Clicks & Cuts 5.0 Paradigm Shift [Vinyl LP]
Das seit 1993 stilprägende label MILLE PLATEAUX started sein neuestes Kapitel mit seiner wohl bekanntesten Veröffentlichung: Der legendären CLICKS & CUTS Reihe, die einer ganzen Stilrichtung den Namen gab. Die fünfte Ausgabe "Paradigm Shift" präsentiert eine völlig neue Generation junger Künstler und deckt das komplette Spektrum des Glitch-Sounds ab: von minimalen Clicks über IDM- bzw. dubbigen Tracks, Ambient und Tonkunst bis hin zu den 2 'Evac' Tracks, die das Artcore und organische Ende des Klangspektrums markieren. Jedes Stück hat seinen ganz eigenen Charakter und mit mehr melodischen und kompositorischen Anteilen als seine Vorgänger ist dies wohl die CLICKS & CUTS mit der größten musikalischen Substanz.
Nothing related to Mille Plateaux will ever be easy. Even though founder Achim Szepanski enjoyed debating Deleuzian philosophy in interviews and always considered his brainchild as far more than a platform for releasing experimental sounds, he was above all an immensely passionate man pushing experimental music far beyond what anyone considered possible. The label's folding in 2004 was not the result of bad management or waning interest but rather of the unfortunate demise of their distributor and the politics of efa, lawyers and some other people definitely having some criminal aspects to them, as Szepanski mentioned online earlier this year. Efforts of reviving the brand in 2005 and 2006 were short-lived and seemed to suggest the chapter had been closed on what may have been one of the most prophetic and influential outfits of the past decades. So it is with great disappointment that one now sees him openly fall out with the label's new owner Marcus Gabler over the aesthetics and contents of the most recent Mille Plateaux relaunch. Gabler was offered the trademark in 2008 and decided to acquire it as a promising investment and creative challenge through his Second Hand Mailorder Total Recall. Apparently, Szepanski was initially part of the package as an A&R, but from the early stages, there does not seem to have been any mutual understanding as to which direction the revived entity was going to take. The cooperation didn't work , Gabler simply explained in a talk with TJ Norris on Igloo Mag, while Szepanski posted an angry response over at the website of Resident Advisor: The politics and products of the new "Mille Plateaux" have nothing to do with the aesthetics, politics and music of the original label Mille Plateaux and the theory of Deleuze / Guattari. Which, to cut a long story short, is the plain and simple truth. None of the original Mille Plateaux-artists are on board this time around and even visualist Lia's defining designs have been discarded in favour of a far more object-oriented style of cover imagery. The focus has consciously shifted away from abstractions and put the composer rather than concepts in the driving seat. The initial focus on the musical work with sound material itself that allows new energies, intensities, to be captured has been replaced by a more traditional approach based on clear structures, an open embrace of melody and harmony and an integrative approach in which adjacent styles are invited rather than shunned. Mille Plateaux 3.0 and Clicks & Cuts 5.0 mark, by any objective measure, a break with the past and herald, for better or worse, a new phase in the label's history. And even though this open rupture with tradition has irritated old-time fans and old-school critics alike, Gabler has never made a secret of his complete ignorance of the workings of electronic music and compared taking over the creative aspect of the label to a virgin birth. Anyone expecting a revival, update or progression of what made Mille Plateaux the prototypical experimental Electronica label in the 90s and early new millennium, must therefore, by default, be disappointed. Clicks & Cuts 5.0 doesn't carry its subtitle ( Paradigm Shift ) for nothing and offers sixteen contributions by artists even the most expert listeners will probably never have heard of. Gabler has literally ploughed through hundreds of demos and thousands of tracks by the likes of Wyatt Keusch, Scattertape or Yu Miyashita in search of suitable material and his efforts have certainly not been in vain. One should never forget that, at the time the first Clicks & Cuts was released, most journalists had never even heard of Stilluppsteypa, Goem or Kit Clayton, so holding the relative anonymity of the album's artists against it is a strange reproach to say the least. --http://www.tokafi.com/newsitems/v-clicks-cuts-50-oval-ohAlle Produktbeschreibungen