A svéd mûvésznõ felvételei korábban a Mitek és a Mille Plateaux kiadóknál láttak napvilágot. Mûfajváltás nem történt, tehát ezen a kislemezen is minimal-house és electronica párosítása érhetõ tetten. Bár otthoni hallgatásra ajánlják az anyagot, a nyitó tétel, a Consumer Culture enyhén szólva is zaklatott világa erre kevésbé alkalmas, a mély hangoktól még kisebb hangerõn is minden mozdítható berendezési tárgy beindult a szobában. A címadó May ’68 sokkal lassabb, dub orientált, mély zene. A fonákon pedig újra a sodróbb, lendületesebb, de azért nagyonis atmoszférikus zenéké a terep. Akinek bejönnek Kit Clayton, vagy a Tennis munkái, ezt is csípni fogja.

After a fine album on Mitek, we hear from la Bonarelli again through this hazy/clear vinyl 10” e-p on No Type. And it’s once again quite good, doing electronic glitchdubs that may not be terribly original any more, but which are challenging listening experiences in their own right. One is actually pretty groovy. Which is nice…

Vers vocht uit de druipende uiers van het Canadese No Type-label. Het duo Coin Gutter maakt niets ontziende, hard industriële en dan weer sacrale elektronische ambient en noise, vaak doorspekt met moderne compositie. Denk aan Yannis Kyriakides in een remix door Merzbow.

Oeuf Korreckt is, ondanks zijn lullige groepsnaam, een bijzonder groovy elektronicacollectief dat met scherpe, licht industriële ritmes erg doeltreffend uit de hoek komt. Alleen jammer van die introverte, weinig verheffende productie.

De sampling-artieste Diane Labrosse werkte de voorbije tien jaar met klinkende namen zoals Ikue Mori, Martin Tétreault en Zeena Parkins. Elektronicafreak A_Dontigny was dan weer lid van het beruchte collectief Napalm Jazz. Tesamen brengen Labrosse en Dontigny spannende, verrassende en verontrustende elektronica -en ambientpassages die je het best beluistert met de deur op slot en het huisalarm op extra sensitive.

We Remain Faded van Headphone Science is de meest beklijvende release bij No Type. Met zijn mix van stuiterende hiphop en aan flarden gesneden raps leunt dit project van Dustin Craig nog het meest aan bij Prefuse 73. Maar de epische soundtrackmuziek die Craig in zijn composities verstopt, sleept deze plaat weg uit het avanthophoekje.

Twee erg leuke 10inch-vinylletjes zijn die van de Zweedse Claudia Bonarelli en de Amerikaan Todd Brooks a.k.a. Books on Tape. Met respectievelijk wollige clickhouse en punky elektrobeats zetten zij de street credibility van No Type extra in de verf.

Groovy click-house they say; dystopian mood-music we say. For the historically challenged among you, 1968 was a pivotal year for youth, with student riots in both France and Italy coinciding with a growing cynicism across the campuses of America, and here Sweden’s Claudia Bonarelli captures EXACTLY the mood of slow-dawning realisation that a change is gonna come, and it’s going to involve a fight. Electronica has never, read NEVER, been so emotive. Outstanding.

It’s groovy, deep and funky, yet there is nothing happening. A few clicks here and there, the same keys relooped over and over again, an almost inaudible bass and the straight drumbeats lost even further down in the mix. It is cool, relaxed and will make you bang your head nevertheless. The invisible disco. Minimal is the word. Four tracks for the modern lounge right before the night breaks loose. And no one will care if that lounge is in some urban hotspot or your own livingroom. Or if you make your living room into a hotspot. If you have style, style is where you have it.

Claudia Bonarelli from Sweden has released on Mille Plateaux and Mitek. And she has style, I am sure. Listening to these four tracks you wonder, why she never released on Kompakt, but she is not from Cologne. See. Four tracks not too different from each other, only in the intensity or non-intensity of the four-to-the-floor house-beat that is subdued somewhere in this mixes, and sometimes missing completely because it is transformed into a repeating static-click. So these tracks make for good at-home-listening as well. If you want to play that at home. And I know, that there are more people doing DJ-Sets for themselves at home than you might think.

This is one of those records, where you think that listening really closely will reveal that there is a lot happening that you don’t hear if it just plays in the background. This time it is not true. There is not a lot happening. It is the mix and the relations between these few ingredients that make the magic of these tracks. This is where the space between sounds becomes as important as the spaces filled with sound. Minimalist. Another vinyl brick in an ongoing musical revolution? If so, it is a silent one. No flames and bombs, only dancefloors and DJ-sets slowly progressing onwards to something new. May ’68 is named as a “DJ ready, 120-gram clear 10” release” – does that say it all?

Den rutinerade kanadensiska MP3-labeln No Type, med snart fem år i branchen, verkar ha bestämt sig för att det är dags att börja släppa CD- och vinylskivor nu. Det kryllar visserligen av skivbolag redan, men No Type satsar eventuellt lite mer än de flesta, då detta kan vara den tyngsta tiotummare jag hållit i hittills. Dessutom får de till en rätt bra start på verksamheten i och med att de valt att släppa en platta med Claudia Bonarelli.

Johan Fotmeijer, som ligger bakom namnet, har nämligen rätt klart för sig hur man gör trevlig dub-techno med Chain Reaction-stuk. På den här skivan har kanske dub-ekandet hamnat lite mer i förgrunden samtidigt som bakgrundsknepandet tonats ner jämfört med hur musiken lät på debutalbumet Everything Happens Only a Certain Number of Times, som Mitek släppte förra året. Förutom i inledande Consumer Culture, som i princip är ren techno. En klart kaffedrickningsvänlig skiva.

Traduit du suédois.

Dann haben wir noch die geheimnisvolle Claudia Bonarelli, hinter der meiner Meinung nach irgendein schwedischer Nerd steckt. Auf der durchsichtigen 10-inch»May ’68« präsentiert sie/er verrauschten Basic Channel-Dubhouse. Tolle platte.

No Type has launched its first vinyl releases & they are keepers. Bonarelli investigates edgy, minimal beats with Consumer Culture and pays homage to revolution & Detroit on May ’68, with an electric-infused, beatless pattern of cascading & melodic rhythms (nods to Carl Craig). The flipside contains two further gems in the realm of atmospheric dub/techno. While Public Transportation is true dub BPM, the fade in-out of the 4/4 kick gives it a breathless pulse. Pop Summer Nights slices the ambient drones slowly, eventually brandishing its distant beats with a drifting mindfulness worthy of Chain Reaction.

Funky. Eien neue Platte von Claudia Bonarelli, bekannt von Mitek. Sehr smoothe clickrige Dubtracks mal mit Dancefloor Appeal, mal einfach nur wunderschön zurückgelehnt und schillernd perfekt auf einem transparenten 10” Vinyl. Definitv eine Sammlerplatte die man sich nicht entgehen lassen sollte wenn man ein Herz für digital angeclickten Dub hat. 5/5