see my blog for download: DouglasZhao.spaces.live.com rhythm is neither pop nor avant-garde, but deals simply with the basic principles of any modern music: rhythm. frank bretschneider takes his, never simple, but all the more heartfelt relationship to rhythm and it’s complexity, to an intense inventory and, this time, works less out of suspenseful abstract sounds, than out of grooves. the terseness and precision of previous works remains, as well as a preference for high-voltage sounds halfway between noise and tone. new is the assemblage of the material. a combination of programming, composition and construction, which draws a clear distinction to his preferred loop-based work on foregone albums, is connected with bretschneider's very idiosyncratic aesthetic of digital sound: controlled and objective. the whole follows simple mechanical states: on/off, forward/backward, up/down, slow/fast, loud/quiet, dull/brilliant, soft/hard and is characterized by the absence of any romanticism. still this return to the elementary, the fundamental, does not diminish the music to dance-floor functionality, instead bretschneider always stays emphatically musical and manages to generate sophisticated and complex rhythm-structures, which respectively induce minimal deviations in frequency and timing relationships to generate a surplus of funk. in all, rhythm is probably bretschneider’s most direct, clear and concentrated work yet. frank bretschneider works as a musician and composer in berlin. since 1996 he has published a number of albums for raster-noton, mille plateaux and 12k. the music for rhythm was created between june 2006 and march 2007.

EXP is a music-visual work based on the idea that fine art should attain the abstract purity of music. an attempt to assimilate the qualities found in music – including movement, rhythm, tempo, mood, intensity and compositional structure – within visual phenomena. the music for the project was composed of specifi c generated and selected waveforms, feedbacks, impulses, clicks, the sound of mechanics, electricity, magnetism, light and other radiation. in addition and since the animation is mainly driven by sound frequency and intensity, the sonic quality of these sounds makes it possible to obtain an optimal effect on the graphics motion. in combination with several other ways of controlling the animation – from midi programming to applying motion curves – the visualization represents an exact reproduction of the audible occurrences. as a consequence the computed images often attain an unexpected beauty, from simple geometrical patterns to extraordinarily complex forms. The package contains a compact disc audio with 35 tracks and a compact disc data with the live visuals of tracks 01 to 20 as quicktime movie fi le (*.mov).