Alongside Mike Ink, the Basic Channel collective and Pole, Thomas Brinkmann is one of the leaders in the ongoing German-born study of isolationist dub-inspired techno. Though he's been famed for productions on his own Max, Ernst, Soul Center W.v.B. and max.Ernst labels, Brinkmann gained a name in the experimental and techno community for his full-length remixes (or as he terms them, "variations") of material by Richie Hawtin and Mike Ink. The variations were made possible by... Read more
Alongside Mike Ink, the Basic Channel collective and Pole, Thomas Brinkmann is one of the leaders in the ongoing German-born study of isolationist dub-inspired techno. Though he's been famed for productions on his own Max, Ernst, Soul Center W.v.B. and max.Ernst labels, Brinkmann gained a name in the experimental and techno community for his full-length remixes (or as he terms them, "variations") of material by Richie Hawtin and Mike Ink. The variations were made possible by playback of the original records on a turntable of Brinkmann's own design, which included two tone arms with separate outputs for left and right channels. Brinkmann had in fact been experimenting with locked and scratched-groove records since the 1970s. A result was "KLICK" which was released last days of 1999, just made out of scratches cutted into the locked grooves of old records. some of this patterns where done in the late 70th. he offered this project allready in 1996 to "mille plateuaux" who didn`t understand it at all and later to "profan". rofan liked it, but they where missing the straight bass-drum. KLICK became a success nobody expected and it was another absolutly unique approch to rythm n sound out of the reference scales next to the "variations" and the supposé X vinyl. Show less
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