Plastikman goes for real thing

Through only the use of bare essentials Plastikman avoids clutter, leaving ample space within the context of each song for the listener's mind to explore sensation and thought.

The songs found on "Artifakts (bc)" are meticulously conceptualized 10-minute constructions of deep sprawling basslines, modulating beats and sublime computerized bleeps.

The minimal ingredients immerse the listener with a sonic equivalence of extreme emotional sensation.

A consuming inhuman atmosphere of computerized drum convulsions and eerie, yet relaxing, synthesized strings establish the foundation to "Artifakts (bc)."

Each song becomes more and more complicated before slowly subtracting each layer of complication slowly before drifting into the next song's construction.

The first song of the album, "Korridor," builds from nearly inaudible strings, adding an aquatic bassline and eventually a layer of bleeping sounds before fading into the second song, "Psyk."

Here, the bass flows a little deeper, hits a little harder and picks up pace while some sparse funky beats allow for both trance and dance.

This same motif evolves a bit further and more intense with the next 10-minute epic, "Pakard," before being interrupted by the wake up call of "Hypokondriak."

For the next 10 minutes, a phasing sound swerves through the gaps of a sparse convulsing percussive rhythm interrupting any sense of tranquillity established. After this spastic song, the relaxing serenity of the album returns with a slow-evolving song titled "Rekall," reaching an intense moment of ecstasy before once again being interrupted by another spastic percussive song "Skizophrenic."

The album then concludes with a song called "Are Friends Electrik?" which progresses from minimal elements to moments of intense rhythmic density.

The songs on "Artifakts (bc)" consist of the remnants of an unfinished Plastikman album known as "Klinik."

This album was to be the third installment of the Plastikman project began back in 1993. Problems arose in the creation process when Richie Hawtin - a Windsor native - ran into legal problems, getting thrown out of the US. Without the urban landscape of Detroit and its innovative techno underground as his muse,

Richie Hawtin pursued other projects, leaving the songs finally released as "Artifakts (bc)" to collect dust in favor of his latest album, "Consumed."

The four albums of Plastikman consist as individual works of art. Within the context of each progressing album, there is an evolving motif differentiating it from the other albums in the Plastikman series.

As the partially completed precursor to the recently released relaxing cerebral serenity of the "Consumed" album, "Artifakts (bc)" minimizes the innovative attributes used by legendary Detroit techno artist Derrick May 10 years ago.

Plastikman's minimal thematic re-interpretation of classic underground Detroit techno on "Artifakts (bc)" polarizes him from the unintelligent, generic "electronica" currently being solicited by major labels.

Perhaps the only weakness of "Artifakts (bc)" lies in its understandable lack of polish relative to the other well-crafted Plastikman masterpieces.

For the first half of the album, things evolve very precisely in the form of relaxed minimalism before shifting gears abruptly with the last half of the album.

The revision or exclusion of the two out of place percussive convulsions, "Hypokondriak" and "Skizofrenik," would smooth out the thematic progression of the album, remaining consistent with the serene nature of the album.

Reviewed by

Daily Arts Writer Jason Birchmeier

HHHH

Minus/NovaMute

Records

Artifakts (bc)

Plastikman

11-24-98