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Rest

by

Isolée

 
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Avg: 3.5 (48 ratings)

IDM-style texture-tweaking mixed with the body-moving imperatives of house.

  • We Say...

    Here's something paradoxical: an album of anthems that became that way more by indirection than fist-pumping obviousness. Rajko Müller, the German producer behind Isolée, first made a serious splash with the epochal 1998 12-inch "Beau Mot Plage," whose blippy, treated guitar evoked Wes Montgomery getting caught in a very funky tumble-dryer. "Plage" set the tone for the rest of Rest, which stretches the single's dry-yet-sumptuous timbres (the malfunctioning-data-entry sounds of the aptly titled "Text") and plangent synth manipulations ("Gallus," which nods to the spacier end of Detroit techno auteurs like Carl Craig and Derrick May) even further. Along with another 2000 album, Luomo's Vocalcity, Rest helped to map the possibilities of morphing IDM-style texture-tweaking with the body-moving imperatives of house.

  • They Say...

    An intriguing work sounding like little that came before it, Rest reconciles a host of disparate electronic subgenres: the rugged synth-pop of the early Factory Records bands (A Certain Ratio, Section 25), acid house, the ambient techno axis of the early '90s, and experimental dub of the Basic Channel/Chain Reaction variety. Drum machines, noisy effects, and angular, gloomy synthesizers battle for supremacy on these dozen tracks, most of them defiantly unpolished and tough-sounding. The obvious highlight is the chill-out classic "Beau Mot Plage," already a veteran of countless mix albums before the release of the full-length. That fact takes nothing away from the power of the full-length in total, a daring album of sophisticated melodies and raw machine backing.

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