“The sonic landscape is crafted using deprecated tools: a first-generation 4-bit laptop, the DOS operating system, and a tracker program. Inspired by glitch aesthetics, the sound palette includes clicks, error noises, and low-bitrate techno sounds. Initially, the structures of the pieces may appear complex and chaotic. This electronic thicket might seem abstract, cold, and inaccessible, yet upon closer examination, it reveals a plethora of diverse species, coming across as somewhat nostalgic and warm, evoking surreal associations. From beneath towering sequoias peek pixelated ferns, LED eyes are blinking from below the undergrowth, and against the backdrop of a crackling campfire and cave paintings, a lively stomping of microchips unfolds. Sudden contrasts, sharp cutting edges, a tachycardic bass drum engine, and irregular polyrhythms make themselves physically felt. Elsewhere, haunting lo-fi textures, hidden ambient drones, mysterious hums, and obscurely garbled samples offer introspective breathers. The dynamic range of the music is favourably extensive, and the raw imperfections of the sound are unmasked by reverb effects or other generic tools. Interwoven throughout are outsider rhythm loops, which could find a home at an alien rave party or a hobgoblin honky-tonk. Various human voice samples build a bridge to the listener, allowing them to embody a cyborg-like experience. While each twist and turn remains unpredictable, these diverse approaches align in complementary patterns and stochastic regularities, making the whole surprisingly coherent, despite its chaos. The album doesn’t bore the audience with intentionally irritating compositions or pseudocomplexity — it demands attention, but doesn’t try to outrun its listeners.” (Mille Plateaux)

@ Mille Plateaux | Kiwanoid

“With decades of experience in the electronic music world, Vogel has established himself as a master of the craft, constantly pushing the boundaries of genre and form. Fase Montuno represents yet another step in Vogel’s evolution as an artist, offering a personal and visionary perspective on the diversification of global electronic music production.” (Mille Plateaux)

@ Mille Plateaux

und rhythmischer, technoider Elektronik. Zahlreiche unterschiedliche Klangquellen (“Noise is created through effects on synths, drum machines, and guitars, heavy bass from sine waves that seem to go deep into the earth, and abstract melody lines coexist”) kommen zum Einsatz und lassen ein klangliches Labyrinth entstehen, in dessen Halbdunkel sich immer wieder neue, detailverliebte Szenen abspielen. Mille Plateaux haben in den vergangenen Jahren bereits ein Soloalbum und eine Kollaboration des Künstlers auf Vinyl herausgebracht.

@ Teruyuki Kurihara

“Simona Zamboli is transcending the musical quality, which is today determined by technology, into a kind of virtuality, which includes the Outside. The Outside has many names: the contingent, the void, the collapse and of course also the fragile rebellion of the laughter. This non-musical rebellion is the opposite of retro-necrophilia. The sonic fluxes listened to in Zambolis sound sculptures touch the horror of the world in a negative way, because they are entangled with the mimicry of Chaos or the Underworld, which means, that we are told in an audible way about movements, which are not audible. Zamboli destroys the standards of the current horrible music of a harmonies-of-harmonies”. (Mille Plateaux)

@ Website | Mille Plateaux

“I wanted to write a work to honour the life of my father, whose death from dementia-related complications was heartbreaking to witness – behind a security door, in the midst of a pandemic he couldn’t begin to fathom. This work is a creative meditation on the moments spanning his final exhalation and on the new, mysterious relationship I’m discovering with him, one which is imbued with unexpected wonder and surprise. Dad, transfigured yet somehow less of an enigma than before, drops poignant lessons in unguarded moments – each one a disarming reminder of the inherent playfulness and joy within and without. This album is also a small offering to family, friends and strangers who’ve trod the waters of complex grief in the last few years, particularly those who’ve served tirelessly amidst torrents of political indifference, as my father did. Might it offer a balm of solidarity. To witness and hear each other’s grief is to begin to find wholeness and healing, in order to remember we are all fragile passengers on a deeply miraculous voyage”. (Rick Bull)

@ Mille Plateaux 

von atmosphärischen Tracks dominiert sind, die vom Label als “an augmented version of [...] granulized ambient dub techno” beschrieben werden. Ferner heißt es: Jourdain adds elements of chaos and perturbation into algorithmic electronic music like static electricity is the presence of a disturbing body in a circuit”. Das Album erscheint als MC.

@ Mille Plateaux

“This release captures the Zeigeist of the last decade: it’s a testament to the roots and the growth of the artists involved in this project. The tracks are mood-wise intertwined together: dark and gloomy ambient, sometimes intense, with a synesthetic musique concrète approach and occasionally IDM oriented. Zeitgeist: Ambient Music from 2012 to 2020 has been structured to induce the listener to a hypnagogic state, where the mind tries to find its way out from an otherworldly environment that this record evokes. Monia Ben Hamouda’s artwork, “I can’t even Reply You” (2017), depicts this narcotic and surreal feeling perfectly, adding an essential layer to the aesthetic of this release.” (Mille Plateaux)

@ Mille Plateaux

“NOIR [...] acknowledges the problematic state of our civilisation while allowing it self to merge into aesthetics of movie, Film noir, to breath and fantasise within that world. The tones of NOIR are created from an urge to bodily sense sound. They are created from a closed modular system as a stereo modulation. They convey timelessness if you so like. The tones are an outcome of four years of building the system and 13 years of DJing and hosting an ambient radio show. ” (Mille Plateaux)

“At some point I asked musician/ movie composer Timo Kaukolampi to join me on this project.The idea was to close the album with a reconstructed track made by someone else. Kaukolampi felt like the natural choice with his vast collection of analogue synths and an interest in composition thatis more towards magic than perfection.” (Tom Lönnqvist)

“Waves of noise and advanced sound design through pattern repetition and pulsating percussive blasts. Fairly terrorizing yet hypnotic with flashes of raw electricity and feedbacks riding on thick grainy waveform textures. Broken hardware transmissions and in-depth manipulated signal processing tamed to craft filmscaping monolithic sub-techno structures.

Staying devoted to his cinematic approach in music and darker narrative storytelling “A Modern Dialect” is an edgy backlash on our modern dehumanized declining society, a harsh uncompromising “dialect” against an ever deteriorating globalisation”