After the successful first release in our 10" series by Scanner we are proud to
present the second offering by prestigious Frank Bretschneider.
Bretschneider is one of the leading electronic music composers with a long history in music making. This release now reflects another side of Bretschneiders work. More funky and seducing than ever before. Having found and using samples from his old band (AG Geige) he creates complex variations of simple loops that keep changing endlessly. Not the typical Bretschneider sound one would expect and thus still redefining his own habitus.
Born and raised up in East Germany he studied graphic and painting, before he started to explore the worlds of electronic music in 1986.
In 1995 he co-founded the well known Raster-Noton label. He has critically acclaimed releases under his given name on Mille Plateaux and as Komet on12k. Bretschneider has created some of the most influencial spacial electronics of the last years, unlike so much output in the microscopic music scene, his music has always flourished with activity.
Precise sound placement, volume levels and the contrast of tones in Bretschneider’s production makes his compositions uniquely captivating. Bretschneider goes beyond the plug-in or plug research electronics. He redefines the genre by rendering the parameters playable, reentering the musical domain with unprecedented ease. Bretschneider discovers the complexity of the virtual: microtonality, clicks, complex rhythm textures, melodic fragments. A perfect musical body. Bretschneider succeeds again in progressing the new age of laptop production and delivers a stunning exhibition of sound.
“I create my music with a modular computer-aided synthesizer system, under the use of classical synthesis techniques (subtractive and fm-synthesis). Using two of the most basic sound-sources, sine waves and white noise, I create short (one to four bar) parts; all motions and progressions come into being from the (often unconventional) connected modules (lfo’s, oscillators, filters, envelope generators, logic modules). This (partly chaotic) sequences I record to a harddisk system for further treatment (cutting, looping, filtering). The results are minimal, flowing, interwoven structures, determined by experiment and chance; representing my idea of contemporary music.”
Published in: absorb.org
bretschneider is a founding member of germany's raster noton label. the title track comes on methodical, the beats are metallic and tinny. like a glitch-ised liquid liquid or similar '80s whitefunk group. there are also faint echos of eno and byrne's my life in the bush of ghosts audible in the vocal samples. to be honest i don't get a lot out of these three tracks - i get the sense i'm missing something, but am not sure what to look for in order to improve my chances of finding it. enjoyable, but unremarkable to these ears.
Published in: aputadasubjectividad
Em Balance (Mille Plateaux / 2002), Bretschneider e Taylor Deupree abençoaram a expressão "batida microscópica", tornando a dita cuja num bem comum, não puxando pela vergonha do ouvinte que a usa para descrição. O lustro era bem real e dava corda a constantes e progressivas audições, de pouca acção física excepto o acto monótono play para recomeçar o disco. Neste dez polegadas, parte integrante duma série de 10” e 12” pela Underscan, a actividade mental é plenamente desenvolvida e a repercussão grower ainda se sente mais graças aos laureados, mas escassos, treze minutos. Em Party of Two Parts os padrões de ritmo tornam-se lúdicos perante a complexidade estreita do processamento calculista de sons que ocorrem por baixo dessa primeira camada. Esta segunda forma as batidas principais por cima do ritmo-padrão, auto-converte-se em simplicidade quando se toma atenção aos glitches silenciosos, mas ritmados pela primeira camada. Há um loop acentuado e certo nesta construção que torna abstentas as zonas menos "costuradas" de cada tema, para mais tarde voltarem a ser o cerne da peça. Seja agora, seja numa outra audição. O tema-título estabelece esta baliza para a composição de todo o EP (tem mais duas músicas). Bretschneider nunca exagera nem gasta a fórmula, extrai qualquer prudência numa segunda audição. A extracção continua num repeat contínuo e exíguo em novidades, até se esquecer a fórmula e rejubilar neste deleite ambiental.
Published in: electronicmusicworld
There's three tracks on this disc, and all three tracks are very interesting, to say the least. Quite minimal, and very rhythm-oriented music with some basic elements repeating for most of the tracks and then a lot of constantly-morphing rhythmic elements on top of that. The repetetiveness yet ever-morphing nature of the music has a very entrancing effect. Before you know it, you've stopped whatever you are doing, and are just staring ahead listening to the music. At least, that's what happened to me while writing this review :) In build, the music Frank makes may be compared to an artist like Vromb. Of course, the actual sounds used makes the two artists sound very different from eachother (luckily). I do have about the same feelings for Frank Bretschneider as I have for Vromb, which is basically that I like the music, but don't need to hear the music for a long period at once. Luckily, of course, this 10" provides in just the right amount of time to listen to the music. It's not too long, it's just about right.
Published in: The Wire
This is a 10" limited edition release but it´s well worth tracking down. Over three briefish tracks Bretschneider (co-founder of the Raster-Noton label and occasional Mille Plateaux recording artist) effortlessly demonstrates that there´s plenty of life in minimal, laptop-generated Techno as long as imagination, precision and immaculate judgement remain essential parts of the equation. These compositions all manage to achieve a lissom, undulating flow despite their apparent austerity, and close listening quickly reveals that what appears to be undifferentiated greyscale ambience is in fact a complex and utterly involving dance of perfectly-positionrd electronic fragments - overall, "Party Of Two Parts" is a triumph of stylish subtlety. Chris Sharp
Published in: Debug
Sehr trocken mit Beats umgehende Tracks von Brettschneider, der weniger clickrig, oder zumindest nur in Untertönen, auf dem Titeltrack eine Art eigener Vorstellung von afrikanischem Dub unternimmt und den Faden auf "And It Comes Out Here" wiederaufnimmt, vielleicht ist Brettschneider früher Drummer gewesen, und noch vertrackter und smoother weiterspinnt. Das letzte Stück, auf dem dann auch mehr Sequenzen im Vordergrund stehen ist allerdings etwas dark und sogar schon ein wenig esoterisch für meine Ohren. bleed ****
Published in: Logo Mag
Frank Bretschneider's approach to music is strange; on the one hand as minimal as Steve Reich, on the other as dense and loaded with meaning as John Cale. Quite how he does this is a mystery, after all, the title track is basically a motorik beat played on what sounds like a tense African drum, with a minimal backing that consists solely of a scratchy electronic backwash and a soul in mourning. Perhaps it's a question of harmonics; perhaps, like an aural strobe, he's hit on the same operating frequency as your synapses. Whatever the answer, Bretschneider has created something disturbing, compelling and quite, quite magical.
Published in: Somamag.de
Neues Material von Frank Bretschneider gibt es auf dem Label Underscan in Form einer auf 500 Stück limitierten 10 Zoller. "Party of two parts EP" nennt sich das gute Stück ... ... und dieser Titel trifft es wohl auch ganz gut, denn wenn man die 3 Tracks mit seinem anderen Material vergleicht, geht es hier doch etwas funkiger zur Sache. Und obwohl insgesamt vom Sound her eher untypisch für Bretschneider findet man auch hier die eindeutigen Merkmale seiner Arbeit; präzise Soundplatzierung, fliessende rhytmische Strukturen, Mikrotonalität, Kontraste, ineinander verwobene, minimale Texturen ... Basierend auf wieder ausgegrabenem Sample-Material seiner ehemaligen Band AG Geige (ja, genau die!) hat er hier verschiedene Variationen einfacher Loops zusammengebastelt, welche sich ständig verändern und gut und gerne Stunden statt nur knappe 15 Minuten laufen könnten ... und laufen ... und laufen ... und laufen ... In diesem Sinne - be part of the party.
Published in: sonomu.net
A mini-EP release by raster noton co-founder bretschneider on the german label underscan. Party of two parts is a 3 tracks single which actually becomes more interesting as the minutes pass by. Indeed, although from the opening title-track the leading beats might be a bit too 'simple' compared to what one might expect from the German designer, sound artist and glitch musician. Yet the background crunches and bass rhythms hide more complex sounds complementing the straightforward electronic sound. 'and it comes to here' unfolds much more interestingly into calculated and ludicrous rhythmic patterns. 'expecting someone taller', the best of all three, sees the bass slightly fade away, leaving a much purer electronic sound generate the movement. Quite different from his komet work and miles away from his more gentle and subtle glitch sound, this EP still is a good work (which actually gets better the more one listens to it!)
Published in: Trax
Rencontré en compagnie de Taylor Deupree, ou sur le label Mille Plateaux, Frank Bretschneider, fondateur de Raster Music, revient avec un maxi qui n'est pas sans rappeler les compositions de Richard H Kirk (sous le pseudo Sandoz) et de Freeform. A mi-chemin entre un dancefloor horizontal et une procession tribale, on se perd avec plaisir dans cet abstract-groove fiévreux composé d'enivrantes ritournelles boostées par des pulsions dub. Efficace et fantomatique, aride et naturel, Frank Bretschneider se montre aussi habile à créer des beats imparables qu'à torturer les infra-basses. Impeccable !
Published in: Vital Weekly
From all the clicks and cuts artists, there is only a few whom I really follow to see what they are doing next, simply because they keep on moving about and do new things. Frank Bretschneider is one such guy. His music is always in development, always new ways and both his studio and live work are great. This 10" on Underscan has three tracks and again he took me by surprise. Three up tempo funky tracks, with a nice fat bass line in 'And It Comes Out There' and dubby elements in the title piece. It's minimalist music, oh yes it is, but it's at the same time vibrant, tight in structure, never too accessible, but at the same time never too easy or too experimental. Plus it shows him in a direction which I haven't heard of him before. And this makes him one of the best, for me. But I already told you that. (FdW)
Published in: Westzeit.de
Bretschneider ist in der internationalen electronica-Szene eine feste Größe. Und ich bilde mir ein, auch das Gesamtwerk der AG Geige recht gut zu kennen. Was aber der ehemalige Bandchef hier unter Verwendung von Samples dieser längst verblichenen Legende der DDR-Subkultur (deren Würdigung via re-issue noch immer nicht erfolgt ist!), wird wohl sowohl die Geige-Fans, als auch die Knisterfreunde verblüffen. Allerdings höchst angenehm, denn Bretschneider verknotet auf dieser 10-inch die (bis auf Ausnahmen kaum zu identifizierenden) Samples zu handfesten Groovemonstern. Erstaunlich, was sich aus im Grunde simplen loops zaubern lässt!