave-inspired full-length Chewed Corners, both of which arrived in 2013. That year's Somerset Avenue Tracks (1992-1995) compilation celebrated µ-Ziq's 20 years of recording, and collected unreleased tracks from the beginning of his career. Rediffusion appeared in 2014, and XTLP, compiling both XTEP and Rediffusion, followed in 2015. Two digital collections of rare or unreleased recordings, RY30 Trax and Aberystwyth Marine, both appeared in 2016. Following in this vein, Challenge Me Foolish, a collection of tracks dating from the late '90s, was released in 2018, this time on CD and vinyl.
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Back in 1993 this was a welcome addition to the electronic world and really got the ball rolling for µ-Ziq. This was instantly hailed as a classic and rightfully so. Some even see it as Mike Paradinas' best album. The time period is pretty representative of where µ-Ziq was in the world of all his other comparing artists. Aphex Twin had only released Selected Ambient Works 85-92 and Squarepusher hadn't started for two more years. So that in itself should say where Tango N' Vectif lies in the spectrum of things. I still think it sounds fresh to this day. Songs are all particularly enjoyable to listen to and have a going on, not to mention the diversity on this album is stunning. From the beauty of Burnt Sienna to the fast pace of µ-Ziq Theme to the crazy sound of Caesium to the inviting metal sounds that are later accompanied by beautiful keyboard playing in Phi* 1700 (u/v). Really, this album has it all. It's definitely one to explore and give a lot of time to, but it's definitely worth it to unlock all the goodies Tango N' Vectif has to offer.
µ-Ziq - Tango N' Vectif (flac 417mb)
01 Tango N' Vectif 4:10
02 Swan Vesta 6:09
03 Burnt Sienna 8:06
04 Iesope 5:56
05 µ-Ziq Theme 4:36
06 Auqeam 3:58
07 Vibes 3:54
08 Ad Misericordiam 3:29
09 Beatnik #2 5:36
10 Die Zweite Heimat 5:31
11 The Sonic Fox 5:33
12 Caesium 5:39
13 Phi*1700 [u/v] 8:10
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µ-Ziq - Tango N' Vectif 2 (flac 433mb)
14 4 Time Egg 5:51
15 Phragmal Synthesis Pt. 1 5:32
16 Phragmal Synthesis Pt. 2 6:04
17 Phragmal Synthesis Pt. 3 4:51
18 Xenith Filigree Anus 7:45
19 Whale Soup 3:21
20 Amenida 2 5:34
21 Paco 4:03
22 Crosstown Traffic 6:04
23 Xolbe 2 7:14
24 Driving Is Easy 5:01
25 Methyl Albion 3:35
26 Glink 7:21
xxxxx xxxxx xxxxx xxxxx xxxxx
Historically interesting from the standpoint of µ-Ziq's later work, shades of Jake Slazenger and Kid Spatula can be heard on Bluff Limbo. This is a cutting release even to the present date. Not a single sour track. Of course some songs are better than others. But don't let that deter you from checking this out since it holds a ton of strong material that I can't complain about. Gob Bots should be heard by everybody, I can't begin to tell the countless times I've blasted that song while cruising around at night. The Wheel is so chill, so so chill. Metal Thing #3 is truly embraceable underneath that metallic exterior. Every new element added in Zombies changes the entire dynamics of the song; it's so ace. And Riostand? Man, Riostand has to be my favorite on all of Bluff Limbo. Those enticing melodies that build it up and form the song along with the brilliant percussion, the unique emotion that is present throughout... like the undertaking of man's journey condensed into 6 minutes. It's exhilarating at times. Ethereal Murmurings is an introspective journey through peaceful and emotional soundwaves and a beautiful way to end the album.
µ-Ziq - Bluff Limbo (flac 563mb)
01 Hector's House 4:26
02 Commemorative Pasta 4:37
03 Gob Bots 4:50
04 The Wheel 6:15
05 27 1:18
06 Metal Thing # 3 5:51
07 Twangle Frent 7:06
08 Make It Funky 4:38
09 Zombies 5:17
10 Riostand 6:18
11 Organic Tomato Yoghurt 3:58
12 Sick porter 5:15
13 Sick Porter 7:38
14 Dance 2 5:46
15 Nettle + Pralines 6:29
16 Ethereal Murmurings 10:20
xxxxx xxxxx xxxxx xxxxx xxxxx
In Pine Effect is the most stylistically developed album under the µ-Ziq name to date. Mike Paradinas was riding the peak of creativity sky high and released a fantastic album right here. There is tons of personality etched on In Pine Effect, an organic take meshing the past with the future. It makes me wonder why there's so few ratings for it at this point. Right from the beginning with the jaw dropping Roy Castle (a dedication to the man himself), you are automatically hooked in to the world of µ-Ziq. I think repeated listens is the way to go with this one, because at first a few tracks really stuck out to me, like Roy Castle and Phiesope. Then upon further listens the wondrous melodies and clever design that never gets old starts to pop out. Iced Jem and Pine Effect in general are two of my favorite songs around. This only goes farther to cement µ-Ziq in an even harder encasement of electronic mastery. Styles are changed up every album and In Pine Effect is just another example of that. Who knew pipecleaners could get so damn funky and fresh?
µ-Ziq - In Pine Effect (flac 459mb)
01 Roy Castle 6:41
02 Within A Sound 6:03
03 Old Fun # 1 7:04
04 Dauphine 6:36
05 Funky Pipecleaner 6:48
06 Iced Gem 6:00
07 Phiesope 6:01
08 Mr. Angry 5:33
09 Melancho 5:18
10 Pine Effect 4:49
11 Problematic 6:10
12 Green Crumble 3:56
xxxxx xxxxx xxxxx xxxxx xxxxx
µ-Ziq peeks his head into the U.S. with this first Astralwerks-associated release, and with mixed results. The opening title track showcases ear-splitting atonal keyboard stabs and Kabuki vocal samples that finally give way to Mike Paradinas' trademark of over-distorted drum machines. "Happi" comes next, bouncing sweetly like some reworked Esquivel song with half the compositional value and twice the redundancy. Just as monotonous comes the simplicity and forward-thinking club-dub of "Loam" that, at best, has a good build to it. "Reflectiv" follows, sounding like the closing theme to a high-school-in-space, made-for-TV movie. Light at the end of the tunnel comes in the form of "Leonard," like a red-headed stepchild who surprises the listener with some engaging melodies amidst the crunchy diet of drums. But then something completely unexpected happens -- not since his mesmerizing "On (µ-Ziq Mix)" for Aphex Twin has Paradinas tapped into such brilliance -- this time for his own composition, "Balsa Lightning." Acoustic piano basslines give way to chewing-gum keyboard riffs and soaring counter melodies before a single burst of percussion ever comes through the door, and when it does there's no question that this is one of those "best of the artist" moments -- a great build with a great pay-off -- and it's easily overlooked because the rest of the disc seems to fall so short of the same caliber. A alter ego remix follows in its wake, "Balsa Lightening (Jake Slazenger Mix)," that puts the tempo at half-speed with funkier drums and thematic rock star keyboard solos that reveal his alter ego having a playful time. Simply by association, this is the second best track of the EP. It's hard to know how to rate a recording like this: it's a single diamond surrounded by so much rough. In the case of this release, "Balsa Lightening" only strikes once, but with such a crackle that it just about splits the sky in half. .
µ-Ziq - Salsa with Mesquite (flac 269mb)
01 Salsa With Mesquite 7:26
02 Happi 6:31
03 Loam 6:08
04 Reflectiv 6:52
05 Leonard 6:05
06 Balsa Lightning 6:49
07 Balsa Lightning (Jake Slazenger Remix) 6:42
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6 comments:
Awesome!
Thank you for Tango N' Vectif in particular.
Thank You for this awesome drop
Big surprise the Aphex Twin companion! Thanks!
Tango N' Vectif's links are dead.
Great stuff but the origin cover of "Salsa with Mesquite " looks much better. Pretty cool. thanx a lot....
Many thanks for 'Tango N' Vectif' and 'Bluff Limbo'. I look forward to hearing both.
-Brian
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