Mais – Stand (2004)

Maetrixsolution

• Electronic music 
• Alternative dance 
• Kraut-electro 
• Kraut-techno 
• Electro pop 
• Alternative dance 
• Indietronica 
• IDM 
• Breakbeat 
• Breakcore 
• Deep house

Comment: this 7-track outing comes out of the discography of Maetrixsolution being an instance of supersonic electro the way of which being paved by motorik krautrockers and synth-led post-punkers and rhythms deconstructing alchemists. Beyond that the admission of the fact of existing hefty neokrautrockers, indie electronic artists and IDM musicians in the beginning of the 00s may have been influencers before a new hype of the New Weird scene did embark on (of whose more peripheral artists were also partially influenced by the aforementioned compartments). And additionally, the club scene with rattling broken beats, rusty jungle, deep house incantations and gritty sped-up cadences to provide a perfect, seamless smorgasbord of then tendencies approximately 15 years ago. At the time house and jungle were going out of mode but this album is a successful attempt to rehash the styles.

Mark Hamn – Function Buttons (2005)

Maetrixsolution

Complementary Distribution

• Avant-garde 
• Folktronica 
• Alternative 
• Experimentalism 
• Ambient 
• Glitch-folk 
• Glitchtronica 
• Post-folk 
• Organic electronica 
• Sampledelic

Comment: Mark Hamn is the pseudonym of an Italian musician, Francesco Giannico. It starts off like a music example of having lost its gravitation and as if coming out of a sinking car audio. Later on, it is filled in with succumbed shrieks, intense rattles, microscopic noises, thick bass frequencies, drawn-out sonic effects. And then a guitar comes in sometime to provide more anchored pinpoint for this 6-notch release under Maetrixsolution, Complementary Distribution (and temporally the Canadian Nishi imprint). By the way, by talking about Canadians, especially about these ones coming out from Quebec province I have to mention such artists as Simon Trottier, Nicolas Bernier, and Vincent Fuguere (Muhr) who also like to endeavour at crossroads of glitched-out electronica, folk and modern classical compositions. However, Francesco Giannico likes to play with the format and possible deviations and artificial errors within it. It is like an elegant standing against the form and pressure of a correct conversation and sterile creative process which are the obvious sources of killing our natural sense of (self-)expression. We just used to act in a way because we are teached to act in that way. Regarding what we should or must do, in fact, we do not have a comprehensive, experience-based understanding at all. We are like digitalised creatures with a narrow middle spectrum of frequencies if to be compared to the analogy of the sound. Just be ready to take one detail, then another and start to combine. Yet Francesco Giannico by standing in the middle of scattered sonic chaos will ultimately create blissful monumental spans and flashes. In a word, it is an exquisite listening.