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patron & patrons »gen« bezieht mehrwert aus dem zusammenspiel von analogem bass- und kontrabass (frederik von de moortel) mit electronics (me raabenstein).eine stimmige platte für die chillout-phase...
alfred pranzl, skug.at, austria 12/08
in an album so heavily entrenched in a machinated aesthetic, it’s surprising then that the disc would take its name from the one track that reminds you there are two humans behind the scabrous beats and vortexes of sound. amidst the dropping of digital cluster bombs that explode in showers of bass-swathed fuzz and the staccato, skittering glitches, sukuran’s double bass rears its organic head, voices appears like half-remembered dreams, guitars swirl with delay and a doleful sax moans.
‘gen’ is the album’s centrepiece, and is fittingly the title track to berlin outfit patron & patron’s latest release. on gen, beats crackle and cascade, whirlpools of sound slice across the digital landscape at grating, ear-piercing pitches and synthesised bass remains anchored murkily below the surface. gen is as much an exploration into the digital realm for the composers as it is an excursion for the listener into the inner workings of patron & patron. the outcome of this is two-fold: at times, gen is overly monochromatic, bordering on self-indulgent. on a track like ‘finding home problem’, the duo overlooks something as simple as a coherent mix, with shronks and whhhuuurls building to eardrum-bursting point. it turns gen into a battle of endurance, rather than something that’s enjoyable.
conversely, frederik van de moortel and me raabenstein – the brains behind the brawn – balance the equations nicely on ‘either or’, ‘bouncing moonlights’ and ‘boon dog bone’. there’s a soft, almost delicate, touch to these songs that appropriately and intuitively marry sleek, knife-life rhythms and warm instrumentation like bass, soft, ethereal synthesiser pads and – in the case of ‘boon dog bone’ – glockenspiel. sure, these guys like autechre, and they’ve probably been listening to a bit too much gantz graf, but when you’re not being pummeled by the crashing waves in their digital sea, you can always find solace in the calm.
dom alessio, cyclicdefrost.com, australia 10/08
iniziate a segnarvi il nome di me raabenstein perché ho il sospetto che "il ragazzo abbia il risultato nelle gambe", forse ancora da migliorare nella forma dei pezzi ma i tempi ci sono ed ha fiato, questa volta in compagnia di sakuran (al secolo frederik van de moortel) con il moniker patron and patron.
essendo sua la nonine, raabenstein ci fa un po’ quel cazzo che vuole, però il punto è che download digitali o no questo ragazzo non sta facendo una serie di porcherie mal fatte tanto per avere un minimo di successo o una discografia corposa, o meglio, magari cercherà anche quello, ma fa le cose per bene "provare per credere" come aiazzone. anche questo disco suona magnificamente, forse non avrà nessun guizzo che faceva sì che anche dieci o vent’anni fa seefeel e autechre risultassero dei giganti fra i loro contemporanei, ma senza dubbio se non fa ancora parte del gruppo di testa, comunque è ben posizionato fra gli inseguitori ed è un greagario da rispettare. patron and patron, a differenza del lavoro con nono a nome di taub, gioca meno sull'effetto notte e molto più sul club, anzi diciamo subito che ricorda molto alcune cose parallele di kruder and dorfmeister, tosca nelle cose più rilassate e qualcosina di peace orchestra.
nonostante ciò non credo si possa proprio parlare di un disco da k7 visto che il taglio dei due è un po’ più elettronico e più cupo rispetto al nu-jazz, funk della label austriaca, ma pasticci e suonini viaggiano sempre su di una corrente calda, melodica elegante e mediamente rilassante. a tratti il risultato mi fa venire in mente alcune cose della k7 come se fossero passate fra le mani di qualcuno del giro sonig, non necessariamente i mouse on mars, ma qualcuno degli "elettronici" della loro scuderia che mediamente si differenziano abbastanza per estro ed "extravaganza". la venatura in stile club da ore piccole resta e questo mi fa pensare che un po’ sia il gusto di raabenstein, ma magari dipende solo dalla gente che si sceglie per le collaborazioni, sia quel che sia se questa roba è quella che passano i club e certe discoteche mittel/nord europee ben venga dato che pezzi come bouncing monologues fanno venire voglia di un bel trip pure a me che sono "nailed to the x". c’è spazio anche per fare vedere dei muscoli da ritmica post-techno in boon dog bone, ma anche in questo caso spaccata e smontata per venir reinserita in un nuovo collage. la title track riporta su di un terreno morbido quasi jazzanova o il meglio di the future sound of jazz ed è un bene dato che non si tratta di una semplice copiatura e varia il gusto. ribadisco, se vi piace masticare l’elettronica, tanto di più quella melodica, la nonine non è niente male e se "nun ve piace" masticate qualcosa di più duro e che non si attacchi al lavoro del vostro dentista.
andrea ferraris, sodapop.it, italy 10/08
on the hour-long gen , patron and patron produce a dense brand of jazzy electro-funk with sakuran's bass and double-bass playing lending an appealing bottom end to the group's multi-tiered swirl. following an ethereal sample-heavy intro (“we are not alone”), the duo get down to business with “finding home problem,” a subtly swinging exercise in electro-dub atmospherics and looped voices, and the funky “laptop jazz” of “either or” which suggests some degree of kinship between patron and patron and burnt friedman. the duo's music exists halfway between the club stage and the computer lab with propulsive rhythms rubbing shoulders with rich textural colouration throughout. though “magenta verve” works up some of the album's most aggressive viral snarl, the album's most impressive cut may be the titular provocation which merges saxophone playing and varied electronic textures with a slow-moving beat throb. the term “cinematic” is thrown about too often but it legitimately applies here as de moortel and raabenstein put a great deal of effort into constructing off-kilter, sci-fi films for the ears (exemplified most uncompromisingly by the congealing, eleven-minute closer “black verve”). even so, beats and rhythm structures are the key ingredients in this context for, without them, the tracks, which are more atmospheric than melodic or emotive, would amount to little more than mildly-captivating soundscaping.
ron schepper, textura.org, canada 10/08
like many of these electronic artist, the music is usually composed by one man or a duo, in this case, the later is true: sakuran (frederik van de moortel) and me raabenstein makes up patron & patron. there's a lot of usage of bass in these songs, which is kind of unusual for electronic artists. but you'll quickly find yourself at home when you run into random noises and quirks throughout the album.
there are no lyrics (although there are random movie lines or something, like "we are not alone"), so you're left to interpret each song. this actually makes it really hard for me to describe to you what each song is about. there seems to be an industrial influence on this album, songs like "magenta verve" uses natural sounds like doors opening or chains (?), mixed with artificial energy... but warped somehow. of all the songs, i thought "either or" is perhaps the best one. there's a skeleton structure to it, and there's also a funky jazz feel to it. i'm calling it space jazz. i suggest you really experience this album with headphones to catch all the quirkiness and sound effects.
vu nguyen, weheartmusic.com, usa 10/08
ovo je samo fini psycho elektro-akustian (opet ponavljam, vie electro, a manje acoustic) album kojem se bez problema sluatelj preputa a da ne treba ukljuivati modane vijuge i ulagati napor za rekonstrukciju nekakve sofisticiranosti jer ona kao takva ne postoji. a k tome, kao i svaki drugi album moe se sluati zatvorenih oiju i matati. zato ne. ali se daleko vie mora cijeniti rad brian enoa i inih eksperimentalnih pionira koji nisu imali ovakve tehnike pogodnosti a napravili su epohalno vane radove s naglaskom na budunost glazbe. patron & patron su samo njihova prava djeca koja slijede stare tekovine u novom ruhu koje je lijepo, fino, armantno i elegantno za provod u novoj eri ambijentalnog post-techna. simpatino space post-techno/acid-jazz putovanje. ocjena albuma [1-10]: 7
horvi, terapija.net, croatia 10/08
love that patron & patron release... great sounds and rhythms. especially track 3! beautiful! nonine definitely wins my heart every time!
menno jager, sound of swoud, netherlands 08/08
sakuran und me raabenstein erschaffen hier ein wunderschönes, vielschichtiges klangalbum. den hörer erwarten experimentelle,
meist minimalistische downtempo - melodien mit feiner und durchdachter akzentuierung.
abo, stadtpark, oldenburg, germany
i really like it, its very dark but perfect sound track when you are sitting down to do some work. i imagine in the right space / club this would sound very heavy !!!
electric minds, uk 08/08
very strange sounds and rhythms = very nice on my ears!
dirty bruce, uk
another hit for nonine...
richard e, further out, uk
good vibes, more great nonine action.
jash, uk
p & p's got the good music coming out.
travis blaque, uk
compliments on the bouncing monologues, wild stuff, loving it...
confidential, holland
nice, dark and deep sounds.
addvibe, norway
very cool & nice & soundfull!
breemix, uk
great deep tunes.
demetrio / ccs, spain
ah dig. ahoy the good ship patron and patron. the eternal digital journey. count me in bro!!!
jazzheadchronic, uk
sounds great... hell yeah! concentration is everything... very focused work, no compromise. i love it....
kreng, belgium
cool music.
axel niedt, usa
cool dope...
irrationalz, italy
