Matmos, Lesser, Kit Clayton, Slicker, Designer, Cex, Hrvatski, Kid 606 and 21 other artists have all exported tracks for this 2xCD release from the German label Klangkrieg. The collection is a fine offering of tunes and will no doubt serve as both a great introduction to some of these noteworthy acts and for current fans an opportunity to collect more songs from the groups.Klang Krieg
While I love the wide array of styles here, two things stick out in my mind: both revolving around my concerns over truth in packaging. The disc seems rather 606-scenester or San Fran-centric, it almost mimics a collection that would have been all too predictable for the Tigerbeat 6 label. In addition to this, the term breakbeat seems to be used rather loosely as well. Only on about three tracks do I hear a beat that I can particulary identify as a breakbeat. Regardless, for the price it packs a good bang and can proudly be displayed in your collection next to this year's other German compilation of American stuff, Chicago 2018.
samples:
samples:
After a year full of unpronounceable non sequiturs masquerading as album titles, Boards of Canada bring us the most aptly named release in ages. "In a Beautiful Place out in the Country" is exactly where Mark Eoin and Mike Sandison intend to take you with this new EP, and they succeed admirably.
The material here has the same elements that "Music Has the Right to Children" and "hi scores" did: big, slow, chunky hip-hop beats, staticy synth washes, bittersweet melodies, buried samples of children playing and laughing. But the gorgeous melodies and hypnotic beats that seemed to be verging on childish joy now and then in their two previous releases seem more contemplative, nostalgic, almost wistful if not actually melancholy. These gentle songs are more of a flip through a scrapbook stuffed with pictures of your favorite beautiful place out in the country when you were a kid than an actual visit. "Kid for Today," starts out with a gentle, soothing beat that's reminiscent of rain falling on a roof. Soft, wispy synths and a gorgeous melody, full of that analog goodness. A scratchy voice mumbles something at us. It's like being inside on a rainy summer day, watching puddles accumulate. "Amo Bishop Roden" is a filtered, almost vanishing synth loop with an even more wistful murmur fading in and out above it. Now and then we get a subsonic thump that propels the song forward. The ticking-clock drumline thickens into static, then vanishes into a whirlpool. The title track is definitely the stand-out here. A chilly organ line develops slowly, we hear the sounds of children laughing, and one of those chunky beats comes in to fill the background. A momentary halt, and then a heavily processed voice murmurs something melodic and incomprehensible in the voice of a sedated Speak-N-Spell. Then everything begins blending together...
Finally, there's "Zoetrope." This sounds just like one of those short interlude tracks from "Music..." that I wish went on for a year but stopped after a minute or so. I'm not even sure how to describe it. Gentle chords move up and down a keyboard in rolling waves, not a bassline or beat or synth wash in sight, but it just gets more and more wonderful. It's been much too long since their last release, and at less than 25 minutes, this is not a long EP -- but if everything they do is as achingly beautiful as this, I'm willing to wait for another two years.
samples:
samples:
samples:
The transition has indeed been made from the hip yet relatively obsure Chain Reaction label in Germany to the international powerhouse known as Matador for this, the third full-lengther from Andrew Pekler, a.k.a. Sad Rockets. While the output may be labeled as a medium-paced modern dub hybrid, the inputs are almost completely organic, reminiscent more of the older school masters than many electronic contemporaries.
Matador
Tunes range from scratchy spy movie themed bits to funked out game show thinking music with vibes and sampladelic rock steady dub ditties. The Uzbekistan-born, California-raised Berlin resident proudly shows off his talents as a composer, pianist, guitarist and producer, roping in friends to fill out the occasional role of drummer or violinist. "Transition" took almost two years to record and is a solid record album, worthy of recognition as working music, chillout tunes or the perfect soundtrack to a low-key gathering of friends.
samples:
Jan St. Werner (of Mouse On Mars) and Markus Popp (of Oval) have cooked up a third offering of glitchy, cryptic ambience for us, this time without all the rhetoric about music as software and digital revolutions in musical composition.
 
"Nine excursions into the world of downtempo speedcore," as Thrill Jockey's webpage puts it, but to me it sounded like the drones and rumbles that were so fascinating on Mouse on Mars' "Instrumentals" providing an unappreciated undercurrent to Popp's software-generated quirks, bleeps, and glitches. Now and then it resembles a fully realized orchestral work mangled into utter unrecognizability by its composers' computers.
Your reaction to "model 3, step 2" will no doubt be determined by your attitude towards Popp and his studies in computer-generated incoherence. If you're the chin-stroking type who plumbed the fascinating depths of "94diskont," "Dok," and "Ovalprocess" and came back hungry for more, then this will probably prove rewarding after a few listens, or at least briefly interesting. "Dok," the result of another Popp collaboration (with Toyko's Christophe Charles), shimmered with an organic beauty that fails to materialize here; likewise, the weird sonic explorations and occasional thematic coherence that made Microstoria's "INIT DING" worthwhile just aren't apparent. The result is neither compelling nor essential.
 
samples:
samples: