RhoDeo 1316 Beats

Hello, as the US wonders how to explain a possible poison gas took place with hardly any victims of a possible ricin attack but they are sure it must have been Assad. Duh this kind of bollocks was spread out over all western news bulletins. If it was ricin it's much much more likely terrorists experimenting how to use it, don't forget it has been used in Tokyo underground attack by the Ohm sect. I really get irritated when this kinda lies is spread over the general public with just one purpose, legitimize fanning the fire in Syria by throwing more weapons into the mix. This US attitude is just an invitation to the terrorists to use their ricin stash and make a bigger splash so the western military complex can make some extra bucks...

Meanwhile we're here for some beats, last week we got serious and clinical and it should hardly be a surprise we turned to a German, to my surprise (somewhat) there was considerable interest, hence i decided to have a second post ...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 succeeds his late-'90s "variation" albums with Klick, a conceptual project that showcases his growth as both a conceptualist and as a producer. First of all, the underlying concept is fairly simple, derived heavily from the Mille Plateaux-helmed "clicks and cuts" movement of 2000: Brinkmann samples the noises emanated from dusty or damaged vinyl records and uses these subtle sounds as the building blocks for his tracks. Throughout 2000, a number of producers explored this same concept, but no one has been this dogmatic in their approach to the quickly realized click aesthetic. But there's more to the album than its concept; Brinkmann also shows his growth as a producer. To compensate for the subtle nature of the sounds used to construct the tracks, he employs numerous layers of looped clicks, resulting in dense rhythms that extend from nearly inaudible high frequencies to subwoofer-pushing lows. Furthermore, to justify the generous track lengths, he continually adds and subtracts loops and sounds from his rhythms, while continually tweaking and modulating the sounds -- never once does his music become stagnant. And the way he manages to give each track its own distinct feel and sound, despite essentially working with the same limited sonic palette, is perhaps most impressive. Overall, though Brinkmann may be working with a new language of sound here (vinyl glitches rather than analog synths), Klick is really just a continuation of his previous work, only more hypnotic and more intricately programmed. It's really hard to say which is more impressive, the album's earthy sounds or its dizzying rhythms; either way, they're both astounding, and when you also add the fact that this album is a conceptual wonder, Klick stands as yet more evidence to Brinkmann's role as one of the pioneering experimental techno producers of his time.

Thomas Brinkmann - Klick ( flac 344mb)

01 0001 5:48
02 0010 6:49
03 0011 4:36
04 0100 6:33
05 0101 3:40
06 0110 4:52
07 0111 7:10
08 1000 4:54
09 1001 7:01
10 1010 5:49

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Thomas Brinkmann follows his habitual reliance on concept - the focus here being the sounds and scopes of Tokyo. Having become known for his tight percussive structures and reliance on carefully edited loops - it’s nice to see Brinkmann loosen up a little and explore more diverse and textured musical landscapes. Each of the pieces here revolves around a re-edited allignment of found sounds and urban field recordings - people filling the Tokyo streets, the subway system, arcade machines and even distant Western pop songs reconfigured and looped. “Tokyo+1” is quite easily Brinkmann’s most diverse work to date - ranging from the straight dubwise house of “3 st. 2 Shinjuku” to the motorik looped noise minimalism of “Mamas” and “109 Competition”.

Thomas Brinkmann - Tokyo + 1 ( flac 234mb)

01 E-bar 3:57
02 Mit Sugar 5:38
03 109 Competition 3:07
04 3 St. 2 Shinjuku 5:09
05 Decoupe 4:27
06 Hatesong 5:02
07 Mamas 3:47
08 Lovesong 5:43
09 Ikaria 4:04

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A tribute to the pinball machine. These tracks deal with the concept of the locked box with the inclined plane, as the player ponders his "questionary about luck, the slide of the things into the logic of decline," as Brinkmann states. This is a new game with turntables -- not unlike the 2001 conceptual Klick release, but this time the player is trying to turn the fixed medium of the locked box into a landscape where the klicks are sounds from the past, confronting and reacting against bumpers, ramps and logs. These klick revolutions are based on live sets performed during the last two years, and the variations within the live context are apparent: each track builds on a theme, with different sideways escape routes using various locked-groove records as tools

Ultimately, Klick Revolution is all about the concept of collision. What happens when funk, aka "black music," collides with the brushed percussion and dissonant arrangements of the European avant-garde? What happens when playback devices become performers, and when machines play music with the kind of timing once only expected from human expression? But whatever your take on its theoretical underpinnings, this short, gripping record is a masterpiece of minimalist intensity and meticulous execution.

Thomas Brinkmann - Klick Revolution ( flac 200mb)

01 Geschlossene Kiste / Initiation_Locked Box 7:15
02 Befragung Des Glücks / Questionary About Luck 3:27
03 Die Schiefe Ebene / Inclined Plane 6:33
04 Der Lauf Der Dinge / Slide Of The Things 5:50
05 Logik Des Niedergangs / Logic Of Decline 8:28
06 Tilt 5:03

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previously Germany, West (01/20/07)

"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  FLAC *328mb)

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