New blood Max Frimout reinterprets veteran synthesist Albert Van Abbe in recording finalised at the hallowed Institute of Sonology, The Netherlands
After introducing himself in recent years with a mix of experimental techno and abstract electronics for Spain’s Structured label, and alongside Andreas Hendrix, Dutch artist Max Frimout takes a bow on Superpang with curious renders of Albert Van Abbe’s immersively textured original synthesis. Hewing close to Van Abbe’s ascetic values, Frimout subtly lends his own character to these reinterpretations, infusing a warmer, soothing character to his abstract electro-acoustics with highlights in the woozy flush of Morphed Remarks 4’, the pensile, Pole-esque post-techno swirl of ‘Bassdrum Hypothesis 1’ and ‘Bassdrum Hypothesis 6’, or the intoxicating granular slosh of ‘Morphed Remarks 7’ that could be said to echo the pioneering computer/synth abstraction of The Institute of Sonology’s deeply significant alum, Roland Kayn and Jaap Vink.
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New blood Max Frimout reinterprets veteran synthesist Albert Van Abbe in recording finalised at the hallowed Institute of Sonology, The Netherlands
After introducing himself in recent years with a mix of experimental techno and abstract electronics for Spain’s Structured label, and alongside Andreas Hendrix, Dutch artist Max Frimout takes a bow on Superpang with curious renders of Albert Van Abbe’s immersively textured original synthesis. Hewing close to Van Abbe’s ascetic values, Frimout subtly lends his own character to these reinterpretations, infusing a warmer, soothing character to his abstract electro-acoustics with highlights in the woozy flush of Morphed Remarks 4’, the pensile, Pole-esque post-techno swirl of ‘Bassdrum Hypothesis 1’ and ‘Bassdrum Hypothesis 6’, or the intoxicating granular slosh of ‘Morphed Remarks 7’ that could be said to echo the pioneering computer/synth abstraction of The Institute of Sonology’s deeply significant alum, Roland Kayn and Jaap Vink.
New blood Max Frimout reinterprets veteran synthesist Albert Van Abbe in recording finalised at the hallowed Institute of Sonology, The Netherlands
After introducing himself in recent years with a mix of experimental techno and abstract electronics for Spain’s Structured label, and alongside Andreas Hendrix, Dutch artist Max Frimout takes a bow on Superpang with curious renders of Albert Van Abbe’s immersively textured original synthesis. Hewing close to Van Abbe’s ascetic values, Frimout subtly lends his own character to these reinterpretations, infusing a warmer, soothing character to his abstract electro-acoustics with highlights in the woozy flush of Morphed Remarks 4’, the pensile, Pole-esque post-techno swirl of ‘Bassdrum Hypothesis 1’ and ‘Bassdrum Hypothesis 6’, or the intoxicating granular slosh of ‘Morphed Remarks 7’ that could be said to echo the pioneering computer/synth abstraction of The Institute of Sonology’s deeply significant alum, Roland Kayn and Jaap Vink.
New blood Max Frimout reinterprets veteran synthesist Albert Van Abbe in recording finalised at the hallowed Institute of Sonology, The Netherlands
After introducing himself in recent years with a mix of experimental techno and abstract electronics for Spain’s Structured label, and alongside Andreas Hendrix, Dutch artist Max Frimout takes a bow on Superpang with curious renders of Albert Van Abbe’s immersively textured original synthesis. Hewing close to Van Abbe’s ascetic values, Frimout subtly lends his own character to these reinterpretations, infusing a warmer, soothing character to his abstract electro-acoustics with highlights in the woozy flush of Morphed Remarks 4’, the pensile, Pole-esque post-techno swirl of ‘Bassdrum Hypothesis 1’ and ‘Bassdrum Hypothesis 6’, or the intoxicating granular slosh of ‘Morphed Remarks 7’ that could be said to echo the pioneering computer/synth abstraction of The Institute of Sonology’s deeply significant alum, Roland Kayn and Jaap Vink.