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Marcus Schmickler|Palace Of Marvels (queered pitch)

Palace Of Marvels (queered pitch)

Marcus Schmickler

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Language available : english

German electronic composer Marcus Schmickler, probably best known for his role as one-half of electronica/post-rock duo Pluramon, has released several albums of squelching, skittering, chirping music under his own name, and Palace of Marvels is his second for the Editions Mego label. In some ways it's an odd throwback to the '90s or the early 2000s; its abstract compositions with their elliptical titles ("Risset Brain Hammer," "Sheps Infinity") recall the work of Autechre, Plug, and other Warp Records signees. And while the swirls of static which fuzz the margins of the sonic field behind the simple, hypnotic keyboard melodies on tracks like the aforementioned "Risset Brain Hammer" or "Discordance Axis" -- which based purely on its 8-bit video-game-ish sound is probably not a tribute to the defunct grindcore band of the same name -- are interesting, there's too little here in the sense of traditional hooks for a casual listener to maintain his or her interest. Only someone deeply obsessed with the incremental shifts in digital sound processing technology will ever be able to really love this record. Its beauty is too cold, its overall level of abstraction too high, for mainstream ears.
© Phil Freeman /TiVo

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Palace Of Marvels (queered pitch)

Marcus Schmickler

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1
New Methodical Limits of Ascension
00:04:44

Copyright Control, MusicPublisher - Marcus Schmickler, MainArtist - M. Schmickler, Composer

2011 Editions Mego 2011 Editions Mego

2
Cursive Phasing
00:02:25

Copyright Control, MusicPublisher - Marcus Schmickler, MainArtist - M. Schmickler, Composer

2011 Editions Mego 2011 Editions Mego

3
Risset Brain Hammer
00:08:37

Copyright Control, MusicPublisher - Marcus Schmickler, MainArtist - M. Schmickler, Composer

2011 Editions Mego 2011 Editions Mego

4
Smooth Hang (Gliding)
00:03:27

Copyright Control, MusicPublisher - Marcus Schmickler, MainArtist - M. Schmickler, Composer

2011 Editions Mego 2011 Editions Mego

5
Mystery Bouffe
00:08:32

Copyright Control, MusicPublisher - Marcus Schmickler, MainArtist - M. Schmickler, Composer

2011 Editions Mego 2011 Editions Mego

6
Charm/Anticharm
00:02:35

Copyright Control, MusicPublisher - Marcus Schmickler, MainArtist - M. Schmickler, Composer

2011 Editions Mego 2011 Editions Mego

7
Hypercubist Pareto Dist
00:02:24

Copyright Control, MusicPublisher - Marcus Schmickler, MainArtist - M. Schmickler, Composer

2011 Editions Mego 2011 Editions Mego

8
Sheps Infinity
00:04:06

Copyright Control, MusicPublisher - Marcus Schmickler, MainArtist - M. Schmickler, Composer

2011 Editions Mego 2011 Editions Mego

9
Quasi-Segregative
00:02:47

Copyright Control, MusicPublisher - Marcus Schmickler, MainArtist - M. Schmickler, Composer

2011 Editions Mego 2011 Editions Mego

10
Dicordance Axis
00:01:59

Copyright Control, MusicPublisher - Marcus Schmickler, MainArtist - M. Schmickler, Composer

2011 Editions Mego 2011 Editions Mego

11
Mass Ornament
00:07:07

Copyright Control, MusicPublisher - Marcus Schmickler, MainArtist - M. Schmickler, Composer

2011 Editions Mego 2011 Editions Mego

12
Palace Of Marvels
00:11:10

Copyright Control, MusicPublisher - Marcus Schmickler, MainArtist - M. Schmickler, Composer

2011 Editions Mego 2011 Editions Mego

Albumbeschreibung

German electronic composer Marcus Schmickler, probably best known for his role as one-half of electronica/post-rock duo Pluramon, has released several albums of squelching, skittering, chirping music under his own name, and Palace of Marvels is his second for the Editions Mego label. In some ways it's an odd throwback to the '90s or the early 2000s; its abstract compositions with their elliptical titles ("Risset Brain Hammer," "Sheps Infinity") recall the work of Autechre, Plug, and other Warp Records signees. And while the swirls of static which fuzz the margins of the sonic field behind the simple, hypnotic keyboard melodies on tracks like the aforementioned "Risset Brain Hammer" or "Discordance Axis" -- which based purely on its 8-bit video-game-ish sound is probably not a tribute to the defunct grindcore band of the same name -- are interesting, there's too little here in the sense of traditional hooks for a casual listener to maintain his or her interest. Only someone deeply obsessed with the incremental shifts in digital sound processing technology will ever be able to really love this record. Its beauty is too cold, its overall level of abstraction too high, for mainstream ears.
© Phil Freeman /TiVo

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