Boomkat Product Review:
Can this really be a Matmos album? No concept, no sampling, no microphones? For once, Matmos have abandoned their designs on making electroacoustic music based on the timbres of a cow's reproductive organs, and for that matter house music in which the drums are made from the sounds of rhinoplasty. Instead, Supreme Ballon is derived exclusively from synthesis, whether that synthesis originates from the array of vintage instruments they've assembled (just about every object of desire of all analogue fetishists the world over) or more contemporary digital sources (check out the head-spinning Max/MSP patch diagrams in the booklet). You could never accuse Matmos' work as lacking in detail and invention and despite the duo venturing beyond their musique concrete and electroacoustic comfort zones, they manage to delver some pretty incredible, fresh sounds. Whether recording at the legendary INA/GRM studios at Radio France in Paris or calling upon the technological expertise of long-term consultants and collaborators Keith Fullerton Whitman and Jay Lesser, there's a dazzling breadth of sounds created on this unique record, which owes much to the great electronic instrument pioneers of the twentieth century, from Terry Riley to the key players in the krautrock movement. As ever, Matmos tackle their subject matter with a thoroughness and virtuosity that makes most electronica acts seem half-hearted. Highly recommended.