Lollopy Dripper Flanger
- 1Onset05:38
- 2Sweet Silence03:14
- 3Heady Men04:36
- 4Körperspannung04:30
- 5Centre of Unrest04:15
- 6Spin07:30
- 7Mulch03:05
- 8They Don't Know What They Don't Know04:30
- 9Rubberhead Illusion04:06
- 10Chlorophyll Drop Shot03:43
Info zu Lollopy Dripper
Flanger ist zurück. Nach 10 Jahren komponieren und produzieren Atom™ und Burnt Friedman gemeinsam die fünfte Langspielplatte. Sich diesmal nicht auf ein Genre-dekonstruierenden Aktionsrahmen einlassend, bedienen beide die Geschicke, für die sie seit ihrem Debüt 'Templates' in 1999 immer wieder auf den Teller gelegt werden: ungreifbarer, mutierender, teils jazziger Elektroniksound jenseits der Zeit - und Raumschranken, 'codieren sie das Geräusch und die Ruhe' (Presseinfo 2002), 'bis es uns die Köpfe verdreht, und wir glauben gar nicht mehr richtig zu hören. Flanger macht Musik, die den Kopf anspricht und in die Beine geht.' (Die Zeit, 2005) 'Bet you didn´t think something this mutated could be this funky.' (echoes, U.K. 2001)
Über die vergangenen Jahre haben sich beide öfters in Burnt´s Berliner Studio zurückgezogen, um neue Energien freizusetzen. Waren die markanten, zurückliegenden Alben 'Spirituals' (nonplace 2005) und 'Inner Space/Outer Space' (Ninja Tune 2002) der Einbindung bis Zerlegung eines realen Jazz Instrumentariums, bzw. Kollegiums durch midifizierte, elektronische Bearbeitung geschuldet: 'here was jazz but not jazz, techno but not techno, some evil hybrid…' (Montreal Mirror, 2005), so wurde für 'Lollopy Dripper', bis auf Hayden Chisholm´s Altsaxophon in 2 Titeln, wieder 50/50 im Duo-Modus mit hauseigener, 'angewachsener' Ausrüstung komponiert. Ganz ähnlich dem set-up im Gründungsjahr 1997, als die ersten Tracks des Duos innerhalb einer Woche in Santiago de Chile - obschon nach einem eingespielten, naturalistischen Jazz-Trio klingend - im quasi 'brain to midi'- Modus programmiert wurden.
Atom
is one of the most prolific contemporary electronic musicians of our era, with over 200 releases produced under a dizzying array of aliases. Producing and releasing music since 1990, he is considered to be responsable for more than one fusions of musical styles, triggering entire sub-genres of electronic music such as "glitch-pop" (album "Pop Artificielle", 1999) or, perhaps his most well-known and celebrated project is “Señor Coconut”, of "Cha cha cha" Kraftwerk cover fame, which initiated the "Electrolatino" movement in 2001. As producer, re-mixer and collaborator he worked with and for musicians such as Ryuichi Sakamoto, Towa Tei, Yellow Magic Orchestra, Depeche Mode, Tom Tom Club, Bill Laswell, just to name a few. Pushing the envelope for more than two decades, he still keeps producing, releasing and performing electronic music, most recently with his "HD" album and the related audio-visual live show.
Burnt Friedman
is one of Germany’s most long established and highly rated electronic musicians with a career spanning almost 40 years. He was born in Coburg, Germany, in 1965 and has lived in Berlin since 2009. After initially being a student of art in Kassel in northern Germany, Burnt started to focus exclusively on music from the late 1980s onwards. He went on to attend the Academy of Media Arts in Cologne, as a postgraduate student, and began to publish his musical works along with his studio productions in 1979. He also began performing live around the same time, both of which soon attracted the attention of the Cologne electronic music scene. From there he progressed to various notable music collaborations throughout the 1990s on projects with the likes of Can´s drummer Jaki Liebezeit, Hayden Chisholm, Root70, Steve Jansen and David Sylvian. In 2000 Friedman launched his own record label, Nonplace, with 41 releases to date. His studio and on-stage partnership with Can drummer Jaki Liebezeit, now dates back 15 years; the two musicians have developed pioneering electronic-acoustic music, so called "Secret Rhythms".
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