Influenced by kosmische imprint Sky Records and and Klaus Schultze's Innovative Communication label, Norwegian synth fetishist André Bratten travels into the past on "Picture Music", diving into a tape-saturated realm of hyper-melodic synths and clipped rhythms.
After producing Bendik Giske's world-beating "Cracks" last year, Braten strikes out on his own with this new set of pristine analog synth music. There's no shortage of this stuff around right now, but Bratten's got a good ear for detail, informed by the output of Hamburg's Sky label (that released Cluster, Conrad Schnitzler and Harald Grosskopf) and the levitational work of Klaus Schulze.
The album is billed as the first in a series of releases, and is endearingly light hearted, beginning with hauntological tape fuzz and dipping immediately into the post-BoC haze of 'Ballroom'. Bratten starts as he means to go on, and retains this mood throughout, layering vocodered voices over vintage drum machine loops and soft-focus analogue sequences. It's nothing new, but it's very well done.
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Influenced by kosmische imprint Sky Records and and Klaus Schultze's Innovative Communication label, Norwegian synth fetishist André Bratten travels into the past on "Picture Music", diving into a tape-saturated realm of hyper-melodic synths and clipped rhythms.
After producing Bendik Giske's world-beating "Cracks" last year, Braten strikes out on his own with this new set of pristine analog synth music. There's no shortage of this stuff around right now, but Bratten's got a good ear for detail, informed by the output of Hamburg's Sky label (that released Cluster, Conrad Schnitzler and Harald Grosskopf) and the levitational work of Klaus Schulze.
The album is billed as the first in a series of releases, and is endearingly light hearted, beginning with hauntological tape fuzz and dipping immediately into the post-BoC haze of 'Ballroom'. Bratten starts as he means to go on, and retains this mood throughout, layering vocodered voices over vintage drum machine loops and soft-focus analogue sequences. It's nothing new, but it's very well done.
Influenced by kosmische imprint Sky Records and and Klaus Schultze's Innovative Communication label, Norwegian synth fetishist André Bratten travels into the past on "Picture Music", diving into a tape-saturated realm of hyper-melodic synths and clipped rhythms.
After producing Bendik Giske's world-beating "Cracks" last year, Braten strikes out on his own with this new set of pristine analog synth music. There's no shortage of this stuff around right now, but Bratten's got a good ear for detail, informed by the output of Hamburg's Sky label (that released Cluster, Conrad Schnitzler and Harald Grosskopf) and the levitational work of Klaus Schulze.
The album is billed as the first in a series of releases, and is endearingly light hearted, beginning with hauntological tape fuzz and dipping immediately into the post-BoC haze of 'Ballroom'. Bratten starts as he means to go on, and retains this mood throughout, layering vocodered voices over vintage drum machine loops and soft-focus analogue sequences. It's nothing new, but it's very well done.
Influenced by kosmische imprint Sky Records and and Klaus Schultze's Innovative Communication label, Norwegian synth fetishist André Bratten travels into the past on "Picture Music", diving into a tape-saturated realm of hyper-melodic synths and clipped rhythms.
After producing Bendik Giske's world-beating "Cracks" last year, Braten strikes out on his own with this new set of pristine analog synth music. There's no shortage of this stuff around right now, but Bratten's got a good ear for detail, informed by the output of Hamburg's Sky label (that released Cluster, Conrad Schnitzler and Harald Grosskopf) and the levitational work of Klaus Schulze.
The album is billed as the first in a series of releases, and is endearingly light hearted, beginning with hauntological tape fuzz and dipping immediately into the post-BoC haze of 'Ballroom'. Bratten starts as he means to go on, and retains this mood throughout, layering vocodered voices over vintage drum machine loops and soft-focus analogue sequences. It's nothing new, but it's very well done.
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Influenced by kosmische imprint Sky Records and and Klaus Schultze's Innovative Communication label, Norwegian synth fetishist André Bratten travels into the past on "Picture Music", diving into a tape-saturated realm of hyper-melodic synths and clipped rhythms.
After producing Bendik Giske's world-beating "Cracks" last year, Braten strikes out on his own with this new set of pristine analog synth music. There's no shortage of this stuff around right now, but Bratten's got a good ear for detail, informed by the output of Hamburg's Sky label (that released Cluster, Conrad Schnitzler and Harald Grosskopf) and the levitational work of Klaus Schulze.
The album is billed as the first in a series of releases, and is endearingly light hearted, beginning with hauntological tape fuzz and dipping immediately into the post-BoC haze of 'Ballroom'. Bratten starts as he means to go on, and retains this mood throughout, layering vocodered voices over vintage drum machine loops and soft-focus analogue sequences. It's nothing new, but it's very well done.