Monolake
VLSI
Boomkat Product Review:
Robert Henke a.k.a. Monolake continues his pursuit of a dystopian techno muse deep into the machine with VLSI, his archaeological excavation of early digital sampling and synthesiser technology, aided and abetted by co-production from Electric Indigo and mixed by Mark Ernestus and Herr Henke.
Preceded by a series of semi-cryptic singles which hinted at the concept behind VSLI - an acronym for Very Large Scale Integration; the process of integrating thousands of transistors on a single chip - both in their circuit-board artwork and sheer digital patina, his first album in four years forms the mothership, or should we say motherboard, proper for a meticulous study in the characteristics and context of digital music production, and, by extension, the influence of high tech Silicon Valley companies over government, society, art.
In a fine bind of concept and proof, that influence manifests itself metaphorically in the album’s unquestionably dark, nervy tone and literally in its liner notes, which look to this turning point of technological advance in the late ‘70s and early ‘80s as the square root of early techno, its component parts and its semiotic relatives, “UK breakbeat and dubstep, african dance rhythms, future glitch, ambient and a lot of amazing academic computer music”.
The results, produced between 2014-2016 subsequent to his artistic residency at CCRMA, Stanford, CA in 2013, could be said to counter the early, new age inspired optimism of digital music production for the most part, using a palette of sci-fi noir cinematic tones that signify Hollywood and California’s integral relationship with futuristic technology, as implied in the scores of Bladerunner and T2, for example.
However there are moments of more romantic redemption in the likes of Unit, and we’d always consider a sense of optimism to any rhythm based music, so its inimitably sleek yet jabbing Linndrum grooves work to correct the balance from that out-and-out Berlin scowl “darkness” that takes itself a bit too seriously.
There’s no huge surprises, but do expect a subtle refinement of Monolake’s signature atmospheres and whirring rhythmechanics.
View more
Boomkat Product Review:
Robert Henke a.k.a. Monolake continues his pursuit of a dystopian techno muse deep into the machine with VLSI, his archaeological excavation of early digital sampling and synthesiser technology, aided and abetted by co-production from Electric Indigo and mixed by Mark Ernestus and Herr Henke.
Preceded by a series of semi-cryptic singles which hinted at the concept behind VSLI - an acronym for Very Large Scale Integration; the process of integrating thousands of transistors on a single chip - both in their circuit-board artwork and sheer digital patina, his first album in four years forms the mothership, or should we say motherboard, proper for a meticulous study in the characteristics and context of digital music production, and, by extension, the influence of high tech Silicon Valley companies over government, society, art.
In a fine bind of concept and proof, that influence manifests itself metaphorically in the album’s unquestionably dark, nervy tone and literally in its liner notes, which look to this turning point of technological advance in the late ‘70s and early ‘80s as the square root of early techno, its component parts and its semiotic relatives, “UK breakbeat and dubstep, african dance rhythms, future glitch, ambient and a lot of amazing academic computer music”.
The results, produced between 2014-2016 subsequent to his artistic residency at CCRMA, Stanford, CA in 2013, could be said to counter the early, new age inspired optimism of digital music production for the most part, using a palette of sci-fi noir cinematic tones that signify Hollywood and California’s integral relationship with futuristic technology, as implied in the scores of Bladerunner and T2, for example.
However there are moments of more romantic redemption in the likes of Unit, and we’d always consider a sense of optimism to any rhythm based music, so its inimitably sleek yet jabbing Linndrum grooves work to correct the balance from that out-and-out Berlin scowl “darkness” that takes itself a bit too seriously.
There’s no huge surprises, but do expect a subtle refinement of Monolake’s signature atmospheres and whirring rhythmechanics.
Boomkat Product Review:
Robert Henke a.k.a. Monolake continues his pursuit of a dystopian techno muse deep into the machine with VLSI, his archaeological excavation of early digital sampling and synthesiser technology, aided and abetted by co-production from Electric Indigo and mixed by Mark Ernestus and Herr Henke.
Preceded by a series of semi-cryptic singles which hinted at the concept behind VSLI - an acronym for Very Large Scale Integration; the process of integrating thousands of transistors on a single chip - both in their circuit-board artwork and sheer digital patina, his first album in four years forms the mothership, or should we say motherboard, proper for a meticulous study in the characteristics and context of digital music production, and, by extension, the influence of high tech Silicon Valley companies over government, society, art.
In a fine bind of concept and proof, that influence manifests itself metaphorically in the album’s unquestionably dark, nervy tone and literally in its liner notes, which look to this turning point of technological advance in the late ‘70s and early ‘80s as the square root of early techno, its component parts and its semiotic relatives, “UK breakbeat and dubstep, african dance rhythms, future glitch, ambient and a lot of amazing academic computer music”.
The results, produced between 2014-2016 subsequent to his artistic residency at CCRMA, Stanford, CA in 2013, could be said to counter the early, new age inspired optimism of digital music production for the most part, using a palette of sci-fi noir cinematic tones that signify Hollywood and California’s integral relationship with futuristic technology, as implied in the scores of Bladerunner and T2, for example.
However there are moments of more romantic redemption in the likes of Unit, and we’d always consider a sense of optimism to any rhythm based music, so its inimitably sleek yet jabbing Linndrum grooves work to correct the balance from that out-and-out Berlin scowl “darkness” that takes itself a bit too seriously.
There’s no huge surprises, but do expect a subtle refinement of Monolake’s signature atmospheres and whirring rhythmechanics.
Boomkat Product Review:
Robert Henke a.k.a. Monolake continues his pursuit of a dystopian techno muse deep into the machine with VLSI, his archaeological excavation of early digital sampling and synthesiser technology, aided and abetted by co-production from Electric Indigo and mixed by Mark Ernestus and Herr Henke.
Preceded by a series of semi-cryptic singles which hinted at the concept behind VSLI - an acronym for Very Large Scale Integration; the process of integrating thousands of transistors on a single chip - both in their circuit-board artwork and sheer digital patina, his first album in four years forms the mothership, or should we say motherboard, proper for a meticulous study in the characteristics and context of digital music production, and, by extension, the influence of high tech Silicon Valley companies over government, society, art.
In a fine bind of concept and proof, that influence manifests itself metaphorically in the album’s unquestionably dark, nervy tone and literally in its liner notes, which look to this turning point of technological advance in the late ‘70s and early ‘80s as the square root of early techno, its component parts and its semiotic relatives, “UK breakbeat and dubstep, african dance rhythms, future glitch, ambient and a lot of amazing academic computer music”.
The results, produced between 2014-2016 subsequent to his artistic residency at CCRMA, Stanford, CA in 2013, could be said to counter the early, new age inspired optimism of digital music production for the most part, using a palette of sci-fi noir cinematic tones that signify Hollywood and California’s integral relationship with futuristic technology, as implied in the scores of Bladerunner and T2, for example.
However there are moments of more romantic redemption in the likes of Unit, and we’d always consider a sense of optimism to any rhythm based music, so its inimitably sleek yet jabbing Linndrum grooves work to correct the balance from that out-and-out Berlin scowl “darkness” that takes itself a bit too seriously.
There’s no huge surprises, but do expect a subtle refinement of Monolake’s signature atmospheres and whirring rhythmechanics.
Spotgloss-printed digicase - Back in Stock
Out of Stock
Boomkat Product Review:
Robert Henke a.k.a. Monolake continues his pursuit of a dystopian techno muse deep into the machine with VLSI, his archaeological excavation of early digital sampling and synthesiser technology, aided and abetted by co-production from Electric Indigo and mixed by Mark Ernestus and Herr Henke.
Preceded by a series of semi-cryptic singles which hinted at the concept behind VSLI - an acronym for Very Large Scale Integration; the process of integrating thousands of transistors on a single chip - both in their circuit-board artwork and sheer digital patina, his first album in four years forms the mothership, or should we say motherboard, proper for a meticulous study in the characteristics and context of digital music production, and, by extension, the influence of high tech Silicon Valley companies over government, society, art.
In a fine bind of concept and proof, that influence manifests itself metaphorically in the album’s unquestionably dark, nervy tone and literally in its liner notes, which look to this turning point of technological advance in the late ‘70s and early ‘80s as the square root of early techno, its component parts and its semiotic relatives, “UK breakbeat and dubstep, african dance rhythms, future glitch, ambient and a lot of amazing academic computer music”.
The results, produced between 2014-2016 subsequent to his artistic residency at CCRMA, Stanford, CA in 2013, could be said to counter the early, new age inspired optimism of digital music production for the most part, using a palette of sci-fi noir cinematic tones that signify Hollywood and California’s integral relationship with futuristic technology, as implied in the scores of Bladerunner and T2, for example.
However there are moments of more romantic redemption in the likes of Unit, and we’d always consider a sense of optimism to any rhythm based music, so its inimitably sleek yet jabbing Linndrum grooves work to correct the balance from that out-and-out Berlin scowl “darkness” that takes itself a bit too seriously.
There’s no huge surprises, but do expect a subtle refinement of Monolake’s signature atmospheres and whirring rhythmechanics.
More from Monolake:
-
FREE MP3 WITH VINYLMonolake Hongkong Field Records Electronic- 2LP (Black Vinyl)
-
FREE MP3 WITH VINYLMonolake Studio imbalance computer music Electronic
- MP3
- FLAC
- WAV
- 2LP (Black Vinyl)
- CD
-
Monolake Gobi. The Vinyl Edit 2021 Astral Industries Modern Classical / Ambient
- LP (Black Vinyl)
-
Monolake Archaeopteryx imbalance computer music Electronic
- MP3
- FLAC
- WAV
-
Monolake Gobi (The Long Edit 2020) Imbalance Basic Channel / Dub Techno
- MP3
- FLAC
- WAV
More from monolake / imbalance computer music [ml/i]:
-
Monolake P A N monolake / imbalance computer music [ml/i] Techno / House
- 12"
-
Monolake Alaska Melting monolake / imbalance computer music [ml/i] Electronic
- MP3
- FLAC
- WAV
-
Monolake Polygon_Cities monolake / imbalance computer music [ml/i] Techno / House
- MP3
- FLAC
-
Monolake Momentum imbalance computer music / monolake / imbalance computer music [ml/i] Basic Channel / Dub Techno
- MP3
- FLAC
People who bought this also bought:
-
Koenraad Ecker Sleepwalkers In A Cold Circus Line Electronic
- MP3
- FLAC
- CD
-
Asmus Tietchens Soirée Line Electronic
- MP3
- FLAC
- CD
-
FREE MP3 WITH VINYLloscil / Lawrence English Colours of Air Kranky Electronic
- MP3
- FLAC
- WAV
- LP (Black Vinyl)
- CD
-
FREE MP3 WITH VINYLTolerance Anonym Mesh-Key Records Electronic
- MP3
- FLAC
- WAV
- LP (Black Vinyl)
-
FREE MP3 WITH VINYLRat Heart Northern Luv Songs / Pamela Peanut (Double Album Special Edition) Shotta Tapes Electronic
- 2 x Cassette Box
-
FREE MP3 WITH VINYLKoichi Shimizu Imprint Smalltown Supersound Electronic
- LP (Black Vinyl)
-
FREE MP3 WITH VINYLNsi. A Day Or Two NAKID Electronic
- MP3
- FLAC
- WAV
- 2LP (Black Vinyl)
-
FREE MP3 WITH VINYLMichael J. Blood Archetypal Artefacts Vol 3 BLOOD Electronic
- Cassette
-
FREE MP3 WITH VINYLHTRK Lilac N&J Blueberries / Ghostly International Electronic
- MP3
- FLAC
- WAV
-
Broadcast Spell Blanket - Collected Demos 2006 - 2009 Warp Records Electronic
- MP3
- FLAC
- WAV
- 2LP (Black Vinyl)
- CD