Richie Hawtin’s landmark 2nd Plastikman album rides out on remastered 30th anniversary edition - a masterclass in tactile but steely cold acid techno, future-proofed by its sleek, even at times, sexy, minimalism.
‘Musik’ was first released in 1994 in the wake of Plastikman’s groundbreaking debut ‘Sheet One’, and would further chisel the sound of acid techno to a mix of ice-pick hardness and more fluid, trilling forms of machine music that crisply defined the difference between what had gone before, and what was about to come. Only a slight portion of it is what could be called acid techno, proper, as in the likes of his pounding ‘Fuk’, the klicky ‘Kritket’ and throaty 303 warehouse gurgle of ‘Marbles’.
You’d have to go to the singles for pure club tackle, as Hawtin takes the broader LP canvas as playground to test his machines in a range of trilling a slinky patterns more rooted in Mantronik’s electro programming and adjacent Autechre or AFX’s downbeats - or Warp’s whole AI branded movement, for that matter, which it was a part of - more than anything full throttle club style. He really makes his 303 sing on the mid-tempo thrum of ‘Konception’ thru the outstanding evergreen ‘Lasttrak’, with its haunting choral motifs surely etched on the collective afterparty memory banks, along with the didgeridoo-emulating electro of ‘Outback’, and plangent plong of ‘Plasmatik’.
Basically it’s still class.
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Richie Hawtin’s landmark 2nd Plastikman album rides out on remastered 30th anniversary edition - a masterclass in tactile but steely cold acid techno, future-proofed by its sleek, even at times, sexy, minimalism.
‘Musik’ was first released in 1994 in the wake of Plastikman’s groundbreaking debut ‘Sheet One’, and would further chisel the sound of acid techno to a mix of ice-pick hardness and more fluid, trilling forms of machine music that crisply defined the difference between what had gone before, and what was about to come. Only a slight portion of it is what could be called acid techno, proper, as in the likes of his pounding ‘Fuk’, the klicky ‘Kritket’ and throaty 303 warehouse gurgle of ‘Marbles’.
You’d have to go to the singles for pure club tackle, as Hawtin takes the broader LP canvas as playground to test his machines in a range of trilling a slinky patterns more rooted in Mantronik’s electro programming and adjacent Autechre or AFX’s downbeats - or Warp’s whole AI branded movement, for that matter, which it was a part of - more than anything full throttle club style. He really makes his 303 sing on the mid-tempo thrum of ‘Konception’ thru the outstanding evergreen ‘Lasttrak’, with its haunting choral motifs surely etched on the collective afterparty memory banks, along with the didgeridoo-emulating electro of ‘Outback’, and plangent plong of ‘Plasmatik’.
Basically it’s still class.
Richie Hawtin’s landmark 2nd Plastikman album rides out on remastered 30th anniversary edition - a masterclass in tactile but steely cold acid techno, future-proofed by its sleek, even at times, sexy, minimalism.
‘Musik’ was first released in 1994 in the wake of Plastikman’s groundbreaking debut ‘Sheet One’, and would further chisel the sound of acid techno to a mix of ice-pick hardness and more fluid, trilling forms of machine music that crisply defined the difference between what had gone before, and what was about to come. Only a slight portion of it is what could be called acid techno, proper, as in the likes of his pounding ‘Fuk’, the klicky ‘Kritket’ and throaty 303 warehouse gurgle of ‘Marbles’.
You’d have to go to the singles for pure club tackle, as Hawtin takes the broader LP canvas as playground to test his machines in a range of trilling a slinky patterns more rooted in Mantronik’s electro programming and adjacent Autechre or AFX’s downbeats - or Warp’s whole AI branded movement, for that matter, which it was a part of - more than anything full throttle club style. He really makes his 303 sing on the mid-tempo thrum of ‘Konception’ thru the outstanding evergreen ‘Lasttrak’, with its haunting choral motifs surely etched on the collective afterparty memory banks, along with the didgeridoo-emulating electro of ‘Outback’, and plangent plong of ‘Plasmatik’.
Basically it’s still class.
Richie Hawtin’s landmark 2nd Plastikman album rides out on remastered 30th anniversary edition - a masterclass in tactile but steely cold acid techno, future-proofed by its sleek, even at times, sexy, minimalism.
‘Musik’ was first released in 1994 in the wake of Plastikman’s groundbreaking debut ‘Sheet One’, and would further chisel the sound of acid techno to a mix of ice-pick hardness and more fluid, trilling forms of machine music that crisply defined the difference between what had gone before, and what was about to come. Only a slight portion of it is what could be called acid techno, proper, as in the likes of his pounding ‘Fuk’, the klicky ‘Kritket’ and throaty 303 warehouse gurgle of ‘Marbles’.
You’d have to go to the singles for pure club tackle, as Hawtin takes the broader LP canvas as playground to test his machines in a range of trilling a slinky patterns more rooted in Mantronik’s electro programming and adjacent Autechre or AFX’s downbeats - or Warp’s whole AI branded movement, for that matter, which it was a part of - more than anything full throttle club style. He really makes his 303 sing on the mid-tempo thrum of ‘Konception’ thru the outstanding evergreen ‘Lasttrak’, with its haunting choral motifs surely etched on the collective afterparty memory banks, along with the didgeridoo-emulating electro of ‘Outback’, and plangent plong of ‘Plasmatik’.
Basically it’s still class.
Back in stock - Remastered from the original tapes, pressed on bio-vinyl and packaged in environmental wrapping.
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Richie Hawtin’s landmark 2nd Plastikman album rides out on remastered 30th anniversary edition - a masterclass in tactile but steely cold acid techno, future-proofed by its sleek, even at times, sexy, minimalism.
‘Musik’ was first released in 1994 in the wake of Plastikman’s groundbreaking debut ‘Sheet One’, and would further chisel the sound of acid techno to a mix of ice-pick hardness and more fluid, trilling forms of machine music that crisply defined the difference between what had gone before, and what was about to come. Only a slight portion of it is what could be called acid techno, proper, as in the likes of his pounding ‘Fuk’, the klicky ‘Kritket’ and throaty 303 warehouse gurgle of ‘Marbles’.
You’d have to go to the singles for pure club tackle, as Hawtin takes the broader LP canvas as playground to test his machines in a range of trilling a slinky patterns more rooted in Mantronik’s electro programming and adjacent Autechre or AFX’s downbeats - or Warp’s whole AI branded movement, for that matter, which it was a part of - more than anything full throttle club style. He really makes his 303 sing on the mid-tempo thrum of ‘Konception’ thru the outstanding evergreen ‘Lasttrak’, with its haunting choral motifs surely etched on the collective afterparty memory banks, along with the didgeridoo-emulating electro of ‘Outback’, and plangent plong of ‘Plasmatik’.
Basically it’s still class.