Staring at a surface from afar brings about the illusion of smoothness, but take a few steps closer and contours arise; peer even nearer, and you'll tease out the true interwoven textures of the material itself.
Such is the nature of the 11 pieces that make up minimalist techno producer Thomas Brinkmann's latest album. Concentration and a keen pair of ears are required to suss out the intricate structures of these "self perpetuating rhythms," as Brinkmann's label Editions Mego describes them. The term "rhythms" is slightly questionable as well, if taken at face value — only the machinery-evoking "Perinon" carries what might traditionally be called a rhythmic cadence, with its cadre of presses and stamping machines circling on themselves persistently. Elsewhere, the proceedings are more drone-like, such as on the noisy, static-charged "Kadmiumgelb" or the crystalline "Indigoblau."
Each piece, if not probed and ruminated upon by the listener, will appear monolithic in nature, but through perspicacious listening, the molecular arrangement and the micro-rhythmic qualities of the music are revealed.
(Editions Mego)Such is the nature of the 11 pieces that make up minimalist techno producer Thomas Brinkmann's latest album. Concentration and a keen pair of ears are required to suss out the intricate structures of these "self perpetuating rhythms," as Brinkmann's label Editions Mego describes them. The term "rhythms" is slightly questionable as well, if taken at face value — only the machinery-evoking "Perinon" carries what might traditionally be called a rhythmic cadence, with its cadre of presses and stamping machines circling on themselves persistently. Elsewhere, the proceedings are more drone-like, such as on the noisy, static-charged "Kadmiumgelb" or the crystalline "Indigoblau."
Each piece, if not probed and ruminated upon by the listener, will appear monolithic in nature, but through perspicacious listening, the molecular arrangement and the micro-rhythmic qualities of the music are revealed.
