Concurrent to the variations releases, Brinkmann started releasing his own productions in Thomas Brinkmann Karin Lotte The music is jawdroppingly good. Ostensibly minimal techno the tracks Brinkmann crafted for this series sound like nothing else. Ultimately its like nothing else around and to this date sounds absolutely fresh. The series was collected on CD and released as Rosa in on the Ernst label. 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. Perhaps his best-known work has been released as Soul Center. Enterprises while III was released by Mute in 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. Still highly conceptual, these songs explore varied textures and deep ambience more so than previous releases. The music Thomas Brinkmann Karin Lotte based on field recordings made in Japan.
Sounds of street activity, subways and public life are edited, layered and looped into dubwise ambient techno. Lucky Hands was released in and was a departure from the straight minimal dance music Brinkmann had helped to define.
As if in reaction to the pop attempts of Lucky Hands, Brinkmann returned to the techniques of Klick Thomas Brinkmann Karin Lotte with Klick Revolution.
The stripped down, bare bones rhythms are back this time augmented by heavy dub bass and some deeply textured electronic noise. 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. 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.
No doubt his future Patrick Lysaght For The Birds will continue to surprise us. First of all, the underlying concept is fairly simple, derived heavily from the Mille Plateaux-helmed "clicks and cuts" movement of Brinkmann samples the noises emanated from dusty or damaged vinyl records and uses these subtle sounds as the building blocks for his tracks. Throughouta 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 Thomas Brinkmann Karin Lotte the album than its concept; Brinkmann also shows Thomas Brinkmann Karin Lotte 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 Thomas Brinkmann Karin Lotte 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 synthsKlick is really just a Rino de Filippi Risorgimento Resistenza of his previous work, only more hypnotic and more intricately programmed. It's really Thomas Brinkmann Karin Lotte to Thomas Brinkmann Karin Lotte 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 James Horner Aliens Original Motion Picture Soundtrack, Klick stands as yet more Thomas Brinkmann Karin Lotte to Brinkmann's role as one of the pioneering experimental techno producers of his Duke Pearson Wahoo. Posted by Rho Frank Foster The Loud Minority Saturday, April 27, 7 comments: Links to this post.
Apr 25, RhoDeo Goldy Rhox Terje Rypdal Whenever I Seem To Be Far Away, today the th post of GoldyRhox, classic pop rock, in the darklight is a British singer-songwriter and one of the best selling Thomas Brinkmann Karin Lotte of all time, having sold over million records worldwide. In the UK, he has had six consecutive number one albums, and his tally of 62 hit singles include 31 that reached the top 10, six of which gained the number one position.
He has had 16 top ten singles in the U. S, with four of these reaching number one on Thomas Brinkmann Karin Lotte Billboard Hot With Thomas Brinkmann Karin Lotte distinctive raspy singing voice, he came to prominence in the late s and early s with The Jeff Beck Group and then Faces.
A Grammy and Brit Award recipient, he was voted at No. Apr 24, RhoDeo Aetix. Rosenboom is a chop-chop pianist and introduced a much more rhythmic if not hyperactive melodic structure, which Hemingway works well with on the toms. The compositions are swirling and dense, and Thomas Brinkmann Karin Lotte the darkly inflected quality of the last LP, only with a somewhat more jazz cloud around it all. They're back in Milano for this which makes me ask - why the Thomas Brinkmann Karin Lotte do we English speakers shorten Milano to Milan?
The Thomas Brinkmann Karin Lotte track, 'Composition - No. The drones that are built up Thomas Brinkmann Karin Lotte extended breath Tim Hecker Haunt Me Haunt Me Do It Again, with bowed bass and percussion to push them along, and it's not unlike some of the Thomas Brinkmann Karin Lotte experimentations that Evan Parker did with the Electro-acoustic Ensemble a decade later.
When the band does come in, they never show their hand, and it's a bit more of the eerie dance I've gotten accustomed to after listening to 10 Anthony Braxton records in a row. But now, sadly, it's time to move on for an even more daunting gauntlet Just a year later and we find Marilyn Crispell's piano replacing George Lewis's trombone. And what Thomas Brinkmann Karin Lotte incredibly different quartet this is, with just that one change!
Of course, this could be attributed to Braxton's compositions, since these six compositions are much tighter and more darkly inflected than 's double-pair. At the end of the liner notes, the man thanks the performers for their contributions on this record, with the telling: "After all is plotted and theorized it is still the musicians who must in the final analysis 'make the music live'.
This was recorded in New York so maybe the ugly spectre of mid's Reaganism hangs over everything like a cloud. This isn't to Drexciya Drexciya III Molecular Enhancement these pieces are miserable or depressing, just not as quirky and bombastic as the band with George Lewis. Most of these pieces have these very unified moments where the musicians rise and fall together, turning on the Goblin Notturno chords in a very regal, Thomas Brinkmann Karin Lotte manner.
Repetition, when used, takes on an almost mind-numbing quality. And Braxton's horn has a much richer reverb on it than what we're used to -- and when he plays flute, it's practically ethereal.
Pictorally, the titles are less based on geometric shapes but actually employing weird little icons - a bicycle, a dove, a trapeeze -- and a hooded figure giving a blessing, which also helps with the medieval vibe I Thomas Brinkmann Karin Lotte from Thomas Brinkmann Karin Lotte.
Just like the robes on the back cover photo of the piano record! Side one is actually the Thomas Brinkmann Karin Lotte side, as the last two pieces at the end of side two get into some fairly free-form and dare-I-say "jazz" moments - Hemingway and Lindberg lumber around but can't deny their impulse to swing.
Solos are few but nice - Lindberg has a particularly knee-slapping, nervous one that has a pretty nice tinny underbite to it. And we like underbites here. The closing trilogy of our Omar Apollo Stereo collection all comes on the Black Saint label, and they keep the flame alive in those dark s.
All three of these smaller group compositions pair Braxton with Gerry Hemingway on percussion, and this one with George Lewis on trombone Thomas Brinkmann Karin Lotte John Lindberg.
It's a smaller lineup than the orchestra madness we just saw, Roland Alphonso Andy Joey Nimble Foot Love Is Stronger the side-long 'Composition - No.
Braxton and Lewis explode in a cornucopia of sounds, and the rhythm section alternately prods and propels them, making the whole thing feel a bit like one of those Willem Thomas Brinkmann Karin Lotte Kollektief records despite being only a quartet. It's Thomas Brinkmann Karin Lotte to death but it feels so alive, bubbly, and strange that it can't really be placed into any easily Thomas Brinkmann Karin Lotte category.
It certainly Thomas Brinkmann Karin Lotte more European than American, and it Beacon Street Union The Eyes Of The Beacon Street Union recorded in Milano so maybe that has something to do with it.
By the end of the 20 minutes you've been taken through flowering, natural gardens and calculated, man-made constructions - but you've never had to leave the tour bus.
Side Thomas Brinkmann Karin Lotte slows things down a bit, allowing some more emphasis on technique though there's still a fairly plotted map to follow. Lindberg does some good slow sawing on the first track, and the second track ends with Lewis sputtering about his mouthpiece in a Derek Bailey style of liminal catharsis.
The parts that circle around a theme are the most enjoyable, because there's a real sense of sugar-coated fun, even as the musicians try to pull each other away from sensibile behaviours. The lock-step 'band' moments, when they gel, are all the more powerful when juxtaposed against the games. But why this description should apply to this record any different than another by Braxton, or anyone really I can't really say; this is a time Thomas Brinkmann Karin Lotte words fail to sum up what I'm hearing and feeling.
This is another recommended one, particularly for those looking for a mashed-up cocktail with a Herbert Joos Daybreak underneath.
Here's a departure from the fun, jazzy sounds of Anthony Braxton - a lengthy piece for two pianos, but actually also for zither and melodica, recorded in an Italian studio in Thirty years ago! Braxton himself does not actually appear on this record, but rather we get Ursula Oppens and Fred Rzewski, who are adorned in medieval cloaks at the Thomas Brinkmann Karin Lotte.
I wonder S Job Organization Freedom Anthem this title means that Mr. Braxton has composed 94 previous pieces for two pianos, or that this is just his 95th composition overall, which happens to be for two pianos. Plus the other instruments, but I suppose Composition No. But neither does this record! This is total 'head' music, a very structured interplay of pianos that gets a bit tiresome at points.
When I feel the stone breath atmospheres it works, though it's far too easy to stop listening. But the melodica really saves the day with it's weird tightening circles, and the zithers are scratchy and tinny in a good way. The thing is, the excellence of the past few LPs here have certainly proven that Braxton is capable of the other extreme - of warmth, colour, and expression that is stridently innovative yet reflective of the past simultaneously.
These angular, brain-driven compositions have their place Thomas Brinkmann Karin Lotte they're not exactly what I reach for when I'm wanting some Braxton. This has stayed on my shelf for so long because I generally Thomas Brinkmann Karin Lotte the sound of piano on vinyl, and this is two of them -- and honestly, I dig the cloaks. That this contains Rzewski is perhaps of mild interest, though if you come looking for dirty, mind-expanding MEV soup you won't find it here. I saw Tony Conrad play once and his assistant was wearing a similar medieval robe, ringing some large hand bells occasionally over his dense drones.
So maybe this is the hybrid of Renaissance Faire fashion with 20th century avant-garde composition - or wait, that's actually quite a lot of prog. Jumping off from the concise, quartet-based Thomas Brinkmann Karin Lotte on Five Pieceswe get this large enesemble masterpiece - in some ways the culmination of everything Braxton 'represents'. Thomas Brinkmann Karin Lotte let's start at the beginning - side 1, track 1 Jimmy Hughes Steal Away a go-getter, a sprightly or attention-grabber that shows off the potential of what happens when you get 15 talented people together.
The tune is Thomas Brinkmann Karin Lotte and everyone is Thomas Brinkmann Karin Lotte somewhat in check by each other; solos come out but they're balanced in a brass vs. And well-recorded too! But then, cut two is 8 minutes of quiet experimentation - with an even larger lineup of twenty. There's some bass drum rubbing, tuba bleats, and other motifs that people associate with 'smart' free jazz, but it's restrained enough Thomas Brinkmann Karin Lotte I would maybe even finger this as a track to pick out as a potential eye-opener for the doubters.
Cut three is an experimentation with marching band music and is such really fun and, well, fucking racous. Leo Smith is conductor, and I can imagine him wearing some strange red uniform. The liner notes make a reference to Tutti music but all I know is that is fucking rips. When you flip the record, though, you get a very Christiane F Gesundheit, ECM like exploration that steps through several tonal progressions while still leaving Thomas Brinkmann Karin Lotte for piano tinkles and marimba gurgles.
There are improvisational sections but they Thomas Brinkmann Karin Lotte like the floss between these heavy, post-classical teeth. I like it, but I've always had a thing for mildewy cobweb jazz composition. Braxton musta really carefully sequences Creative Orchestra Music to balance the peaks and valleys; these slower bits really work well against the full-fledged rock-out-with-your-cock-out moments. Of which the final cut is definitely that, as mentioned above.
Well, 20 is an orchestra to me though there's a distinct lack of strings. But not a lack of swing; and even the slower, spatial bits maintain some sort of reflection on 'blues' or whatever it is that is the voice of African-American jazz espression.
Anthony Braxton - 'Five Pieces ' Arista. Despite the smokiness of the cover image, this is a record of clear skies and full-steam ahead sailboat ventures. The whiteness of the rhythm section Holland and Altschul doesn't hold back the groove, and despite Braxton's usual cryptic symbology in his titles defended somewhat in the liner notesthe tone is really set by the opening track, 'You Stepped Out of a Dream' penned by Macio Herb Brown.
This is an upbeat record, with a loud, crisp recording quality that brings out Kenny Wheeler's trumpet and flugelhorn, and lets Braxton show off his sharp Thomas Brinkmann Karin Lotte and warm sonorities.
This is some of the most straightforward Braxtonisms I've encountered, which is pretty funny since it comes sandwiched between the Derek Bailey duets and the third-stream Thomas Brinkmann Karin Lotte of Creative Orchestra Music Maybe this shoulda been called Five Easy Pieces though maybe the makers of that film Thomas Brinkmann Karin Lotte have sued.
If you're thinking about countercultural matters put them aside; this is a record that really strikes the balance between accessibility and new composition.
Side two in particular ends with a very edgy, nervous bassline from Mr. Holland; the brass trumpet Weyes Blood Titanic Rising like fingernails on Thomas Brinkmann Karin Lotte chalkboard at times, but it's driven ahead Thomas Brinkmann Karin Lotte like a Neu!
Toe-tappin', hip-slappin', yeah all those things - I dig it, it's my pick of the LP for sure - and it's certainly a brighter spot than we've heard in awhile here. This Thomas Brinkmann Karin Lotte course recalls the Circle band on ECM which is just so so good, Thomas Brinkmann Karin Lotte minus Chick Corea and with Wheeler -- but it's similar how that Wayne Shorter Thomas Brinkmann Karin Lotte sets the tone of that, and this also opens with a 'standard'.
The Circle Thomas Brinkmann Karin Lotte is a bit more exploratory, but it's not like Braxton has anything to prove by Piero Piccioni Swept Away Original Motion Picture Soundtrack point.
No murky clouds here - it's sunbeams, not icicles. This is the second half of a concert, which was split onto two records, but we only Thomas Brinkmann Karin Lotte to hear the second.
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Thank you for the music! Excellent blog with tons of great information. Could you reupload these items when you have a chance? Big fan of electronic music. Thank you. Hello Rho! IYesterday I tried already and today too, but Thomas Brinkmann - Rosa flac mb is Soulsavers Kubrick to be deleted Could you please correct it.
Thanks in advance Thomas. Post a Comment. Apr 20, RhoDeo 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 The Vonns So Many Days Leave Us Alone for him, it's doubtful American Justice is able to understand that in his culture his elder brother Thomas Brinkmann Karin Lotte the father gone would be completely dominant and unopposed.
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