CD on Orthlorng Musork, San Francisco
10 Tracks
Mastering by Stefan Betke
Design by aLorenz, Berlin

 

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Listen to the Edits here, here, here, here and here.

 

A compilation of Ten Remixes for Antenne, Monolake, Autopoieses, Laub, Ekkehard Ehlers, Raumgestaltung Eins, Yo La Tengo, Kit Clayton and Akira Rabelais.

 

I had just finished three remixes for Laub and Autopoieses when Orthlorng Musork invited me in Spring 2000 to produce a full length album. We decided to release a remix album as a series of five 10″ records because I see the process of making a vinyl record as a filtering process which brings digital sound back on a human scale, and also because I thought of the pieces I made until then as black holes that should be consumed in more or less small doses. The Edits are based on tiny snippets of the original sound material, which were blown up massively. This method of re-working a piece is directed towards a free and rather inclusive interpretation of a range of works, rather than a re-interpretation of one single track. The Edits present my personal view on the sound and the working concept of each artist. For example, one of the Autopoieses edits is made of a single locked groove from their own remix double 12″ on Mille Plateaux, while the second one is made of the recording of a stylus-cut loop on a blank piece of vinyl. Neither of them is a “remix” of any specific track - both are pieces on Autopoiesis.

The Edits sleeves feature a series of graphic remixes by aLorenz which are all derived from the same common source: An abstract pixel landscape which had been the unexpected result of a file conversion failure (originally a CAD file showing the floor plan of a dormitory). From much enlarged snippets of this file, variations were generated by means of repeated bitmap conversion using tiny details of the image itself as halftone pattern cells (in place of regular autotypical screening). The results can be seen as the digital equivalent of “generations” in analog copy-art, where details of an original are enlarged over and over again until the traces of this process itself become the image.

The Full Swing Edits series contains pieces I made between Spring 1998 and Autumn 2001.

The music is dedicated to Sue Costabile, Joshua Kit Clayton and all the artists who let me rework their music.

 

Reviews

Following the digital obfuscation of public domain recordings found on his “Frequency Lib” album, Stephan Mathieu presents his “Edits” series, dramatic remixes of his contemporaries’ work under the Full Swing moniker. Originally, these edits of Laub, Kit Clayton, Antenne, Autopoesies, Raumgestaltung Eins, Ekkehard Ehlers, Monolake, Yo La Tengo (!), and Akira Rabelais were released as a series of 10″ on Kit Clayton’s Orthlorng Musork label, and now have been collected conveniently on one CD. What is immediately striking about this album is how strong and how unique Mathieu’s signature sound is becoming. While the archetypal application of laptop DSP synthesis ends up tainted by antiseptic, clinical, or cold tones, Mathieu manages to wrap all of his digital pixelations in a dreamy, warmly crackling, and wholly inviting atmosphere, not unlike the beloved Aphex Twin album “Selected Ambient Works Vol II.”

For the Laub remix, Mathieu centers his recontextualization around one of Laub’s lilting synth melodies, which slowly loops through flickering wisps of static, hushed drones, and occasional vocal interjections from Antye Greie-Fuchs, whose Bjorkish voice collapses pixel by pixel. For both Monolake and Kit Clayton, Mathieu re-arranges the original Chain Reaction pulse into deep low end fluctuations, amidst fractilized clatter. The work of Raungestaltung Eins has been stripped down to the root frequencies, sounding like a downpitched morse code transmission, with hyper-pointillistic surface noise crackle and time-stretched drones. Of all of the remixes, the Akira Rabelais reworking of a Carte piano study is the least deconstructed, by overdubbing subtle modulations of Rabelais shimmer and vibrato into a beautifully spun web of spindly tonalities.

While Mathieu’s work may hint at the discourses of ownership in a digital landscape since he has chosen to develop his sound almost exclusively through pre-existing work, his music ranks way up at the top the increasingly prolific laptop community alongside Fennesz, Carsten Nicolai, and Stilluppsteypa. “Edits” will undoubtedly rank as one of the best electronic records of 2002.

Jim Haynes in Aquarius Records Reviews

 

originating as five 10-inch releases and drawing on originals by laub, kit clayton, antenne, autopoieses, ekkehard ehlers, monolake, yo la tengo, and akira rabelais, the ten tracks comprising edits have been collected into a full-length 2002 release courtesy of the superb san francisco label orthlorng musork. mathieu’s other recent release, frequencyLib (mille plateaux), is a slightly more accessible recording of 26 shorter tracks, but edits is the deeper, more provocative work, as mathieu transforms his source material to such a degree that at times only a tangential trace of the original remains. paradoxically, while the mathieu ‘edit’ retains a definitive connection to its host, it also severs that connection to the degree that the ‘edit’ exists wholly independently. in short, mathieu’s appropriation of originating fragments is so complete that he conceivably could claim sole authorship of the new pieces, in a manner similar to how john wall uses existing fragments to construct his own compositions (hence the recordings’ titles constructions i-iv and constructions v-vii).

in the inner sleeve, mathieu quotes the following from fragment 7 of democritus’s writings: “by convention there is colour, by convention sweetness, by convention bitterness, but in reality there are atoms and space.” in democritus’s atomistic view, nothing exists except for empty space and atoms, and anything beyond that is human supposition and projection. physical reality - including the human mind and soul - is composed of atoms which jostle, collide, and form random figures. democritus reminds us that we habitually describe experience anthropomorphically, ascribing to external reality qualities that originate in our descriptions of the world. he also contends that sensory qualities experienced by individuals are unreal since those qualities do not appear the same to all, and thus something bitter to one may, in fact, be sweet to another. democritus undermines conventional notions of narrativity in that the presumed connections between actions that begin and ultimately end are deconstructed to become distinct states of atomistic combinations that merely happen to be sequential. so why does mathieu include the quote? perhaps he wishes to emphasize that musical sound, too, is made up of momentary, mutating arrangements of atomistic elements which are capable of being reorganized ad infinitum; his approach also challenges narrative expectations that a musical piece should unfold according to conventionalized notions of development and resolution. in its place, his ‘edit’ eschews narrative development and, paradoxically, focuses upon a non-narrative (i.e., static) treatment extended through time.

of course, all such ruminations are ultimately conjectural and therefore open to debate. rather more concrete is the music itself, which exudes a crystalline shimmer of fluidity and warmth throughout. laub’s ‘weit weg’ has perhaps the most recognizable source material, the song’s gentle strains seeping through the textural haze of antye greie-fuchs’ filtered vocalizations. ekkehard ehlers, mathieu’s collaborator on heroin, provides three tracks, one from ehlers’ own betrieb release and two from the autopoieses release la vie à noir. the latter are filled with spectral sounds of insectoid chattering, whirring frequencies, and industrial scraping. ehlers’ ’später’ is quieter, its layers of percussive clicking and treble pitches draped by a blanket of hiss and warm tones. raumgestaltung eins’s ‘070300′ becomes a stream of morse code-like transmissions, static clusters clinging to the shards of a central muffled drone. apparently ‘postcard’ is taken from monolake’s gobi.the desert, although again the alteration is so extensive that the original is barely present. interestingly, the track that seems least altered is akira rabelais’s, perhaps because he had already transformed the carte piano piece so radically on his own eisoptrophobia that mathieu deemed it best to extend the shimmering treatment rather than overhaul it. after listening to the recording, one might concede that itemizing the particular source materials for each artist is almost a superfluous gesture, given the degree of transformation imposed upon the originals; one could even go so far as to argue that identifying the original artists is unnecessary, given the extent to which mathieu supplants their personae so indelibly with his own on these ten sublime ‘edits.’

Ron Schepper for Absorb.org

 

The remix. How we consumers and audiophiles love the remix. Generally, the remix is produced by adding beats, loops, effects, melodies, etc. that were not present in the original mix. Record labels of all sizes have reaped the benefits of the remix craze. If you take a look at the shelves in any record store, you could fill a garbage bag full of remix albums, most of which belong in the garbage. It is really hard to find a quality remix album these days with the influx of output. Every once and a blue moon a great remix album comes along. You have to be patient and selective, though.

Some extremely creative producers have been reworking and rearranging artists’ material rather than remixing it. This entails breaking down the original track into the sum of its parts, and focusing on a particular characteristic within the track. Then, the producer can use tricks of the trade, such as time stretching or pitch shifting to recreate the original song in a manner different than the generic remix. This is where Full Swing comes into the mix.

Full Swing is the moniker for prolific producer, Stephan Mathieu, who has released albums, tracks, 10″s, 12″s and yes, remixes on several of the most well respected record labels that are constantly pushing the limits of electronic music such as, Mille Plateaux, Ritornell, Kitty Yo as Stol, Fällt (Invalid Object Series) and Orthlorng Musork. Mathieu is a self taught improve drummer, which is ironic because you seldom hear percussive elements in his music. They exist, but are not the back-bone of his song structures. A constant in Mathieu’s music are his thick, dense and swirling textures. These textures bring to mind the earlier work of Vladislav Delay on Chain Reaction and Mille Plateaux.

As Full Swing, Mathieu has released his second album for Susan Costabile + Kit Clayton’s Orthlorng Musork label. This album is conveniently titled Edits because he has used source material from several artists’ tracks, reworked and rearranged them into beautiful, warm soundscapes. That is just scratching the surface. The tracks he has chosen to rework were previously released for Orthlorng Musork as a limited 10″ series. Edits is a culmination of these 10″s released on CD. Some of the artists he has chosen his source material from are Laub, Yo La Tengo, Monolake, Kit Clayton among others. It is an interesting and eclectic mix of names you would not ordinarily find on one album together, but that is just one of the factors which make Edits a beautiful body of work. I want to stress that the tracks are not remixes. Mathieu has chosen bits and pieces of the original work to focus on as his source material, whether it is a loop, chord or crevice. He then goes to work on these pieces forming warm and scenic tones, adding digitally processed clicks and repetitive, overlapping textures. To put it another way, Mathieu takes the skeleton or shell of the original track and discards it, so to speak. He, then, takes the muscles and tissues and goes to work on them selecting the sections that appeal to him aesthetically. I have broken down the tracks by the original artists in an effort to give detailed descriptions of the standouts.

Laub- Digitals pops evoking a rainy Sunday afternoon. Bass/guitar line fades in with feedback. Tape delay sounds, rain fades, skeleton of the song remains, while AGF’s vocals are lured into the mix. Dramatic ending as bass fades in and out, slowly until it vanishes completely. Kit Clayton-Delicate, pulsing sine waves on top of thick soundscapes, strings floating in and out of the scenery. Mathieu takes Clayton’s cold and crisp sounds and converts them to warm, lush environments. Antenne-Soft percussive elements ride the crescent of warm waves and ambient tones, shifting chords, gently growing stronger as the tides rise. Autoposies-Layered sine waves begin, melting into faint pulses. We hear the sounds of mechanical dolphins and whales conversing, ending with bubbling textures reminiscent of Vladislav Delay’s earlier works. Yo La Tengo-repetive textures appear clicking over one another creating digital harmony and ear candy. Mathieu stretches the chords lightly. The chords are the remnants of original track, no percussion, just soft clicks.

My only complaint with Edits is that it was not released in the dead of winter, when it could have warmed my bosom as I sipped on some hot mint tea, staring out the window wondering if it will snow. If you are not familiar with Mathieu’s work, I strongly recommend his FrequencyLib on Ritornell, as well as Edits. He can also be found collaborating with another artist raising the envelope, Ekkehard Ehlers. They have a reissue of their work to be released soon on Orthlorng Musork on double cd/vinyl. It will also contain some remixes, but I am not concerned with the quality control factor here. Right now, I feel that anything Mathieu touches, will be unique and interesting; even the remix.

Gregg Kowalsky in Oozebap

 

Full Swing - Stephan Mathieu - has created a series of edits/remixes/tracks from a range of bands and individuals - I haven’t heard most of the base material (possibility for a companion disk), but what we have is a wonderful series of very varied pieces which has given Mathieu full rein to explore in a multitude of directions, but with some consistency in tone and approach that results in a coherent album.

Laub. [weit weg] (not really the title of the track, but the background information; each is referred to as an edit, which will be assumed) opens with a shimmering ear-to-ear cloud of tap/tones with music hidden in it that emerges as a light melody with futzing clicks over. A processed female voice, guitar tones make forays over this surface, a light and delicate construction (like all these edits) that returns to shimmer and tones for the fade. Two tones loop with thrum and guitar scrabble in Kit Clayton. [~], scratching emerges and light tones develop from the underloop, with minimal and subtle changes until about halfway when the tones seem to increase and the scrabble fades, a soft buzzfuzz builds over mini-siren-tones and building strings, then long tones take the fade. Each piece is between five and eight minutes long during which space Mathieu creates dynamic stasis and complex variations.

Antenne. [going nowhere] (which I realise I have heard with the Antenne release) has a distorted crackle and snatches of arhythmic drum brush, dropped percussion and a tone that wavers and pulses, some hints at the original vocal: all unstable and uncertain, little tittit sounds and shimmering guitar tones build to a shaky and edgy tone wash. Lots of little activity in Autopoiesis. c[ ] where a held purring tone runs through changing into a wider tone and back as scratchy spirals and clicks, ratchets and chitters dance over the top, rumbling to a climax before fading back to the tone. A continuing of the approach, Raumgestaltung Eins. [070300] has a soft his with clicks and pops, a bubbling melody within, looping into a pulsing blips that move in and out of sync, the buzzhiss also pulses and surges to include a voiced crackle, deep pulse minimal fade.

The rhythm of breathing seems to underlie Autopoiesis. D 03 as edgy crackling whoosh loops, cycled pops and distorted fragments ebb and flow, bursting with occasional energy, coalescing around a tonal pulse. Ekkehard Ehlers. [spater] opens with a soft high tone that breaks into modulated pulses and is joined by a dense clicking which could be rain, a juddering deeper tong and soft swirling musical tones, clicksblips and percussive taps. A faffing burr clicks taps and a visceral tone in Monolake. [postcard] and then a high edgy whoosh, light keys and tapping cycles that build and fall to fade.

The last two tracks are the simplest sounding on the album: Yo Lo Tengo. [Hoboken Beach Bums] is a jumpy sampled cd sounding cracked assault on the melody, accompanied by clicks static and washes, delightfully disjointed; and Akira Rabelais. [...] where long resonant ringing tones (some quite high and piercing) are layered on a hiss and a deeply hidden melody. These two make a lovely relaxed ending to a highly complex and masterful album. It is a brilliant collection of reworkings that have allowed Mathieu (as Full Swing) to express his own voice from a variety of angles which, when sighted along, point directly towards his intense and sensitive aesthetic. Essential listening.

Ampersand Etc.

 

Preamble

I had a strange revelation this past Friday evening. I had just finished DJing at a warehouse party, throwing down an unusual mix of 2CB records and minimal techno, and enjoying myself in the mass of sweaty bodies, when I lit a spliff with the promoter and talked politics. And while we were debating the merits of Negri and Hardt’s Marxist tome of global imperalism - Empire - one of Vancouver’s (not so) infamous progressive DJs, Kevin Shui, came on the decks. I was expecting cheese. But, to my techno-centric surprise, I enjoyed the first few tracks. They were deep / house / trance? Deep and booming, and incredibly emotional, filled with slight melodrama and deep sorrows that eventually came around to emotional highs, the music caught me off guard and the next minute I found myself entranced and jiving away on the dancefloor. In my stoned reverie, I felt at one with both the hazy memories of my past raving days and, oddly, Simon Reynolds. For Reynolds always defended trance for its emotional signatures - perhaps too much so, in my opinion, and as Shiu went off into rising-synth-trance-land-with-big-breakdowns I quickly lost interest in the predictable song structures and turned back to Marx. But I was intrigued. None of the above has anything really to do with Full Swing’s recent album in a direct sense. But when I put it on today, I felt the same pangs of emotion. Perhaps this has something to do with the fact that I am moving to Montreal from my beloved Vancouver. Perhaps I am in post-weekend recovery mode. But now, at this moment, I am not stoned, nor tired, and it is a Sunday afternoon and the music is speaking to me clearly. By comparison, yesterday my cousin decided to blast a mix CD from Sasha and Digweed, and although some of the tracks were similar to Shiu’s, I was not captivated. The music only worked for me at that one, stoned moment in that warehouse. And now, to these ears, it is Full Swing’s remix project that not only captivates, but builds contemporary melancholic memories for me to experience in blissful Proustian reverie 20 years later, when I eventually get around to reflecting on this move in a horrible self-tortured paranoid pot trip. You know, one of those dark and introspective trips where you cannot even get out of your chair, and your mind splays your meager consciousness across the expanse of the universe.

The Review

Full Swing’s remix project is like that - darkly intense, melancholic, post-everything vibes. He’s got excellent material to draw from: Kit Clayton, Laub, Akira Rabelais, Antenne, Monolake, Autopoeises, and Yo La Tengo. Unlike most remixes, each track is treated beyond a simple representation or repetition of its original. This is as much an album of Mathieu’s music as it is a ‘remix’ CD. Take the ‘edit’ of Laub’s ‘Weit Weg’ although the original elements are present - guitar, vocals - the arrangement is morphed and retranslated through re-sampling, thereby carefully rearranging the track as well as processing the sounds. Fragile click-pops form a delicate percussion that trickle above the muted and distorted vocals, eventually giving way to rolling sine-waves that quietly end the piece, much the same way it began, when granular clouds rose from the deep to introduce the guitar-rhythm, only to fade into nothingness (and before the granular motif became overdetermined).

Much the same can be said for the ‘edit’ of Kit Clayton’s [~]. Although similar in emotional palette - melancholy forms a string of continuity across the album - the ‘edit’ is in many respects very different. Clayton’s distinctive dub-chords are transmogrified into sonar pings that bounce deep in an ocean of synth wash, and the track carefully moves through successive stages of this exploration before ending on a drawn-out fade-out of the last note.

Each ‘edit’ displays a careful attention to detail and to the original’s motifs, which are not prominently displayed like a glaring neon signifier, but translated and submerged through Full Swing’s deeply personal emotion-filter, leaving a husk of rainy tears that gently guide the remix’s potential to blue horizons and stormy lakes.

This album is an ocean of ambience and texture punctuated by the remains that tell a story and beckon at a mystery and leave us imagining the past. Jagged ruins, stone streets of Roman frontier towns swarming with lichen and growing tourists; and yet who to tell if we grow or swarm this album with our interpretative ears? Slowly, the album proceeds, delicately, metaphorical lichen; administering the gaze, taking the photo, capturing the moment and the presence of myself in this moment, Full Swing and I as the listener are tourists on this foreign soil - and Mathieu has a shovel and has begun to dig, to bury memories in the ground and body of another.

Theory

Each track bears the signature of its artist - the singing sine-waves of Rabelais, the movement of Monolake - that renders itself irreducible to representation. And by this, I mean by either language or what we call a ‘remix’ at its potential limit. For a remix in this case - always in this case, this singularity - is an erasure of that signature, an effacement of the original with the remixer’s signature; yet this effacement always leaves, and is always followed by and preceded by a trace of the architectonic, the idiom and its ground. The moment of poiesis is that which, and through the remix, escapes - and in its escape, leaves a partial signature signed by neither Full Swing nor the artist under re-mix.

It is perhaps a strange body split. “The pictures are cut down the divide line of the body and fitted to other pictures of prospective partners - For example two boys fucking in front of a cubicle screen can see their pictures developed after a few seconds and permutated with other sex acts in other cubicles half one half the other shifting back and forth and speed-up slow-down line cutting the two halves apart to neon-through the open window trailing other pictures” - William S. Burroughs, The Ticket That Exploded.

The sweat of the body in the signature that moves in poly-directions: the body is displaced into a thousand acts of aural signing. Full Swing submits himself to Kit Clayton, and Clayton takes it from Rabelais, Monolake sees Full Swing but gets Laub, who are caught up with Antenne, and so on. In each repetition of the remix the anterior affects what is supposedly interior to the remix. This is not just on either side, to each side of the track under scrutiny, but all ‘remixes’ on the CD and the permutations of the 10″es, all the out-takes not heard and mixes not put to mastering, all the attempts and sound files archived or destroyed, the memories of sounds not actually present that affect the current re- and de-composition of the tracks involved). In each repetition of remix-policy, of the application of the genre-form which in itself is neither strictly genre nor form for it too submits itself, always, to the repetition and difference of its tangents, the signature and the sound of its signing is haunted by the echo of every other permutation, of the documented and archived image of the other artists. The overwhelming themeatic of these encounters - numerous, unspeakable and interminable - is melancholic, and my response, the only response I can make at this moment and in this context, is one of mourning.

Tobias van Veen in Electronicmusicreviews.com, 2002.04

 

Stephan Mathieu has over the course of this year made his name and his moniker Full Swing much more well known, popping up on everything from Mille Plateaux’s ultra cool Click and Cuts compilation to the harder to find collaboration with like minded German Ekkehard Ehlers. On his latest LP FrequencyLib (on the Mille Plateaux offshoot Ritornell) Mathieu digs deep in to the dustbin of pop music history to find deeper meanings and hidden frequencies. The LP, which is a collage of 26 short motifs that are all constructed from songs that would on occasion pop in to Mathieus head, is an evocative world of digitized melodies and analog hiss. Occasionally familiar guitar lines shimmer and spit up recognizable tunes, as with “Some of Today,” comprised of the Smashing Pumpkin’s “Today,” or with the last track, “Gut Nacht,” a rendition of a Beatles’ tune that Lennon would be proud of.

More often than not though, the source martial is hidden in a warm fuzz or slowed down to a glowing haze of its original self. There are about 10 tracks in the middle of the LP that bleed into each other, creating an ambient collage of cooled out digital bliss that cracks and skips through each ones short existence. It’s breathtaking to say the least, and at times so quit and simple that you get the feeling if you move too much you might miss something.

With his collaboration with Ekkehard Ehlers, Mathieu finds a much more literal approach to song production. The first (and last) track, “New Years Eve,” features a strong, almost giddy keyboard melody set to a back-drop of recorded fireworks. The result is an evocative introduction that leads us into a world of acoustic instruments turned inside out and upside down. Keyboards’ suspended melodies drone atop beds of analog hiss. Digital production definitely plays its part on this LP, but Ehlers and Mathieu seem less concerned with hiding the human figure, and instead just blur it a bit.

It does have its overtly computer moments though, and tracks such as “Herz” and the stunning “Vinnies Theme” serve to exemplify the Duo’s fascination with the glitch. Overall though, the success of this CD is not about one production method or the other, but their ability to find a common ground between the two. Live instrumentation and using the studio as an instrument become one, allowing the duo to create a world that is wholly their own.

Under the moniker Full Swing, Mathieu’s sounds and techniques change very little. His latest offering is a series of 10″ records entitled Edits, on San Francisco’s Orthlong Musork label (co-run by Kit Clayton), each one being a remix of another artist or group’s material. The first in the series features reworkings of Antenne and Monolake, and the second features edits of Autopoieses material (a group in which Ehlers is a member). Again, Mathieu leaves behind only trace elements of the original track, exploiting small portions of sound and exhausting every possibility within each. In the case of the Autopoieses, “c[]EDIT,” the source martial was a blank side of vinyl, containing no musical information whatsoever. The result is a collection of sine wave drones that lay behind the computer-baked artifacts of the analog medium. The flip side is again comprised of vinyl, only this time a locked groove. It folds into itself in an underwater bath of hard drive noise that recalls the glory days of Markus Pop. The Antenne remix comes off like a recording of an improvising drummer playing a kit of static, while the Monolake track is ramped with layers of off kilter percussion. Both tracks serve to exemplify Mathieu’s love for his first instrument, the drum kit.

Although the computer plays a large part in all of Mathieu’s productions, his appeal is in his sense of acoustics. His reliance on played instruments and analog media as a jumping off point has produced a body of work that is hardly ever cold and calculated. Instead it glows warm, and always invites us all in.

Jefre Cantu-Ledesma in Fakejazz.com, 2001.10

 

Orthlong Musork finally offers up the last two 10″ records in Stephan Mathieu’s [Edits] series. The series, which started last fall, consists of five records in all, each a reworking of another artist’s or band’s music. These last two records, more so than the first three, hover in a kind of dream state, sounding more like distant memories of the original tracks rather than remixes. The Yo La Tengo track for example, composed from their Danelectro EP, seeps in to your field of listening with slight stuttering notes that seem to glisten on the surface of the record. The foreground and background are constantly shifting, and as one cluster of notes fades away, another scurries to the front to replace it. The flip side is composed of a single guitar refrain from a song by the improv rock band Raumgestaltung, who share their hometown with Stephan in Saarbruecken, Germany. By far the most frightening of the tracks, it comes off sounding like an SOS from a sinking ship picked up on an AM radio in the middle of the desert in the early hours of the morning and has no resemblance to an electric guitar whatsoever. Both tracks successfully meditate on a harmonic theme, which seems to be one of Mathieu’s strong points.

The Kit Clayton remix has elements of Clayton’s “LATKE” 12″ as well as excerpts from one of Mathieu’s live performances. Apparently the last few moments of the track also include a sample from the Muppets’ “Never Before, Never Again” song, sung by Miss Piggy. The heartbeat of the track is a synthesized pulse that staggers from the left to right ear, while harmonies play on top, and organic drones undulate and shift in the background. Mesmerizing stuff, and a far cry from the beautiful assault of Clayton’s original track.

The flip side was originally composed for Akira Rabelais’s Eisoptrophobia release, a project of audio/video pieces presented on DVD. Apparently lost in the mail, it never arrived and missed the deadline. Fortunately for us though, it turned up here. A gentle piece, definitely the most minimal and the most elegant. It’s a ghost of a track and drones subtlety along displaying more empty space than glitches.

A fitting end to an amazing series. Don’t hurt yourself if you missed any of these records, Musork has plans to release the series compiled onto CD later this year.

Jefre Cantu-Ledesma in Fakejazz.com, 2002.04.05