Review: The multi-instrumental production methods of Burnt Friedman have long beguiled listeners, and here he returns with another full-length that prizes metallic percussion above all else. Weaving said sound sources into intricate designs, the warm glow of his organic methods create wonderful concoctions that grab you immediately, despite the somewhat avant-garde approach. When the broken beats are firing off of prepared steel drums, gongs and rubber bands, the results are always going to be interesting, but nothing prepares you for just how soothing this angular music is. It's a detailed picture he paints, but there's no need to stare too closely in order to enjoy Friedman's creation.
The Pestle (feat Takeshi Nishimoto) - (4:22) 60 BPM
Sorcier - (5:31) 68 BPM
Nerfs D'acier - (3:21) 67 BPM
Intrication - (3:30) 67 BPM
Secret Route - (0:54) 73 BPM
Near Life - (3:21) 80 BPM
Acroagnosis - (3:45) 71 BPM
Languish - (3:11) 91 BPM
Grace (feat Joseph Suchy) - (4:17) 85 BPM
Wentletrap (feat Hayden Chisholm) - (2:39) 91 BPM
Knick - (3:15) 68 BPM
Monsun - (6:24) 93 BPM
Ochlott - (3:29) 66 BPM
Day In Rho - (3:11) 100 BPM
Sayonara (feat Roy Steinbrecher) - (2:24) 97 BPM
Review: Much like the works of contemporaries Moritz Von Oswald and Mark Ernestus, Burt Friedman's work has been a pillar of the modern German electronic sound. Forever exploring the lines between outernational music and more rigid hardware structures, the artist has always remained true to his vision. First coming through with sparse, explorative rhythms back in the late 80s, he has racked up an incredible amount of releases by now, many of them through his own Nonplace imprint. This new anthology is the first official compilation of his most defining work, and comes as an absolute breath-taker given the vastness of the catalogue. Spanning the best of his works between 1980 and 2017, the comp gives us a vivid image of his steady progression as a sound engineer, constantly dipping and diving between tribal percussions, technoid ballads and dub-filtered downtempo. If you've come here looking for the truth, then this release should come before anything else. Unmissable and highly recommended.
Review: 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!
Review: Burnt Friedman and Oke Goettlich's Nonplace is back with some tribal percussion workouts courtesy of Cologne based Drums Off Chaos that's comprised of Friedman's touring bassist Maf Retter, Manos Tsangaris, Olek Gelba and Reiner Linke. Jaki Liebezeit of the legendary Can was a member also, until his death in early 2017. The group collaborated with local musician Jes Uwe Beyer for an album on Barnt's Magazine imprint in 2011. There's been a strong scene for polyrhythmic music in the city of Cologne and fans of Stefan Schwander, The Durian Brothers or Harmonious Thelonious will certainly find the entrancing rhythms on offer here quite interesting.
Review: Last year, Burnt Friedmann and Uwe Schmidt reunited as Flanger for the first time in a decade, releasing the IDM-meets-future jazz full-length Lollopy Dripper. Here the experimental electronica veterans are at it again, delivering three more eccentric chunks of body-popping electronic jazz-fusion. They begin with the spacey throb of "Spinner", where broken computer noises and glitch electronics ride an undulating, off-kilter drum machine groove. "It From Bit" retains the attractive glitches of its' predecessor, blending them with an up-tempo, dub-influenced techno rhythm. Finally, they let their jazz influences run free on the computerized broken beat-meets-IDM-in-dub fizz of "Loose Joints".
Review: 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.
Review: 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.
Review: Friedman and Liebezeit are back with the fifth instalment of the Secret Rhythms series. It's all about gnarly percussion and sultry, ethnic harmonics with this pair, and "240-11" is one of those wacky drum arrangements that only these two can conjure. The same goes for the rest of the LP: "130-11" breaks its drum pattern entirely to create a jittery, heads-down number; "105-09" goes on a sort of middle-eastern hip-hop flex with its rattling percussion and mystical acoustics; whilst "120-12" certainly pays homage to the dub school at which these two have certainly studied and passed with flying colours. Another essential release from these two great minds - avoid at your peril...