German musician Thomas Brinkmann began experimenting with turntables and
remixing on the EPs later collected on Variationen (Profan).
He then used those techniques to craft minimalist dub-techno singles
a` la Pole, such as
Monika / Nicola (Ernst),
Anna / Beate,
Clara / Dorris,
Erika / Frauke,
Inge / Jutte,
Yvette / Zora,
Olga / Petra,
Ulla / Vera,
Gisela / Heidi,
Karin / Lotte,
Susie / Trixi,
Wanda / Xenia,
Tina / Argo,
They would be partially collected on Rosa (Ernst, 2001).
Under the moniker Ester Brinkmann, he released the albums
Totes Rennen (Suppose, 1998),
Weisse Naechte (Suppose, 1999),
Der Ubersetzer (Suppose, 2001).
The last two are built around manipulations of vocal fragments.
Brinkmann's legendary status as a remixer was sanctioned by his reworking of
Plastikman's singles (in 1996). That project revitalized his career.
Brinkmann's fame was finally justified by
Klick (Max Ernst, 2001), his most complete and mature work,
transposing the minimal aesthetic of glitch music into the subliminal
ideology of dub music, the ideal
link between sound sculpting and dance-floor beats.
Row (Max Ernst, 2002) collects some more singles, including
Soul Center is a project of postmodern rivisitation and deconstruction of
soul and techno music over three albums titled Soul Center (WVB, 1999 - 2000 - Mute, 2002)
and two EPs collected on General Eclectics (Shitkatapult, 2011).
Far removed from Brinkman's experimental work, Soul Center offers propulsive
music that somehow harks back to the roots of dance music while hinting at
Tokyo+1 (Max Ernst, 2004) collects some of his most innovative
Lucky Hands (Max.E, 2005) sounds like a minor work by an unfocused
Klick Revolution (Maxernst, 2006) continued the program of
Klick with another set of subliminal, anemic, dilapidated
techno music assembled out of defective vinyl records.
When Horses Die (Max Ernst, 2008) is a mediocre collection of songs,
a bad idea gone worse.
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