THOMAS BRINKMANN

Thomas Brinkmann is one of the artists, alongside the likes of Pole, currently developing a dub/noise approach to isolationist electronica. Brinkmann has made a name for himself over the last couple of years, by remixing, or, as he puts it, “variating” Mike Ink’s Studio 1 and Richie Hawtin’s Concept series, using a specially designed two tone arm turntable. Rosa is his first proper album.
Claiming influences from Ryuichi Sakamoto, Steve Reich or Pan Sonic, Brinkmann offers with this effort a varied range of tracks, from sound experimentation (Doris 2/Olga 1) to melodic fast-paced constructions (Erika 2) to heavy, almost metallic, minimalist techno (Anna 1/Inge 1). To convey his soundscapes, Brinkmann makes good use of his turntables, damaged vinyl and effect box, and creates very convincing soundtracks. The compositions are in turn calm, moody, electrifying or aggressive, and the sound structure is always surprising, despite the fact that Rosa turns out to be slightly tedious at times, when Brinkmann seems to overdo it a bit (Nicola 1/Susi 1).
Fortunately, towards the end of the record, he recovers his creative skills to insufflate a clever (Ulla 1) with a high-pitched piano and a jazz-like melody.
With Rosa, Brinkmann seems to take his distance with the dub electronism of Pole, to explore more radical forms of dance music. He doesn’t always manage to keep the interest going, but, overall, Brinkmann offers here a very credible record.