Burnt Friedman comes through with another slice of delicious Nonplace goodness! Friedman's music is singular to say the least, where dub techno is broken up and re-soldered into a nutty, Afrobeat-tech pastiche. If that sounds crazy, then you're probably right because "Skies Okay Blue", for example, is simply indescribable. Glitchy, hazy beats, echoing melodies and a super-funky bassline are at the helm. "Cycles" is also rather insane thanks to its shuffling percussion and oddball synths, while "Silberne Libelle", although mystical and no less odd than its counterparts, is the tamest of the lot. Another winner from Mr Friedman!
It's a brave producer - particularly one with such a long career behind him - who calls an album Cease To Matter. But then Burnt Friedman, active since the mid 1990s, isn't your average electronic musician. Happily, the album in question, his first with occasional collaborator Daniel Dodd Ellis, is one of his strongest in recent years. For the most part, it impressively fuses Dodd Ellis's Moodymann-ish spoken word vocals - some inspired by Aldous Huxley's LSD-inspired book Brave New World - to Friedman's unconventional, IDM-influenced dub rhythms and baked downtempo textures. The results are predictably spacious and otherworldly, with sublime piano motifs winding their way around dub basslines, sparse electronics and atmospheric vocals.
If you're looking for futuristic high-speed tribalism then Burnt Friedman's Nonplace imprint is the perfect place to start...and end! Over the last few years, the German maestro has almost single-handedly created a new subgenre, one that blends glitchy techno together with ritualistic drumming and very, very low frequencies - a winning combinations, basically! "Clock" is all broken drum steps surrounded by mild pads and slick vocals; there's a reprise mix, too, which scraps the beats and focusses on vocals and FX. Then there's a different version of "Clock", this time wonkier and more deranged in its melodic approach, and "Lovestruck Battlefield"...another stripped back piece of futuristic bass poetry. Killer.
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