Sub Rosa 1996. SR110
This is the third and final compilation released in tribute to the late French philosopher Gilles Deleuze. The first is here, and the second, which is a companion to this one, is here. Essentially this album is a remix of Folds and Rhizomes; the various artists have swapped tapes and reworked each others contributions. It’s a pretty successful project – after all the contributors mostly represent the cream of 90s electronica. As usual, I reckon Mouse On Mars is the highlight, both the Scanner remix of Subnubus and their remix of the fourth track which seems to include everyone.
This is mostly minimal electronica. If you want to know more, the links above give a more detailed description of what to expect.
Monkeytown Records 2012. MTRRSD2012
I went a bit mad at record store day last year, so here’s another of my purchases. This is an exclusive track from Mouse On Mars, presumably an out-take from their excellent Parastrophics album. MOM have been around for a long time, but maintain an experimental, edgy feel to their electronica. I saw them play Llubljana a couple of years back and it was impressive how funky two geeks behind a load of electronic equipment managed to be.
Slack as always I’ve only just noticed the B side isn’t by MOM – it’s labelmates Prefuse 73 who I know absolutely nothing about. It means the file is tagged wrong – you’ll have to correct it yourself if it bothers you.
If you want more, the new album I mentioned above is worth a punt. Buy it direct from the band and cut out the tax dodging middlemen.
Sub Rosa 1995. SR99
The second of three tributes I have to the French philosopher Gilles Deleuze from the electronic music community (The first is here). This one is slightly different as it was put together while he was alive as a present, but Deleuze committed suicide before the release. The label, Sub Rosa feels a similar sense of affinity with Deleuze as Mille Plateaux, and the artists they present are similar: only Main and David Shea don’t appear on the Mille Plateaux tribute.
The title of the album refers to a philosophical concept Deleuze developed which fits well with the music presented. It deals with the idea of culture being a complex web of inter-relationships rather than a hierarchical structure. This makes it resilient because breaking or damaging parts of it has no impact because there are other connections linking the same places, but it also rejects the idea that you can trace culture back to a “root”.
Other than that, I can only repeat what I said last time – the music is from the intellectual end of 90s electronica, and is essential listening if you’re into that kind of thing. All the tracks here are exclusives.
Virgin Ambient 1996. AMBT14
The second and final volume in the Macro Dub Infection series, again compiled by Kevin Martin.
For the general idea behind this compilation, have a look at Volume 1.
This is slightly less successful than volume 1, but still has enough great material to make it essential listening, that is, if you’re into this kind of thing. For me the most bizarre track is the last, which brings together “Bonnie “Prince” Billy and Ice (yet another Kevin Martin alias) to make an incredible futuristic dub version of a Will Oldham classic. Other stand-outs are the ever reliable Mouse on Mars, Rhys Chatham and, unsurpsingly, Martin’s own Techno Animal.
Mille Plateaux 1996. MP CD 22
This is the best of three of compilation albums I have which were issued in tribute to the French philosopher Gilles Deleuze after his suicide in 1995. All of them are dark electronica, this one being issued by the Mille Plateaux label. I’m not entirely convinced that the link between Deleuze’s work and the music here really works for the listener, but since the label was named after one of Deleuze’s books, whether I can see the connection or not, it’s certainly there. The artists represented are very much from the intellectual end of electronica (and elsewhere). Scanner, aka Robin Rimbaud for example writes regularly for The Wire in which most of the artists figured prominently throughout the 1990s. To what extent they’re directly influenced by Deleuze isn’t clear,
That this was an important project for Mille Plateux is obvious. There are no out-takes, poor quality remixes or tracks lifted out of context from albums. Everything here is exclusive and hangs together remarkably well, despite the contrast between the full on aural assault of, say, Steel and the more ambient character of much of the rest. Looking down the tracklist it’s a veritable who’s who of everyone who was worth listening to in the world of electronica in the 1990s. If you’re into this kind of stuff, it’s essential listening.
This is a double CD, but the break between the discs is of no significance, so I’ve ripped it as though it was a single, very long disc.
1. Gilles Deleuze – Gilles Deleuze
2. Happy Deterritorializations – Wehowsky/Wollscheid
3. On the Edge of a Grain of Sand- :Zoviet*France:
4. Bon Voyage – Alec Empire
5. Gigantic Tautological Machinery – Cristian Vogel
6. Indirection/Comtinuum – Christophe Charles
7. Abstract Miniatures in Memoriam Gilles Deleuze – Atom Heart
8. Heller – Gas
9. Intro-Spektiv – Chris & Cosey
10. Wunschmaschinenpark- J.Burger
11. Death Is the Begining – Steel
12. Can’t Be Still- Blue Byte
13. Starjammer – Trans Am
14. Intermodal – Rome
15. As In – Jim O’Rourke
16. You Are Here 0.9 B – Oval
17. 1001 – Mouse on Mars
18. Vital One – Ian Pooley
19 Patent – Bleed
20. Qeria for Gilles Deleuze – Tobias Hazan
21. Without End – Scanner
22. Invisual Ocean – DJ Spooky
23. Gradation d’Humor-Fetisch Park
24. Traobeik – Gilles Deleuze
25. And Line – Kerosene
26. Garator – El Turco Loco
27. Layered Layers- Beequeen