Electronic

Markant Discography Markant Records Carsten Endraß

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These are all the releases I have collected from Markant. It's absolute genius.

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this cd has arrived a while ago and I have been listening to it on and off for quite a few weeks. from the very first moments I recognized it as a refreshing mix of idm and something else, that could be described as peculiar ambient. later on I became a little hesitant of the “idm” part of definition. at this point I can describe it as a very unusual mix of non-linear broken rhythmic patterns with noisy squeals, basslines, sliding melodic frequencies. it manages to create a very melancholic, both aggressively mechanized and organic atmosphere come to think of it, parts of this album remind me of older autechre, but infinitely more “human”, warm and appealing. as you can see I am at a loss here, the only point that I am sure about is that this is a great album that offers a very non-formulaic approach to idm genre. it is coming from the heavier, more splintery side of the genre, but yet possesses beautiful keys, occasional distant strings and certain, almost melodic structure that makes it closer to artists on dub label, but deeper, heavier. I am pleased to recognize layered percussion textures that carry almost “industrial” sounds – mechanized raw crashes, screeches, broken noises. and yet they are all contained within the tight restrictive boundaries of the track, merely adding an interesting layer to the music.
tracks like “evektion” say it all – a truly beautiful composition that mixes both melancholic strings, heavy drops of technoid percussion, elongated frequencies, distant background strings, and raw clashes of corroded metal. this is one of those random surprises that pops up from nowhere and completely mesmerizes you. this album is definitely something I would recommend to anyone that is into the darker, heavier side of electronic music.

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Markant's lone ranger, Carsten Endrass, is through with glitch. He no longer finds any value in the accidental click-and-pop that once signified recorded entropy and fractured reality. Just like the sound of running water that appeared on every ambient disc ten years ago, clicks and glitches have lost all potency. They're now just another preset sound. Endrass's Vice Versa, however, is not a wholesale return to the time before glitch. That sound is in the album, yet Endrass has reformatted it. Vice Versa, unlike Mouse on Mars' Idiology or Posthuman's Uncertainty of the Monkey, revels not in contrast or juxtaposition, but rather in interchangeability. Elements don't jar; they become subjugated to Endrass' harmonic concept. Vice Versa is a very confident album. It's a brave musician who kicks off an album with a fourteen-minute track. Yet Endrass' bravery is far from hubris. He produced over thirty vinyl releases before he issued his debut long-player, Infam, in 2001. Unfortunately, Endrass limited his vinyl productions to about 300 copes per title, and consequently, the Markant name was known more by reputation than by experience. Endrass, answering only to himself, begins Vice Versa in a digital haze reminiscent of a cloud of well-meaning mosquitoes dancing about your ears. After nearly four minutes, the harmonic and melodic elements of the opening track, "Spurwechsel," emerge. It's as though he's cleansing the listener in anticipation of the Markant concept of music. Fortunately, Endrass has the skills to match his boast. Vice Versa abounds in idiosyncratic and original melodic twists, dips, dives, and arches. Unlike Mouse on Mars who sometimes disguise their tunes in offbeat programming or Venusian ska-otica, Endrass doesn't parade prodigious programming abilities. Like Galerie Stratique or Isan, Endrass would rather expend energy on increasing the vocabulary of melody rather than gene-splicing sound. Initially, I bemoaned the lack of sonic innovation, but after many listens, I've become more fascinated with the sedate glass harmonica beauty of "Natura Morte" and the glacial drift of the title track. You might say that Geir Jensen (aka Biosphere) definitively mapped out this territory with 1997's Substrata, or that Thomas Köner took ambience to its bleak extreme with 1998's Kaamos. And you could say that "Deserto" compares just as favorably to Amber-era Autechre, or that "Laissez Faire" sounds like Global Communications' mechanized excursions under the Reload moniker. And I couldn't even disagree with you. But I would retort that no one should visit a place just once. Endrass' terrain may be familiar, but his assessment of them is utterly his own.

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http://www.discogs.com/artist/Carsten+Endra%C3%9F

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