LP version. Eight early songs written and produced by Tase, recorded on 16-track tape machine. Neues Deutschland Studio 2010-2011. Tase is producer Sven Rieger. Co-founder of SUED, Rieger records under aliases SVN and Ixus and in groups such as AU, Département d’Éducation Psychique, Dreesvn, and S.P. Posse.
Brainwaltzera returns to FILM. The shrouded producer continues to demonstrate a breadth of skill as both a musician and engineer, with another collection of deep and textured recordings for the FILM label, intended as an Epi-Log to the artist’s debut album Poly-Ana (FILM 003CD/LP, 2017). Continuing the exploration of crystalline IDM, proto-electro, ambient, and other curious strains of left-field music, Brainwaltzera looks out across a colorful and varied sonic landscape, drawing on a wealth of classic influences all the while maintaining that unique and instantly recognizable finish. Heavy on atmosphere, rich in inherent musicality, and beautifully executed — the Brainwaltzera journey continues with another solid offering on the FILM label.
Utopia Cloak arrives on FILM with Marina Gardens. Utilizing both electronic and acoustic components, the British producer crafts hazy, dynamic electronica with a decidedly emotive bent. The music explores a curious production aesthetic — at once half-sunk and at the same time gloriously crisp and direct. Caustic drum machine hits underpin the majority of the work, compete with polyrhythmic rolls and glitches, while softly warping synth lines occupy the majority of the remaining sonic space. Rather than working explicitly with nostalgia, Utopia Cloak makes more subtle references to the classic sounds of yore — riffing on Downtempo and IDM with gentle and considered nuance, eking out arcane hooks and rich melodies with a pleasing focus on compositional structure and songcraft. Contrast is the key here, though; Utopia Cloak works hard to find the balance between metallic percussion strikes and wide-angle instrumental elements, avoiding chaos in favor of a lush, rewarding listening experience.
Brainwaltzera debuts on FILM. The anonymous producer, whose work has already received online approval from legendary British IDM auteur Aphex Twin, offers up an extended EP for the Berlin based imprint. The compositions on Aescoba EP are of similarly high caliber. Varied in approach and marrying both electronic and acoustic elements with ease, the six tracks that comprise the record range from yearning ambient segues and dreamy down tempo grooves to otherworldly krautrock and more direct, dancefloor fare — but remain bound tight as a cohesive and functional body of work by a glorious, arcane musicality.
The Brainwaltzera Remix EP features Luke Vibert, Eva Geist, Philipp Otterbach, Guavid, and Ignazz. Andrea Noce, aka Eva Geist, takes on “Kurzweil Dame”, lifted from the Poly-Ana album , and gently shifts the work from 4/4 to a decidedly eccentric half-time dub pulse. Newcomer Ignazz flips “Marzipan Leftovers”, transforming the original from blissed out IDM into a classic electro cut. Luke Vibert and newcomer Guavid turn to Brainwaltzera’s Aescoba EP for their picks, both choosing to “10 muddy_puddle Trot”. Philipp Otterbach closes proceedings with a blissed out proto-ambient rework of “triangulate Dither”.
2×12″ version. Scented gatefold sleeve, relief varnish; 140 gram vinyl. Brainwaltzera’s debut album Poly-Ana follows quickly on the heels of the producer’s Aescoba EP (FILM 006EP, 2017). Across thirteen tracks of both previously released material and fresh excursions into the artist’s world, Brainwaltzera explores sounds ranging from luscious, downtempo grooves and expertly reduced brain-dance cuts with nods to early ’90s experimental IDM to harder, more caustic outings, all bound together by a recurring theme of otherworldly ambience. Taking its name from a variety of sources dear to the artist, including polyphonic analog synthesizers and the Pollyanna principle itself — a theory that suggests individuals recall pleasurable experience more acutely than displeasing ones — the title represents a meeting point in the artistic process between creative method and conceptual choices. Production techniques range from more traditional hardware synthesis to the incorporation of a modified dot matrix printer acting as a modulation source for MIDI parameters. Sample sources include VHS material from the producer’s own childhood and ambient Bullet Train samples from a production session traveling from Tokyo to Kyoto. According to the enigmatic producer, memory and its fundamental role in the human experience is one of the central themes of the record. While the artist’s own experiences shaped the sound of the record, there is no attempt to impose them on the listener through blatant exposition. A particular stimulus, such as sound or scent, can transport an individual back to a particular point in their life. Scent has long been identified as the most efficient agent for this phenomenon, providing perhaps the most visceral form of “brain travel”. With this in mind, a unique fragrance was engineered by creative director Mario Lombardo’s Atelier Oblique brand, exclusively for the album’s physical release. This was designed to act as a vehicle to assist the listener in retaining the first experience of hearing the record and to act as a future trigger, transporting the individual back to that moment. Brainwaltzera’s work has quickly found plaudits amongst a host of industry tastemakers and artists alike — not least Aphex Twin himself, who has appeared sporadically online with comments praising the music via his now infamous user18081971 SoundCloud account. Mature and wonderfully executed, Poly-Ana represents some of the finest recent work within the genre, and yet another noteworthy addition to the FILM discography.