'BiP_HOp Generation [v.7]' CD compilation
Various Artists: 6 page digipack with 12 page booklet
BiP_HOp [Bleep 24] Buy
Here!
A collection of exclusive commissioned compositions. New design for the first
chapter of the second series.
Minimal moves for listening pleasures...
Track listing
1 TAYLOR DEUPREE (us), inhabits New-York and founded 12K records in 1997
: a center for minimal, digital music. In collaboration with Richard Chartier,
Deupree started the LINE sublabel to further question the ideas of minimalism.
Deupree has issued music on Sub Rosa, Mille Plateaux, 12K... www.12k.com
2 EMISOR (ar), After years performing in the underground arts world in
Buenos Aires, Leonardo Ramella started his Emisor project in 1998. He has released
5 albums since then... www.emisor.ws
3 FONICA (jp), Keiichi Sugimoto and Cheason live in Tokyo. Keiichi is
also a member of Minamo and runs the Cubic Music label. Cheason designs most
of the artwork for the plop label -- www.inpartmaint.com/plop/
4 FM3 (cn), a Beijing-based collective of computer and classical musicians,
fm3 focuses on digitally distilling ancient Chinese folk tradition into an organic,
meditative, minimalist soundscape -- www.fm3.com.cn
5 GHISLAIN POIRIER (ca), Montreal native Poirier released two critically-acclaimed
full-lengths on experimental labels 12K and Intr_version. Recently his work
appeared on Chocolate Industries.
6 JANEK SCHAEFER [uk] Janek trained as an architect at the Royal College
of Art, emerged as a sound artist and composer, and lives and works in London.
He has releases on FatCat, Hot Air, Staalplaat, Sirr, Sub Rosa and runs audiOh!
-- www.audiOh.com
Janek's track is called, Vasulka Vauban's 'A Day in the Good Life' [10:00]. Inspired by the 1974 short video ‘Reminescence’ by video pioneers Woody and Steina Vasulka. He collected and created sound in six different cities over six months and mixed them in a hotel room one winters day in west France, looking out over the town. A sound story of those happy times.
Running Time: 80mins
ALL MUSIC GUIDE [USA] (François Couture)
>
After a hiatus of over a year following the completion of the first series of
Bip-Hop Generation compilation CDs, the French label Bip-Hop embarked on a second
run of six albums. The new design is not as unifying or defining as the previous
one, but the modus operandi of compiler Philippe Petit remains unchanged. Vol.
7 allots between 10 and 15 minutes to six experimental electronica artists from
six different countries, balancing sure values with names previously unknown.
12k guru Taylor Deupree gets to open the set, but his three lukewarm pieces,
as decent they may be, are quickly overrun by the other
contributions. Emisor, aka the Argentinian electronician Leonardo Ramella, delivers
bouncy, quirky tunes like a warmer, sunnier incarnation of Bovine Life. The
Japanese duo Fonica blend guitar and electronics without sounding like Fennesz
(a rarity these days!). Their 12-minute „Scoot" could have been a
little bit shorter, but it still provides a highlight. So does Fm3's two tracks.
The pipa and the guzheng are two traditional Chinese string instruments, and
they seem to be featured in 'p.pa' and 'zheng'. although heavily processed.
There is a dreamy quality here once doesn't naturally associate with China.
Montreal's Ghislain Poirier contributes three sweet-and-sour tunes, similar
in style to Mitchell Akiyama's If Night is a Weed and Day Grows Less. 'La Danse
du Plaisir' uses a voice-over from a documentary on mating rituals to good effect,
although that will be lost on French-deaf listeners. Janek Schaefer closes the
proceedings with a 10-minute offering, 'Vasulka Vauban's A Day in the Good Life'.
a nebulous piece switching back and forth between murky analog-sounding drones
and dense digital multi-textures. If anything, the assured taste displayed by
Petit in previous installments of this collection ensures a quality compilation,
and this volume doesn't disappoint.
Vital [NL] (Frans de Ward)
>
After releasing six volume of 'Bip Hop Generation' it was time for a break.
A new design had to come in place and the label had to take
things quieter for a while. Now they are back with the seventh volume of the
series and with a fresh design. The series plays around with
the notion of new electronic music, that is rooted in techno, ambient and glitch.
One can find well-known names, here Taylor Deupree,
Ghislain Poirier or Janek Schaefer and some lesser knowns as Fonica or entirely
new ones such as Emisor or FM3 (there are always six
artists on each compilation). Taylor opens up with three pieces of Ovalesque
electronica that are along the lines of his recent collaboration with Christopher
Willits (see also last week's issue). Good pieces, of course I need to say.
Deupree is a master in what he does. Emisor is one Leonardo Ramella from Buenos
Aires, who sits more in the techno-glitch corner of music, but I can't say I
am too impressed by his work. Fonica are from Japan and play one long pieces
of current day glitch and ambient. Maybe sounds boring on paper, but
actually works out really fine.
Fm3 are a Chinese group around long term China resident Christiaan Virant. In
his group he combines cleverly traditional instruments with electronica, in
two very nice pieces of improvised acoustic and brooding electronics. Ghislain
Poirier's music is also not always convincing me, but the three cuts here are
sort of alright - although not brilliant. Janek Schaefer closes the compilation
with a very nice composition based on street sounds from six different cities.
Quite a nice example of soundscaping. A booklet with information is of course
still part of the deal, so this 'encyclopedia electronica' is growing again.
GONZO CIRCUS [Belgium]
>
De 'Bip Hop Generation Vol.7' is uit! Dat wordt weer smikkelen en smullen en
is zelfs beter dan zoute chips en Duvel. Eerst mogen we genieten van de digitale
microkosmos die Taylor Deupree uit zijn apparatuur tovert. Over hem lees je
meer in Gonzo 63. Ontdekking van deze compilatie is de Argentijn Emisor. Dansmuziek
voor anders bewegende mensen. Stotteren, flowen‚, pruttelen, Œgrooven‚,
chillen. Fonica bekt beter dan Keiichi Sugimoto. Hij heeft zijn diensten al
verleend aan Minamo een clubje dat mooie electro-akoestische cd‚s op het
palmares heeft. Zijn bijdrage waait wat te veel weg. Het is te veel ambient
en te weinig sculptuur. Tweede ontdekking is het Chinese project FM3 dat evenals
Kammerflimmer Kollektief het digitale koppelt aan klassieke muzikanten. Maar
FM3 klinkt puurder. Spanningsvelden van snaarinstrumenten, soundbits en schimmige
Oosterse accenten krijgen hun plaats binnen de geijkte punklengte van
een song, zijnde drie à vier minuten. Ghislain Poirier (lees meer in
Gonzo 62) laat zich na de leftfield hiphopuitstappen weer eens van zijn elektronische
zijde zien. Experimenteelste bijdrage komt van Janek Schaefer, een electro-akoestisch
hoorspel waarin hij weer zijn meesterschap bewijst.
STYLUS MAGAZINE [Canada] (Ron Schepper)
>
Another satisfying chapter in the French label‚s ongoing electronica series...
Following a prolonged absence, Phillippe Petit‚s Bip-Hop Generation project
returns with the first volume in a new series, the first collection having ended
at volume six. Given the break, one might have expected some significant change,
conceptual or otherwise, from the first series but in fact there‚s little
different save the more minimalistic packaging design. As in the past, six or
seven artists appear, a mixture of the familiar and the lesser-known, with each
allocated ten minutes, and the generous offerings topping out at just under
eighty minutes. This time around, Emisor, Fonica, Fm3, and Ghislain Poirier
are bookended by the more established Taylor Deupree and Janek Schaefer, but
all make credible contributions.
12k label head Taylor Deupree opens the set with three tracks, all in his customary
tactile, textural style. His music is typically labeled minimal but, at least
in this case, that seems both inaccurate and inadequate as the tracks exhibit
a perpetual restlessness and even (in 'Street/Light') aggressiveness. Certainly
the crackles bursting atop the blurry, wavering drone in the meditative 'Slow'suggest
that the microsound label is ill-applied here. Argentinean Emisor (Leonardo
Ramella) is up next and, of the six artists featured, his pieces are the most
conventionally structured. In all cases, fuzzy bass patterns establish a stable,
often lurching base while flurries of activity appear above, panning seething
wipes and descending percussive rolls in 'Querer Libera' and static stutter
and skitter in 'Bordando'. The next two contributors hail from Japan and China
respectively. Fonica (Kelichi Sugimoto and Cheason from Tokyo) contribute the
12k-like composition 'Scoot', a slow, meditative piece of icy tones, pinging
burbles, and ambient chords that builds in density and volume over the course
of its twelve minutes. By comparison, Fm3, a Beijing-based collective of computer
and classical musicians fronted by Christiaan Virant, integrates traditional
Chinese instruments into meditative soundscapes, and thereby creates music that‚s
more directly associative with its members‚ homeland. While the group's
two pieces represent its recording debut, they're also mysterious, portentous,
mystical, and unsettling - the strongest of the collection. In 'P.pa', moody
strums and extended Doppler tones emerge through a dense cloud as the sharp
plucks of a Chinese stringed instrument, perhaps a pipa, slice through the fog.
„Zheng‰ begins with the looped rhythm of crackle, the needle loudly
gouging into the vinyl surface, while a pipa moodily strums and plucked tones
count time metronomically. We visit Montreal next for three pieces from Ghislain
Poirier, known for album releases on 12k, Chocolate Industries, and intr_version.
His lovely 'Caresser un cercle' features melancholy organ melodies accompanied
by laconic hip-hop-inflected beats, while a male voice provides sensual French
recitation over an ambient collage of rain showers, rumbles, and animal croaks
in 'La danse du plaisir'.
Assembled from sounds collected in six cities over six months, 'Vasulka
Vauban's 'A Day in the Good Life' by Janek Schaefer ends the disc in fine fashion.
Beginning with a cacophony of vehicle and other assorted noises, the piece
momentarily quietens before building again until its industrial array of vinyl
crackle, storm sounds, and electrical wire drones segues into a uniform, surging
mass of ruffling clatter and thrum before ending with soft rumbles.
Aside from the packaging design, is there anything else that differentiates
volume seven from its predecessors? Not a lot, aside from the obvious stylistic
differences associated with the artists, although the latest installment does
tend to hew slightly more to a style of meditative minimalism whereas each in
the first series includes marked contrasts in artists‚ styles. Volume one,
for example, ranges between Marumari‚s melodic electropop, Goem‚s
minimal drones, and Phonem‚s distinctive beat patterns. In light of that
precedent, more contrast could have been introduced had Poirier‚s tracks
been more in the style of 2003‚s Conflits. But noting the presence of a
more unified overall sound amounts to an observation in this case rather than
a criticism. Volume seven‚s modicum of surprises is ably compensated for
by its musical satisfactions.
The Milk Factory [UK]
>
Bip-Hop Generation Vol. 7 comes complete with a new design. Featuring contributions
from the Brooklyn-based 12K label
founder Taylor Deupree, Emisor‚s Leonardo Ramella, from Buenos Aires, Argentina,
Japanese duo Fonica, Chinese collective Fm3, Canada‚s Ghislain Poirier
and British sound artist Janek Schaefer, Bip-Hop Generation Vol. 7 continues
to dig deep into the world of experimental music, bringing together an interesting
range of artists and ambiences. The general mood of this album is downbeat,
with textural structures as the common denominator. From the beatless constructions
of Deupree‚s three tracks or the lush minimalism of Fonica‚s Scoot
to the dark and oppressive ambiences of Fm3 or the environmental inputs of Ghislain
Poirier, everything here is about
impression and perception. Despite collecting work from six artists, this album
is incredibly consistent all the way through, and reinforces once again the
intrinsic notion of quality releases from the label and the pertinent ear of
its founder, Philippe Petit.
SOMA MAG [Germany]
>
Nach sechs Teilen und einer kleinen Pause startet die BiP_HOp Generation-Reihe
mit neuem Design in die zweite Runde. Sechs weitere
Compilations stehen auf dem Plan. Auch auf vol.7 dreht sich wieder alles um
minimale Soundarchitektur und experimentelle Klangstrukturen. Die Beiträge
stammen von sechs Künstlern aus verschiedenen Ländern, bei deren Auswahl
Philippe Petit einmal mehr
ein glückliches Händchen bewiesen hat. Mit dabei: Taylor Deupree (US),
Emisor (AR), Fonica (JP), Fm3 (CN), Ghislain Poirier (CA) und Janek
Schaefer (UK). Taylor Deupree eröffnet routiniert mit drei für ihn
typischen beatlosen Konstruktionen, gefolgt von vier, eher konventionellen Strukturen
folgenden, Tracks des Argentiniers Emisor die auf doch recht eingängigen
Bass-Patterns und Beats bas(s)ieren. Das längste Stück der Compilation
kommt von den Japanern Fonica, die hier Gitarren- und Electronica-Sounds zu
einem zwölfminütigen Ambient-Stück verschmelzen lassen. Wir bleiben
noch etwas im fernen Osten - das, wohl bis dato einzigartige, chinesische Musikerkollektiv
Fm3 verknüpft gekonnt die Klänge traditioneller, chinesischer Folklore-Instrumente
mit elektronischen Sounds und erschafft so organische, mystisch-meditative Klangräume
denen man sich nur schwer entziehen kann. Dann drei Tracks von Ghislain Poirier
- melancholische Pianoklänge-bzw. Orgelsounds treffen auf Hip Hop Beats,
Field Recordings auf Spoken Words und dann noch ein Abstecher in experimentelle
Dub-Gefilde. Nicht sonderlich spektakulär, aber in Ordnung. Janek Schaefer
beendet stilvoll mit einer interessanten Komposition, beruhend auf Field Recording-Sounds
die er in sechs Monaten in sechs Städten zusammengetragen hat - recht spannend.
Alles in allem wieder eine qualitativ hochwertige Compilation aus dem Hause
Bip-Hop die auf baldigen Nachschub hoffen lässt. Die CD kommt im schicken
Pappklappcover inclusive 7-seitigen Beiheftchen mit Infos zu den einzelnen Künstlern.
TRIGGERFISH [Germany]
>
Neue Einblicke in die Bip Hop Generation Mit Teil Sieben ist die zweite Staffel
der Bip Hop Generation Compilation Reihe eröffnet. Das Design hat sich
geändert und erinnert nun stark an Veröffentlichungen des leider nicht
mehr existenten Mille Plateaux Labels, das Konzept der Reihe wurde jedoch beibehalten,
sprich: eine Handvoll bekannter und weniger bekannter Electronica Acts präsentieren
jeweils um
die zehn bis 15 Minuten Material. Den Anfang macht Tayler Dupree mit drei seiner
Mikrocompostionen, die diesmal sehr eingängig und im Falle von „Slow"
sehr atmosphärisch und sehr dicht (Drone + Knistern) ausgefallen sind.
Ein bislang trotz einiger CD-R Veröffentlichungen noch unbekannter Name
folgt danach mit Emisor aus Argentinien. Seine vier Tracks orientieren sich
an Minimal Techno dabei genauso wie an klassische Minimal Music. Lediglich das
Sounddesign könnte an einigen Stellen etwas origineller ausfallen, ab und
an meint man allzu
bekannte Klänge wieder zuerkennen. Fonica ist ein Duo aus Japan und wie
es sich für japanische Acts gehört, arbeiten die Beiden teilweise
mit sehr hohen Frequenzen, die sicher nicht in jedermann's Ohren auf Gegenliebe
stoßen werden. Dabei nutzen sie die lange Laufzeit ihres Tracks um diesen
für seine Entfaltung von Hochfrequenzknistern zu digitalen rosa Wölkchen
die nötige Zeit geben zu
können. Erstmals auf einer internationalen Compilation vertreten ist Fm3
aus China, dessen Kopf Christiaan Virant erst lange Zeit in China's Punkszene
aktiv war, um dann mit Fm3 eins der ersten chinesischen Electronciaprojekte
zu gründen. Die Tracks beinhalten Versatzstücke chinesischer Folklore,
welche der Musik einen unwirklichen und mitunter auch etwas düsteren Beigeschmack
verpassen. Eindeutiges Highlight der Compilation. Ghislain Poirier veröffentlichte
bereits auf Taylor Dupree's 12K Label, arbeitete jedoch auch schon mit verschiedenen
Rappern zusammen. Die drei vorliegenden Tracks vereinen im Ansatz beide Welten,
indem Poirier seinen sehr reduzierten Soundscapes nicht allzu dominante Downbeats
hinzufügt. Der Abschluss bildet Janek Schaefer aus England, ebenfalls mit
einem langen Track. Schaefer's eigentlicher Hintergrund ist die Architektur
und für seinen Beitrag hat er über einen Zeitraum von sechs Monaten
in sechs verschiedenen Städten Sounds zusammengestellt. Das Ergebnis ist
schwer greifbar und bewegt sich zwischen bleiernen Klängen über Momente
mit Melodiefetzen und Rhythmus hin zu Lärmeruptionen. Auch wenn sein Konzept
ein gänzlich anderes war, so presst sein Beitrag den facettenreichen Charakter
der Compilation sehr gut in einen einzelnen Track.
WESTZEIT / Germany / October 2004
>
Wer die Generationen 1-6 im Schrank hat, verfügt nicht nur über ein
feines Kompendium zur Gegenwartselektronik, sondern hat auch ein nettes "Rückenbild"
im Regal (wie früher bei den Disney-Comics). Mit Nr.7 wird dieses Konzept
dialektisch aufgehoben - neues Design auf bewährter Basis. Wieder gibt
es 6 Musiker, die an sehr unterschiedlichen Auffassungen von electronica arbeiten,
dabei sind es weniger die schon etablierten Taylor Dupree, Fonica, Ghislain
Poirier oder Janek Schaefer, die die stärksten Beiträge liefern, als
die völlig unbekannten Fm3 aus China und der Argentinier Emisor. Eine Kompilation
wie aus dem Lehrbuch - durchweg spannend und voller Überraschungen und
Entdeckungen! 5/5
Metica.se [Sweden]
>
Av omslaget att döma skulle man kunna tro att det är det japanska
bolaget Plop som står bakom utgåvan. Liknande pappomslag med sparsmakad
design och färgsättning samt nästan samma typsnitt som merparten
av Plops releaser gör mig misstänksam. Men har man någon som
helst koll på läget samt är något sånär läskunnig
står det snabbt klart att det är skivbolaget, radioprogrammet, konsertarrangören
och webbzinet Bip-Hop som är ansvarig för plattan.
Med strax under åttio minuter musik av sex projekt från lika många
länder är volym sju av Bip-Hops serie en både exotisk och prisvärd
samlingsplatta som går i den experimentella elektronicans tecken.
Och redan de första försiktigt knastriga styckena av jänkaren
Taylor Deupree, som bor och arbetar i en gammal skofabrik i Brooklyn, tänder
mina sinnen. Deupree står bakom bolaget 12k men har förutom på
denna etikett också haft nöjet och äran att få sina alster
utgivna av både Sub Rosa och Mille Plateaux Lyssnar man noga kan man höra
att hans intressen för bland annat arkitektur och design kommer fram i
musiken. Inbillar jag mig.
Deupree följs av Leonardo Ramellas projekt Emisor som bildades 1998 i Buenos
Aires, Argentina. Emisor fortsätter där första musikskaparen
slutade och även om det är svårt att höra någon skillnad
vinner nog Emisors nedtonade rytmer i längden. Lyssna särskilt på
'Disolución imaginaria' och 'Bordando'.
Den som är bekant med bolaget Plop är säkerligen också
bekant med Fonica som tidigt förra året gav ut plattan 'Ripple'.
Här medverkar Keiichi Sugimoto och Cheason med det experimentella tolvminutersstycket
'Scoot' som går i ganska typiskt japansk 'Plop-stil'. Inte särskilt
banbrytande men väl värd en plats på denna samling.
Mer exotiskt låter i så fall Fm3, ett av de få kinesiska projekt
jag känner till. Fm3 är ett Beijing-huserande kollektiv av musiker
som använder såväl datorer som traditionella instrument. Med
minimalistiska ljudbilder försöker man omvandla och infoga kinesiska
folktraditioner i modern elektronisk musik, en hybrid jag gillar skarpt. Dess
enkelhet och snygga gränsöverskridningar med elektronik och något
oidentifierbart kinesiskt stränginstrument gör 'P.pa' till något
av det trevligaste jag hört inom denna och liknande genrer.
En flygresa till och vi landar i Kanada där Ghislain Poirier guidar oss
genom en skog av rytmer och märkliga ljud i 'Caresser un cercle' och 'Les
enfants sont des épanges' medan 'La danse du plaisir' kompletteras av
franska röstsamplingar.
Som avslutning på jordenruntresan hamnar vi i Storbritannien där
Janek Schaefer bjuder på en tio minuter lång skapelse inspelad i
sex städer under sex månader och sedan sammanställd på
ett hotellrum i Brest, Frankrike.
'Bip-Hop Generation vol. 7' är en relativt tyst och till viss del intetsägande
platta men som likt andra releaser på Bip-Hop och liknande bolag är
perfekt vid tillfällen när man inte vet om man är vaken eller
sover. Och med en samling som är så enhetlig trots flera projekt
från så många delar av världen är det bara att lyfta
på hatten och tacka Philippe Petit som sammanställt kalaset.
Låttips: Fm3 - 'P.pa' och Emisor - 'Disolución imaginaria'. Författare: Martin
Engström
Phosphor Magazine [Germany]
>
The label bip-hop, which is renowned for their releases in the field of microsound
and clicks & cuts, have released a number of compilation CDs that usually
showcase a variety of artists, some better known than others. This is the seventh
installment in that series of compilations. The first three tracks are by Taylor
Deupree, founder of the label 12k and co-founder of the label line. On the three
tracks he contributed to this compilation he engages himself with questions
of stillness and movement, using a remarkably warm palette. Soft and subtle
drones present an over-arching whole whereas clicks and pops provide a stream
of smaller aural events, carefully giving Deupree's pieces a more gritty feel.
Tracks 4-7 are by Emisor from Argentina and are far more poppy than those of
the
aforementioned artist. Jittery rhythms and playful melodies meet dubby bass-lines.
Track 8 is by Fonica who are Keiichi Sugimoto (who is also a member of the brilliant
improv / electro-accoustic group Minamo) and Cheason from Japan. This track
is more subtle and detailed, and carefully builds up to a beautiful melancholic
atmosphere with multiple layers bouncing back and forth and onto each other.
Tracks 9 and 10 are from FM3 from China. This Beijing-based collective
works with Chinese folk music to create meditative soundscapes. What sounds
like snare instruments are beautifully processed and arranged into very intriguing
and moving compositions. Wow. Where can I hear more? Chislain Poirier from Canada
delivers the next 3 tracks (11-13). Distant piano melodies are combined with
a gently cut-up rhythm on his first track. The next track is more atmospheric
and features haunting sounds that echo through some kind of sonic mist. Poirier's
final track again features a rhythm, more straight-forward this time. The final
track is by Janek Schaefer and was made using recordings from six different
cities made over six months. The piece can more or less be cut in half, thus
hinting towards a day-night cycle. After a relatively quiet beginning, the
piece settles in with a underlying growling drone and high-end frequencies.
A fine piece by this talented artist. All in all this is a varied compilation
that is likely to have some for all. Delivers exciting pieces of known artists,
and puts those as of yet unknown on the map of electronic music. An exciting
series that I hope to
see continued!
KindaMuzik [Holland]
>
Het probleem met hedendaagse electronicaverzamelaars is dat het schrijnend duidelijk
wordt dat vrijwel niemand een eigen gezicht heeft, dat er nauwelijks een greintje
oorspronkelijkheid te ontdekken valt. Ook op Bip_Hop Generation vol.7 is dit
weer evident. Taylor Deupree doet zijn best, maar zijn abstracte glitchdrones
zijn niet meer dan aardig. Nooit wordt duidelijk welke kant hij eigenlijk op
wil gaan, wat zijn intenties zijn. Het gaat voorbij zonder indruk achter te
laten, het is niet dreigend maar ook niet relaxerend. Emisor probeert in zijn
soundscapes de speelsheid te bewaren middels springerige ritmes die bijna hiphop
zijn, maar de muzikale invulling achter de beats bestaat uit pure saaiheid en
een totaal gebrek aan spanning. Ghislain Poirier heeft een goed oor voor melodie
en sfeer, maar ook hier is het allemaal zo gezichtloos en weinigzeggend. Als
zijn tracks afgelopen zijn heb je het nauwelijks in de gaten.
Veel beter is Janek Schaefer, die het aandurft om volledig de abstractie in
te duiken en met zeer spannende geluidscollages aankomt. De geluiden doen denken
aan het 'normale leven' maar zijn vervormd en uit hun context genomen, en daardoor
hebben ze enorm aan zeggingskracht gewonnen. De ijzingwekkende noisedrone die
overblijft is niets minder dan prachtig.
De mooiste momenten zijn echter voor het verre oosten. Fonica uit Japan houdt
zijn muziek klein en bescheiden, maar hun zachte ambient soundscape zit boordevol
microtonale details en melodieuze pracht. Alleen vergelijkbaar met Minamo, de
moederband van Fonica's Kelichi Sugimoto. En dan hebben we Fm3 uit China, die
electronica koppelen aan Chinese en klassieke instrumentaties. Met afstand het
meest originele geluidsbeeld op deze verzamelaar, en ook simpelweg het mooiste.
De muziek mag dan minimaal zijn, er zit zoveel spanning en dreiging in verborgen
dat uw recensent regelmatig naar adem moest happen. Prachtig!
Half gelukt dus, Bip_Hop Generation vol.7, maar Janek Schaefer en de nieuwe
helden uit het verre oosten rechtvaardigen zeker de aanschaf.
BoomKat [UK]
>
After a bit of a hiatus, Bip Hop return with the 7th installment in their ...'generation' series. The line-up here
is good : new and exclusive tracks from Taylor Deupree, Ghislain Poirer, Janek Schaefer, Emisor, Fonica and FM3.
Deupree's thre contributions are typically inspired - crackling space and dronelike spacious echoes of beatless
sound, executed with a clinical precision that at no point loses its warmth or appeal. The fabulous Ghislain Poirer,
and newcomer 'Emisor', meanwhile, lilt through the tones of stripped down electricity blended with a smattering of
percussive structure, usually with a nod to hip hop. Schaefer's closing 10-minute track, meanwhile, pieces together
recordings made in six different cities over six months - typically dronelike and atmospheric. Nice compilation.