Arpanet "Inertial Frame"

Artist: Arpanet
Album: Inertial Frame
Label: Record Makers
Release date: 20 November 2006
Genre: Electronic
Style: Experimental Techno/Abstract
RIYL: Dopplereffekt, Drexciya

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Tracklisting:
01. Universe Oscillation
02. Großvater Paradoxon
03. Axis Of Rotation
04. Infinite Density
05. Zero Volume
06. Twin Paradox
07. No Boundry Condition
08. Schwarzchild Radius
09. Event Horizon
10. Chandrasekhars Limit
11. Ergosphere
12. Lorentz Contraction
13. Gravitational Lense
Total running time: 47' 47"

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[Arpanet - Open MySpace Standalone Music Player]

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[Arpanet - No Boundry Condition - Max/MSP + Jitter experiment]

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[Arpanet - Infinite Density - Video Clip]

"As part of Drexciya and Dopplereffekt Gerald Donald can often be found in the catalogues of labels like International Deejay Gigolo, Warp and Tresor. In fact his track ‘Z-Bozon’, which he produced while hanging out with his Dopplereffekt Friends, is set to appear as the opening track of Gigolo boss DJ Hell’s upcoming mix CD “Misch Masch vol. 3”. But for this new album under his Arpanet guise, Donald returns to Air's Record Makers label for more scientific madness.

Taking the name Arpanet from the progenitor of today’s internet, it isn’t hard to guess that on his second album Donald once again looks at music more scientifically, not solely in the naming of tracks like ‘Event Horizon’ and the “Inertial Frame” album tile itself, but also in his choice of futuristic synths, computerized samples and spaced out pads.

Arpanet fans, that’s the artist not the Internet’s father, will possibly be confused, confronted and bewildered by the amount of vocal tracks on “Inertial Frame”. While it could be considered a stretch to call it singing, Donald intones lyrics on numerous occasions for example the reticent tunes ‘Zero Volume’ and ‘Twin Paradox’ as well as the only infinitesimally more verbose ‘Event Horizon’ and ‘Gravitational Lense’.

Recently Arpanet’s ‘NTT DoCoMo’ was picked up by Laurent Garnier for his half of the “Kings Of Techno” compilation. While there is plenty of well produced music on “Inertial Frame” there aren’t many that would be immediately picked up for “techno” mix CDs. ‘Axis Of Rotation’. ‘Infinite Density’ and ‘No Boundry Condition’ are obvious exceptions however and most pieces on the album leave a lot of room for other artists to interpret them as they like into dancefloor ready remixes. The chilling vocals of ‘Twim Paradox’, one of the albums highlights, would sound especially good pumping out speaker stacks over a banging four-four beat." [HigherFrequency]

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Gescom "A1-D1"

Artist: Gescom
Album: A1-D1
Label: Skam
Release date: 22 October 2007
Genre: Electronic
Style: Acid/Abstract/Techno/Experimental

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Tracklisting:
01. A1
02. A2
03. B1
04. C1
05. C2
06. D1
Total running time: 39' 27"

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"Beginning its activities in the early ‘nineties, the shadowy Gescom collective has released material on Clear, Leaf, Chocolate Industries, SKAM, Warp, Worm Interface, and Source labels.

Incorrectly perceived as simply an Autechre side-project, Gescom in fact exists as a platform for a number of aligned artists to work in various different combinations, whilst remaining-otherwise-anonymous. Personnel in Gescom has varied from release to release and even track track. Releases have included 'Minidisc' in 1998 on the Or label, which was reportedly the first ever Minidisc-only release. This comprised of 45 tracks sliced into 88 portions, and encouraging the listener to loop and shuffle at will.

Working members for the minidisc project were Russell Haswell, Sean Booth and Rob Brown. For its split series incarnation, Rob Brown was joined by SKAM DJ Rob Hall (aka Ad Vanz). Gescom continues to operate and shift its identities.

Early Gescom is probably best described as friends of Booth/Brown with production help by Booth/Brown, aka Autechre. Apart from that, the actual personnel seems to vary from release to release or even from track to track. Quote from the Autechre FAQ: "Actually the whole Gescom crew consists of almost 20 people. Sean Booth calls it an 'umbrella-project'."

But there are also a number of releases by a Gescom which is purely Booth/Brown. If it's on Skam they call themselves Gescom regardless of cooperation, it seems.

Gescom is an abbreviation of "Gestalt Communications"." [source]

"A1-D1" is a much more old school affair than anything Gescom have released before, with the opening "A1" employing the kind of fast-edit arrangements favoured by the likes of Secondo, particularly their earlier b-boy aping releases. There's a sample-heaviness here that will come as quite a surprise to ardent Gescom/Autechre followers among you, but play this track once or twice and it'll stay ingrained in your mind for weeks to come. A2 is a more analogue affair with a stripped acid template while B1 returns to sampled matter with a P-funk reduction that sounds like Autechre playing with their samplers - which is probably exactly what it is. C1 is another reduced funk edit with some smart tempo shifts while C2 is an abstract radio mashup in a concrete style while the massive D1 ends the set with an immense mashup of what sounds like Adonis' classic "No Way Back" fucked with good and proper. Sick business - lets hope we don't have to wait another four years eh?" [source]

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Tied & Tickled Trio "Aelita"

Artist: Tied & Tickled Trio
Album: Aelita
Label: Morr
Release date: 1 June 2007
Genre: Electronic
Style: Abstract/Ambient/Dub/Experimental

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Tracklisting:
01. Aelita 1
02. You Said Tomorrow Yesterday
03. Tamaghis
04. Aelita 2
05. A Rocket Debris Cloud Drifts
06. Chlebnikov
07. Other Voices Other Rooms
08. Aelita 3
Total running time: 43' 58"

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"Aelita announces a surprising change in direction for German group Tied & Tickled Trio (Caspar Brandner, Andreas Gerth, Markus and Micha Acher, Carl Oesterhelt), though not necessarily an unappealing one. The quasi-jazz style that characterized past albums like Observing Systems is gone; in its place are through-composed instrumentals devoid of the individual expression that comes with soloing. The new album's eight pieces are evocative, oft-ponderous chamber settings that seem tailor-made for a somber Eastern European film (the title track is, in fact, an homage to the first Russian science fiction film while the suitably funereal “Chlebnikov” is named after the poet of the Russian avant-garde who died of starvation in the 1920s). Synthesizers, vibraphones, and melodicas now occupy the front line, dark electronic clouds clutter the sky, and brass instruments are nowhere heard.

“Aelita 1,” a melancholy, neo-classical tapestry dominated by xylophone and bass, initiates the album and returns in miniature form two more times. The album springs to life with “Tamaghis” whose pairing of vibes, organ, and dub rhythms recalls Burnt Friedman & the Nu Dub Players' 2000 ~scape release Just Landed. At times, it seems as if the tension wrought by stylistic change is audible. It sounds, for example, like the rhythm section, the drummer in particular, is vainly struggling to break free of the band's self-imposed compositional constrictions in “A Rocket Debris Cloud Drifts.” Regardless of one's feelings about the directional shift, there's no disputing the elegant, chamber-like beauty of “Aelita 3” even if there's not a solo tenor sax anywhere to be heard." [source]

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Legiac "Mings Feaner"

Artist: Legiac
Album: Mings Feaner
Label: Sending Orbs
Release date: 17 May 2007
Genre: Electronic
Style: Ambient Techno/Abstract/Experimental

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Tracklisting:
01. Coar Wacks
02. Actind
03. Dide Skin
04. Elvers
05. Faex Decimate
06. Emriz
07. Tretz Dizm
08. Hallux Abb
09. Jed Dalton
10. Pinch Era
11. Mings Feaner
12. Ibaxid
13. Vega Orbid
14. Upher
15. Span Feaner
16. Opaque
Total running time: 70' 18"

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[Legiac - Open MySpace Standalone Music Player]

"Sending Orbs still has yet to cease continually redesigning the complex device that is the classic electronic album. The Funcken brothers and Cor Bolten have come together to fasten and weld together the bits and pieces that make-up Mings Feaner, a mass of organic ambient and crunchy tinkered IDM fused into a bio-mechanical contraption able to ineptly send one through time and space from futuristic abstract moonscapes (“Dide Skin”) to flourishing exotic alien jungles (“Tretz Dizm”) and everywhere in-between. Upbeat rhythms, zig-zaging beats, various morphing lifeforms sailing on soaring waves lying behind every twist and turn wash over one’s cerebral construct again and again to induce such a broad variety of original environments you rarely experience on this astral plane nowadays. You don’t need a degree in trans-dimensional engineering to fully understand and appreciate this future classic but it helps." [source]

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Jodi Cave "For Myria"

Artist: Jodi Cave
Album: For Myria
Label: 12k
Release date: 25 June 2007
Genre: Electronic
Style: Ambient/Abstract/Experimental

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Tracklisting:
01. For Myria (One)
02. Rara.A
03. Rara.B
04. Untitled
05. For Myria (Two)
06. Rara.C
07. For Sine And Breath Tones
Total running time: 38' 10"

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[12k - Open MySpace Standalone Music Player]

"Yet another talent lifted from last year’s excellent “Blueprints” showcase CD issued by American minimalist supremos, 12k. Jodi Cave is the latest in a growing line of composers to get a full length debut for the label from that collection. The enigmatically titled, “For Myria”, is a kind of scratch pad of loosely related ideas assembled by Cave from an economy of components and limited instrumentation. Opening with For Myria (One), that seeps into consciousness with lush, dappled sampling, threaded with evanescent tones and tinklings, it comes over as a kind of aural Jackson Pollock painting, splashed and spattered as it is, with a spectrum of found sounds and disjointed instruments, not unlike some of the more expansive moments exhibited by label mate, Sebastien Roux.

In fact, on repeated listens, it becomes apparent that the whole album has that textbook 12k sound, with occasional similarities to several of the artists on the label. Delicate melodic sweeps emerge on some pieces, that are not dis-similar to Motion or Fourcolour, skippy sampling a la Sogar, or Sawako, and bleepy tonal washes here and there very much akin to Annti Rannisto, or Minamo. It would be almost impossible to imagine this collection being issued by any other label, such is the strength of its presence.

High points for me would be the three “Rara” pieces, A, B and C, an intricately worked series of “barely there” melodies that hover just below the itchy, visceral samplings that sound like gently clinking wine glasses, or a contact mic rasping over silk. Label master, Taylor Deupree adds his characteristic touch to Rara.C, but does not overwhelm the piece with his presence. Closing track “For Sine and Breath Tones” is a rich tonal workout, an exercise in compositional restraint that trades momentary silences for slices of sublime minimalist instrumentation, and warm, expansive chords on the keyboards, that over 7 minutes, gradually swells and closes with a delicate, glitchy skrim of found sound. It might be presumptuous of me to suggest that this collection was created by Mr. Cave specifically with 12k in mind, or maybe he has simply discovered a niche that suits the label’s general remit. More encouragingly though, tracks like “Untitled” or “For Sine and Breath Tones” would suggest that Cave also has the imagination and maturity to explore, exploit, and experiment with a slightly wider pallette, and this I look forward to very much on subsequent releases.

Once again, we are treated to a fine debut from a promising artist, who has produced a mature, and engaging slice of near-minimalism that for the most part connects at the right level, and further secures 12k as one of the most prominent and ground breaking minimalist labels in the world at this time." [source]

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Dopplereffekt "Calabi Yau Space"

Artist: Dopplereffekt
Album: Calabi Yau Space
Label: Rephlex
Release date: 11 June 2007
Genre: Electronic
Style: Abstract/Ambient/Experimental

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Tracklisting:
01. Calabi Yau Manifold
02. Hyperelliptic Surfaces
03. Holomorpic N-0 Form
04. Compactification
05. Mirror Symmetry
06. Non Vanishing Harmonic Spinor
07. Hypersurface
08. Dimension 11
Total running time: 37' 09"

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"Dopplereffekt are one of the more mysterious units of the contemporary electronic music scene. There are no interviews and hardly any live appearances. The composers hide behind strange German pseudonyms whereas the song titles and lyrics are in English and make up a strange mixture of scientific, sexually explicit and political allusions. Dopplereffekt's music is also highly eclectic and unusual. Even if at first sight the forefathers Kraftwerk seem to be more than present, Dopplereffekt have developed their very own and highly influential sound aesthetic.

Dopplereffekt are originally from Detroit though some believe them to be now based in Europe. Critics claim their electro-style resembles that of Drexciya and that they were indeed early members of that now legendary outfit. This album is a perfect sequel to ‘Linear Accelerator’, their last album released on International DeeJay Gigolo in 2003 and accompanies this year’s classic retrospective ‘Gesamtkunstwerk’ from Clone. Musically, it follows a more ambient/soundscape/experimental/electronic course akin to the Der Zyklus ‘Biometry’ project or even Rephlex’s ‘Quantum Transposition’ produced by Arpanet in late 2005. Arpanet’s ‘Inertial Frame’ album on Record Makers, from the same stable, was among the very best albums of last year. Though some find this album more specialist, it is just as engaging and combines the science of sound with other fields of physics. After a few listens, you'll notice some similar musical themes running through various tracks. A lot of thought has gone into this album and it will generate even more, given the chance. The album also features exclusive artwork under license from CERN, the world’s largest particle physics laboratory.

Calabi-Yau spaces are important in string theory, where one model posits the geometry of the universe to consist of a ten-dimensional space of the form. Although the main application of Calabi-Yau spaces is in theoretical physics, they are also interesting from a purely mathematical standpoint. Consequently, they go by slightly different names, depending mostly on context, such as Calabi-Yau manifolds or Calabi-Yau varieties.

Although the definition can be generalized to any dimension, they are usually considered to have three complex dimensions. Since their complex structure may vary, it is convenient to think of them as having six real dimensions and a fixed smooth structure.

If you are only excited by familiar things or fanatical about contemporary indie/rock then maybe this isn’t your bag. If you like the challenge of the new and are intrigued by possibilities and the unknown, we urge you to investigate this album. After all, a great melody or rhythm or harmony begins with sound itself and it is on this level that Dopplereffekt is concentrating. ’Techno’ in the sense that the term was originally intended." [source]

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