Düsseldorf-based
art-house Ego only existed for a couple of years, between October 1998
and August 2000. During this time, the place was the scene of many live
performances by electronic artists, ranging from club-orientated musicians
to sound experimentalists. Live Sets At Ego 1998-2000 compiles some
of the best moments of the place.
With a vocation stuck somewhere
between chill out club and art gallery, Ego was bound to attract some of
the most challenging artists around. From dance floor minimalism to the
equally austere grounds of atmospheric, Live Sets… bring together
some of the best of underground computer musicians, from Khan and Antonelli
Electr. to Opiate and Kit Clayton. Some of these tracks have been previously
released, but all versions included here are exclusive. Wether it is on
the distant, fast-moving, Continuous Mode (Untitled), the aquatic
beats of Produkt (Statik), the minimal experimentations of Monolake
(Pluto) or the electro-pop anachronism of Kotai & Bader (Welltick),
the listener is transported into some sterile parallel sonic universe,
devoid of notions of time or distance. Melodies are scarce, only briefly
emerging from nowhere before being swallowed again by the diverse rhythmic
constructions or waves of warm sonic displays. The first part of this album,
devoted to more upbeat tracks, is a celebration of minimal dance music.
Each composition focuses on the essential relationship between beat and
atmosphere in its very own way. The approach of Continuous Mode’s Andy
Mellwig or Antonelli Electr. is somewhat different,
some would say more accessible, than the more obscure ambiences created
by Swayzak or Markus Nikolai. The second half presents the more sound-daring
aspect of the lot. The hermetic sonic excursions of Markus Schmicker, Leandro
Fresco or Noto are met with the complex, organic
structures of Opiate, Thomas Brinkmann or Kit
Clayton. Despite the segregation of genres, or perhaps because of it, Live
Sets… is a captivating documentary on contemporary music, bringing
together a wide range of artists, some already widely established, others
craving for recognition. Electronic music doesn’t always transfer well
to live performance, but the contributions included here were all part
of a wider artistic project, and gain a dimension rarely heard.
Ego might be no more, its
founders long gone to work on other projects, but its spirit is well and
truly alive, and transpires rather well through this record.
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