Jan Jelinek's Faitiche label digs up this 2010-recorded jam form Berlin underground techno duo Muellie Messiah & Punk not Punk.
'Exq I' isn't an easy listening experience but it's a rewarding one. The two producers had a jazz-inspired approach to improvisation, and while they were using electronic instrumentation it still retains a jazziness that can't help but remind us of Conjoint. But Muellie Messiah & Punk not Punk noticeably channel their energy into more minimal sounds, using bass womps and drones to draw parallels with Alva Noto's recognizable productions.
A single 36-minute track, "Exq I" builds patiently, never really shifting in tempo or even in density, but retaining and maintaining mood of expressionless German functionality. It's basically architectural minimal techno transmuted into ECM-ready free jazz, so make of that what you will.
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Jan Jelinek's Faitiche label digs up this 2010-recorded jam form Berlin underground techno duo Muellie Messiah & Punk not Punk.
'Exq I' isn't an easy listening experience but it's a rewarding one. The two producers had a jazz-inspired approach to improvisation, and while they were using electronic instrumentation it still retains a jazziness that can't help but remind us of Conjoint. But Muellie Messiah & Punk not Punk noticeably channel their energy into more minimal sounds, using bass womps and drones to draw parallels with Alva Noto's recognizable productions.
A single 36-minute track, "Exq I" builds patiently, never really shifting in tempo or even in density, but retaining and maintaining mood of expressionless German functionality. It's basically architectural minimal techno transmuted into ECM-ready free jazz, so make of that what you will.
Jan Jelinek's Faitiche label digs up this 2010-recorded jam form Berlin underground techno duo Muellie Messiah & Punk not Punk.
'Exq I' isn't an easy listening experience but it's a rewarding one. The two producers had a jazz-inspired approach to improvisation, and while they were using electronic instrumentation it still retains a jazziness that can't help but remind us of Conjoint. But Muellie Messiah & Punk not Punk noticeably channel their energy into more minimal sounds, using bass womps and drones to draw parallels with Alva Noto's recognizable productions.
A single 36-minute track, "Exq I" builds patiently, never really shifting in tempo or even in density, but retaining and maintaining mood of expressionless German functionality. It's basically architectural minimal techno transmuted into ECM-ready free jazz, so make of that what you will.
Jan Jelinek's Faitiche label digs up this 2010-recorded jam form Berlin underground techno duo Muellie Messiah & Punk not Punk.
'Exq I' isn't an easy listening experience but it's a rewarding one. The two producers had a jazz-inspired approach to improvisation, and while they were using electronic instrumentation it still retains a jazziness that can't help but remind us of Conjoint. But Muellie Messiah & Punk not Punk noticeably channel their energy into more minimal sounds, using bass womps and drones to draw parallels with Alva Noto's recognizable productions.
A single 36-minute track, "Exq I" builds patiently, never really shifting in tempo or even in density, but retaining and maintaining mood of expressionless German functionality. It's basically architectural minimal techno transmuted into ECM-ready free jazz, so make of that what you will.
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Jan Jelinek's Faitiche label digs up this 2010-recorded jam form Berlin underground techno duo Muellie Messiah & Punk not Punk.
'Exq I' isn't an easy listening experience but it's a rewarding one. The two producers had a jazz-inspired approach to improvisation, and while they were using electronic instrumentation it still retains a jazziness that can't help but remind us of Conjoint. But Muellie Messiah & Punk not Punk noticeably channel their energy into more minimal sounds, using bass womps and drones to draw parallels with Alva Noto's recognizable productions.
A single 36-minute track, "Exq I" builds patiently, never really shifting in tempo or even in density, but retaining and maintaining mood of expressionless German functionality. It's basically architectural minimal techno transmuted into ECM-ready free jazz, so make of that what you will.