Frank Bretschneider
Pounding
Boomkat Product Review:
Raster-Noton co-founder Frank Bretschneider continues a non-trivial pursuit of machine-displaced chronics with rigorously methodical yet playful results that benefit from a good set of speakers - one for fans of Alva Noto, Thomas Brinkmann, Ilpo Väisänen, Mark Fell, NHK.
‘Pounding’ is a wryly ironic title for this set of purposefully irregular grooves that find a virtue in the so-stiff-it’s-funky mode of German electronic music. Ever since Kraftwerk ditched the flutes and jacked into the boxes, German artists have specialised in evincing funk from circuitry. Coming from an East Germany known for prizing austerity, Bretschneider has spent the past 40 years making West Germany’s Kraftwerk look positively loosey goosey by comparison with his ascetic approach to rhythm programming and synthesis that would form the basis of Raster-Noton, who would issue his definitive statement of style and pattern with ‘Rhythm’ in 2007. In theme and effect ‘Pounding’ sums up the results of his conceptual thrust decades down the line: 11 tracks of puristic electricity arranged with wonky synchronicity and inflected by his own vocals that riddle the funk to absorbingly trippy degrees.
Daring to fuck with what is “often regarded as an unquestionable dogma in club music”, the august experimental artist draws on fine-tuned machine music intuitions , particularly a prevailing fascination with modular synths, and the idea of dub as method, for an intricately knit sequence of events marked by their sense of volatile instability within the grid. On the squirrelly wriggle of ‘Evening News’ we hear him working adjacent to SND or NHK’s decimated 2-step, and ‘Here We Go’ calls to mind the offbeat pulses of Thomas Brinkmann, whilst the likes of ‘Transit’ and the loping ’Supermoon’ most explicitly speak to his slant on dub with effects that “listen to themselves disintegrate” into its stepping matrix. The nanoscopic detail in ‘Gojo’ and ‘Orbit’ are comparable to the locked in modular patterns generated by Logos, but with the added spice of (almost) jazzy inflection, like a sped-up Jan Jelinek, and ‘Rapid’ teases out a slow/fast meter accentuated with saccade-like movements that induces the strangest sensation of motion sickness.
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Boomkat Product Review:
Raster-Noton co-founder Frank Bretschneider continues a non-trivial pursuit of machine-displaced chronics with rigorously methodical yet playful results that benefit from a good set of speakers - one for fans of Alva Noto, Thomas Brinkmann, Ilpo Väisänen, Mark Fell, NHK.
‘Pounding’ is a wryly ironic title for this set of purposefully irregular grooves that find a virtue in the so-stiff-it’s-funky mode of German electronic music. Ever since Kraftwerk ditched the flutes and jacked into the boxes, German artists have specialised in evincing funk from circuitry. Coming from an East Germany known for prizing austerity, Bretschneider has spent the past 40 years making West Germany’s Kraftwerk look positively loosey goosey by comparison with his ascetic approach to rhythm programming and synthesis that would form the basis of Raster-Noton, who would issue his definitive statement of style and pattern with ‘Rhythm’ in 2007. In theme and effect ‘Pounding’ sums up the results of his conceptual thrust decades down the line: 11 tracks of puristic electricity arranged with wonky synchronicity and inflected by his own vocals that riddle the funk to absorbingly trippy degrees.
Daring to fuck with what is “often regarded as an unquestionable dogma in club music”, the august experimental artist draws on fine-tuned machine music intuitions , particularly a prevailing fascination with modular synths, and the idea of dub as method, for an intricately knit sequence of events marked by their sense of volatile instability within the grid. On the squirrelly wriggle of ‘Evening News’ we hear him working adjacent to SND or NHK’s decimated 2-step, and ‘Here We Go’ calls to mind the offbeat pulses of Thomas Brinkmann, whilst the likes of ‘Transit’ and the loping ’Supermoon’ most explicitly speak to his slant on dub with effects that “listen to themselves disintegrate” into its stepping matrix. The nanoscopic detail in ‘Gojo’ and ‘Orbit’ are comparable to the locked in modular patterns generated by Logos, but with the added spice of (almost) jazzy inflection, like a sped-up Jan Jelinek, and ‘Rapid’ teases out a slow/fast meter accentuated with saccade-like movements that induces the strangest sensation of motion sickness.
Boomkat Product Review:
Raster-Noton co-founder Frank Bretschneider continues a non-trivial pursuit of machine-displaced chronics with rigorously methodical yet playful results that benefit from a good set of speakers - one for fans of Alva Noto, Thomas Brinkmann, Ilpo Väisänen, Mark Fell, NHK.
‘Pounding’ is a wryly ironic title for this set of purposefully irregular grooves that find a virtue in the so-stiff-it’s-funky mode of German electronic music. Ever since Kraftwerk ditched the flutes and jacked into the boxes, German artists have specialised in evincing funk from circuitry. Coming from an East Germany known for prizing austerity, Bretschneider has spent the past 40 years making West Germany’s Kraftwerk look positively loosey goosey by comparison with his ascetic approach to rhythm programming and synthesis that would form the basis of Raster-Noton, who would issue his definitive statement of style and pattern with ‘Rhythm’ in 2007. In theme and effect ‘Pounding’ sums up the results of his conceptual thrust decades down the line: 11 tracks of puristic electricity arranged with wonky synchronicity and inflected by his own vocals that riddle the funk to absorbingly trippy degrees.
Daring to fuck with what is “often regarded as an unquestionable dogma in club music”, the august experimental artist draws on fine-tuned machine music intuitions , particularly a prevailing fascination with modular synths, and the idea of dub as method, for an intricately knit sequence of events marked by their sense of volatile instability within the grid. On the squirrelly wriggle of ‘Evening News’ we hear him working adjacent to SND or NHK’s decimated 2-step, and ‘Here We Go’ calls to mind the offbeat pulses of Thomas Brinkmann, whilst the likes of ‘Transit’ and the loping ’Supermoon’ most explicitly speak to his slant on dub with effects that “listen to themselves disintegrate” into its stepping matrix. The nanoscopic detail in ‘Gojo’ and ‘Orbit’ are comparable to the locked in modular patterns generated by Logos, but with the added spice of (almost) jazzy inflection, like a sped-up Jan Jelinek, and ‘Rapid’ teases out a slow/fast meter accentuated with saccade-like movements that induces the strangest sensation of motion sickness.
Boomkat Product Review:
Raster-Noton co-founder Frank Bretschneider continues a non-trivial pursuit of machine-displaced chronics with rigorously methodical yet playful results that benefit from a good set of speakers - one for fans of Alva Noto, Thomas Brinkmann, Ilpo Väisänen, Mark Fell, NHK.
‘Pounding’ is a wryly ironic title for this set of purposefully irregular grooves that find a virtue in the so-stiff-it’s-funky mode of German electronic music. Ever since Kraftwerk ditched the flutes and jacked into the boxes, German artists have specialised in evincing funk from circuitry. Coming from an East Germany known for prizing austerity, Bretschneider has spent the past 40 years making West Germany’s Kraftwerk look positively loosey goosey by comparison with his ascetic approach to rhythm programming and synthesis that would form the basis of Raster-Noton, who would issue his definitive statement of style and pattern with ‘Rhythm’ in 2007. In theme and effect ‘Pounding’ sums up the results of his conceptual thrust decades down the line: 11 tracks of puristic electricity arranged with wonky synchronicity and inflected by his own vocals that riddle the funk to absorbingly trippy degrees.
Daring to fuck with what is “often regarded as an unquestionable dogma in club music”, the august experimental artist draws on fine-tuned machine music intuitions , particularly a prevailing fascination with modular synths, and the idea of dub as method, for an intricately knit sequence of events marked by their sense of volatile instability within the grid. On the squirrelly wriggle of ‘Evening News’ we hear him working adjacent to SND or NHK’s decimated 2-step, and ‘Here We Go’ calls to mind the offbeat pulses of Thomas Brinkmann, whilst the likes of ‘Transit’ and the loping ’Supermoon’ most explicitly speak to his slant on dub with effects that “listen to themselves disintegrate” into its stepping matrix. The nanoscopic detail in ‘Gojo’ and ‘Orbit’ are comparable to the locked in modular patterns generated by Logos, but with the added spice of (almost) jazzy inflection, like a sped-up Jan Jelinek, and ‘Rapid’ teases out a slow/fast meter accentuated with saccade-like movements that induces the strangest sensation of motion sickness.
In Stock (Ready To Ship)
Boomkat Product Review:
Raster-Noton co-founder Frank Bretschneider continues a non-trivial pursuit of machine-displaced chronics with rigorously methodical yet playful results that benefit from a good set of speakers - one for fans of Alva Noto, Thomas Brinkmann, Ilpo Väisänen, Mark Fell, NHK.
‘Pounding’ is a wryly ironic title for this set of purposefully irregular grooves that find a virtue in the so-stiff-it’s-funky mode of German electronic music. Ever since Kraftwerk ditched the flutes and jacked into the boxes, German artists have specialised in evincing funk from circuitry. Coming from an East Germany known for prizing austerity, Bretschneider has spent the past 40 years making West Germany’s Kraftwerk look positively loosey goosey by comparison with his ascetic approach to rhythm programming and synthesis that would form the basis of Raster-Noton, who would issue his definitive statement of style and pattern with ‘Rhythm’ in 2007. In theme and effect ‘Pounding’ sums up the results of his conceptual thrust decades down the line: 11 tracks of puristic electricity arranged with wonky synchronicity and inflected by his own vocals that riddle the funk to absorbingly trippy degrees.
Daring to fuck with what is “often regarded as an unquestionable dogma in club music”, the august experimental artist draws on fine-tuned machine music intuitions , particularly a prevailing fascination with modular synths, and the idea of dub as method, for an intricately knit sequence of events marked by their sense of volatile instability within the grid. On the squirrelly wriggle of ‘Evening News’ we hear him working adjacent to SND or NHK’s decimated 2-step, and ‘Here We Go’ calls to mind the offbeat pulses of Thomas Brinkmann, whilst the likes of ‘Transit’ and the loping ’Supermoon’ most explicitly speak to his slant on dub with effects that “listen to themselves disintegrate” into its stepping matrix. The nanoscopic detail in ‘Gojo’ and ‘Orbit’ are comparable to the locked in modular patterns generated by Logos, but with the added spice of (almost) jazzy inflection, like a sped-up Jan Jelinek, and ‘Rapid’ teases out a slow/fast meter accentuated with saccade-like movements that induces the strangest sensation of motion sickness.
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Boomkat Product Review:
Raster-Noton co-founder Frank Bretschneider continues a non-trivial pursuit of machine-displaced chronics with rigorously methodical yet playful results that benefit from a good set of speakers - one for fans of Alva Noto, Thomas Brinkmann, Ilpo Väisänen, Mark Fell, NHK.
‘Pounding’ is a wryly ironic title for this set of purposefully irregular grooves that find a virtue in the so-stiff-it’s-funky mode of German electronic music. Ever since Kraftwerk ditched the flutes and jacked into the boxes, German artists have specialised in evincing funk from circuitry. Coming from an East Germany known for prizing austerity, Bretschneider has spent the past 40 years making West Germany’s Kraftwerk look positively loosey goosey by comparison with his ascetic approach to rhythm programming and synthesis that would form the basis of Raster-Noton, who would issue his definitive statement of style and pattern with ‘Rhythm’ in 2007. In theme and effect ‘Pounding’ sums up the results of his conceptual thrust decades down the line: 11 tracks of puristic electricity arranged with wonky synchronicity and inflected by his own vocals that riddle the funk to absorbingly trippy degrees.
Daring to fuck with what is “often regarded as an unquestionable dogma in club music”, the august experimental artist draws on fine-tuned machine music intuitions , particularly a prevailing fascination with modular synths, and the idea of dub as method, for an intricately knit sequence of events marked by their sense of volatile instability within the grid. On the squirrelly wriggle of ‘Evening News’ we hear him working adjacent to SND or NHK’s decimated 2-step, and ‘Here We Go’ calls to mind the offbeat pulses of Thomas Brinkmann, whilst the likes of ‘Transit’ and the loping ’Supermoon’ most explicitly speak to his slant on dub with effects that “listen to themselves disintegrate” into its stepping matrix. The nanoscopic detail in ‘Gojo’ and ‘Orbit’ are comparable to the locked in modular patterns generated by Logos, but with the added spice of (almost) jazzy inflection, like a sped-up Jan Jelinek, and ‘Rapid’ teases out a slow/fast meter accentuated with saccade-like movements that induces the strangest sensation of motion sickness.
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