"Med 'Black Box Music' har den innovative komponist, Simon Steen-Andersen (f. 1976), skabt et enestående og radikalt anderledes værk. Black Box Music er knivskarp partiturmusik, som både indeholder en ustyrlig craziness og er humoristisk, legende og hardcore instrumentstøjende. Simon Steen-Andersen leger virtuost i et krydsfelt mellem komposition, installationskunst, elektronik og performance.
"'Shanzhai', the opening track of Fatima Al Qadiri's debut albumAsiatisch, takes its title from a Chinese term used to describe counterfeit Western goods. Literally it translates to "mountain village", evoking both the outlaw nature of the industry and the crudeness of its reproductions - copyright-evading spoonerisms of sportswear brands and fast food chains. While such knock-offs are commonplace, there is perhaps more craft and sophistication to some imitations than that definition grants.
"The relative warmth and light here gives the music a nostalgic cast, which was at the heart of what made Endless Summer so memorable, but Bécs also possesses an added layer that doesn’t necessarily work in its favor. Fennesz once illuminated the beauty of a digitally scrambled memory, but Bécs is a memory of a digitally scrambled memory. So while there’s something appealingly meta about returning to a sound that was so suggestive of experimental electronic music 13 years ago, there’s also just the slightest hint of surrender in the proposition.
The Notwist’s ’Close To The Glass’ is yet another courageous leap into the sky of songs. It is a catchy and unpredictable marriage of playing your heart out on an instrument and the magnetic pulse of precise programming. While the band always creates music ripe with authenticity and mood, we find them now defining their edges with no shortage of bravery or beat. As romantic as it is robotic, ’Close To The Glass’ is a bottomless collage: part pop song, part science, part band, part story telling and all Notwist.
The title track starts in the most Burial way possible, with ominous buzzing sounds, vinyl crackles and misplaced rave-era vocals that could have fit snugly onto his 2007 album ‘Untrue’. That’s as far as the stereotypes go, though: the beat that eventually kicks in is miles away from the woodblock shuffle now expected of Burial, and instead deploys the Soul Searchers’ classic ‘Ashley’s Roachclip’ break at breakneck speed. Shifting up a beat is transformative, and what comes next blows any Burial clichés away.
Nils Frahm straddles a few musical worlds. The Berlin artist has released star-gazing synth epics ("For"), intimate solo piano pieces (Screws) and plenty in between, and he does it all pretty well. His live show lays bare the sheer scope of his work: he's usually got at least three pianos, plus an array of synths and other gadgets. These performances often show the true breadth of his talent in a way his individual records can't. Spaces is here to fix that problem.
'It was an unstable period. Mercury is the barometer. Songs of innocence and experience, death and rebirth. The grey matter in between duality and the duality of grey matter. Christmas, changeling, nostalgia, time machines, stigmata'.
Miracle's debut album is a collaboration between two artists with a rich history in music you wouldn't immediately associate with Mercury.