Stefan Goldmann

“Voices Of The Dead”

MACROM06 scanZoom inLabelMacro
Cat. No.MACROM06
Orders fromMon, 15 Sep 2008
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!!!!!!STRICTLY LIMITED TO 500 COPIES!!!!!! Together with Stefan Goldmann’s debut CD “The Transitory State", Macro releases a strictly limited box set containing five 7″ records holding the electroacoustic album “Voices Of The Dead". With his releases for Innervisions, Perlon and Macro Stefan Goldmann has been a key figure at the cutting edge of post minimal techno and the renewal of house music. This album is a distinctively different affair though, reaching far beyond the scope of dancefloor electronics. Starting a trilogy of concept albums, Stefan Goldmann searches for the common root of all music in an electroacoustic setting. From this album “Turret” is already renowned as the intro sequence of Richie Hawtin’s groundbreaking DE9 Transitions mix compilation and was also commissioned by the Biblioteque Nationale de France for the IMEB Phonoteque public collection. The artist explains: “At first sight we recognise upfront elements like a melody or rhythmic pattern, which we associate with a certain piece or style of music, but there is tension between two notes, hard-to-define background information that at a closer look is found everywhere - within the music of Coltrane and Stravinsky, Death Metal and 9th century Byzantine chants. If there is anything like a total, secret common ground, than it’s this information lurking in the background. These are the “Voices Of The Dead", the heritage of an endless line of ancestors brought forward through the centuries. I tried to make these elements audible as clearly as possible.” “Really like this weird space ambient one. I’ve put Katorga and Izo already into my Final Scratch computer and have been playing them!” (Richie Hawtin on “Voices Of The Dead") Record Release event at Berghain / Panorama Bar Berlin on September 4th, 2008, feat. Ricardo Villalobos, Mika Vainio (Pan Sonic) and Ulrich Schnauss (tbc).

MACROM06 in the media

Dan McElligott (DJ Mag): “VoTD CD really opened my ears to Goldmann, best I've heard in a long time. Have played some on the radio and when opening sets in clubs. Weird response to say the least!, but for me, home listening at its very best!”

Groove Mag (GER): “Sich an den Rändern des Geschehens zu bewegen, an den instabilen Übergangszuständen von Genres und Clubfunktionalität zu arbeiten, die Unsicherheit zu suchen, das hat sich für Berlins Stefan Goldmann bislang gelohnt. Wie kaum einem zweiten ist es ihm gelungen, das Abstruse, den psychotischen Krach und das ungemütliche Geräusch in seinen Stücken wuchern zu lassen, ohne deren reiche Musikalität und Tanzbarkeit zu verraten. Die Entwicklung, die ihn überaus erfolgreich in die Knoten der aktuellen Verwindungen von House und Techno katapultiert hat, ist auf The Transitory State dokumentiert, mit den behutsam editierten Hits der vergangenen fünf Jahre sowie sechs neuen Stücken, in denen die spröde Überdrehtheit seines neuartigen Minimax-House weiter kraftvoll ins Absurde getrieben wird. Aber Goldmann hat noch höhere Ambitionen. Es geht ihm um nichts weniger als um die Destillation einer „unmöglichen“ musikalischen Essenz. Voices Of The Dead, das unabhängig als Vinylsinglebox erschienen und der Transitory State-CD beigefügt ist, sucht diese ephemere Substanz in den elektroakustischen Spuren, welche Free Jazz, Neue Musik und die marginaleren Ausformungen von Pop hinterlassen haben. Den alchemistischen Stein der Musikweisen hat er damit noch nicht gefunden. Aber bekanntlich ist ja der Weg das Ziel – und der ist mehr als spannend. ”

Ian Boddy (Din): “The pieces are nicely crafted”

John Zorn (Tzadik): “We enjoyed your music very much. Thank you very much for your submission.”

Mixmag (UK): “ Some of the most certifiably, disturbingly, brilliantly wrong ambient excursions we've heard in an age. Dance music needs mad genius like this.”

Namlook (Fax): “Das Niveau dieser experimentellen Explorationen ist sehr hoch.”

Oli Warwick (IDJ Magazine): “Stefan Goldmann is a super-hot producer - really interesting to see him doing a whole LP of noise/atmospherics as well as his stunning dancefloor productions.”

Resident Advisor NET: “"one of the baes albums this year..!" Stefan Goldmann follows his own path. His productions have invited all sorts of comparisons, but only serve to highlight the differences between him and other producers. His works are eerier, colder than those of, say, Âme; the dynamics are subtler and less predictable than those of the Border Community crew; and his tracks aren’t as showily out-there as, say, Villalobos. The first disc here, The Transitory State, is a collection of works released over the past three years, but the lack of novelties is made up for by the fact that, put together in sequence, this album sounds wonderful. Goldmann's strength is partly in his sense of adventure, and every track follows its own path and logic, each feeling like a trip into the unknown. Opener "Lunatic Fringe" sets a truly unsettling "Dies irae" choral work against malevolent acid keyboard lines for a totally arresting sound. "Prefecture" is perkier, but equally portentous; screams and coos ring out over tolling bells, heightening the sense of drama that pervades The Transitory State. "Radiant Grace" heralds a change of pace; a guitar riff slowly builds into a track that's expansive without being ostentatious. Then there's "Aurora," a relatively straightforward house track that later turns into a beatless, rudderless soup—a moment that feels like Goldmann casting off his stylistic hooks, making a break from the 4/4 form, until…we’re into "Sleepy Hollow," which continues to sound jaw-dropping, despite having been heard so much over the past couple of years. Its perfect balance between driving rhythm and delicate tones, a gorgeous fluid bassline and glistening synths, still strikes a chord. The pacy "Phraselab" leads into "Beluga," which has an exquisite sense of tension building, lifting and building once again, the two sensations more or less becoming one in those statically pulsing keyboard notes and clanging electronic bells. Time seems to distort as the teasing synths loop back over one another ominously. "The Bribe" takes up where "Sleepy Hollow" left off; and "Blood" is the essence of high-speed, tense drama. And low-speed closer, "Last Wave," sounds both methodical and threatening, sedate and vicious. Which leads us to second CD, Voices of the Dead, which inhabits an odd twilight world of static tones and electroacoustic hums, a stripped-down soundscape of evil resonance; a kind of bare-bones ambient music. I wouldn't call it over-ambitious; on its own terms it's a success, an accomplished foray into little-explored sounds. In all honesty, I can’t imagine many people I know wanting to listen to this; I haven't learnt to love it yet. Nonetheless, I do find it hard to switch off once it's started. The scale of this project might seem pompous to some, but Goldmann comes out of it well—his ambition is justified by the quality of the music. And whatever you think of the second disc here (and it seems guaranteed to split people down the middle), the first is doubtless one of the best house albums released this year.”

Richie Hawtin (Minus): “Really like this weird space ambient one. I've put Katorga and Izo already into my Final Scratch computer and have been playing them!”

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