BRANDT BRAUER FRICK have made a name for themselves producing techno without the technology, using classical instruments in preference to synthesizers and computers. The Berlin trio’s 2010 debut „You Make Me Real“ was a forward-thinking gem. They reworked it on 2011’s „Mr Machine“, a techno record played totally live by a ten-piece classical ensemble — they’ve graced the stages of dark nightclubs, classical concert halls and cultural institutions alike, namely Glastonbury, Coachella, Montreux Jazz, Sonar, Southbank, Centre Pompidou, Fabric,… during their 150 or so worldwide shows over the last 18 months.
Taken together, BRANDT BRAUER FRICK are the sound of dance music’s rule book being torn up and recycled into sheet music paper. On album three, called „Miami“, it’s what BRANDT BRAUER FRICK are not doing that is once again important: they aren’t slavishly following the formula of its two predecessors. The result is a record that resists comparisons, although for very different reasons. It opens with ‘Miami Theme’, a bleak mood piece built from piano chords and mournful vocals from Swedish singer Erika Janunger. It’s five minutes before a beat kicks in: we’re a long way from techno here, hand-made or otherwise. First single ‘Plastic Like Your Mother’ is a dark-hearted, ever-changing mini opus featuring a melancholy performance from Om’mas Keith (Grammy nominated producer of Frank Ocean’s ‘Channel Orange’ album, as well as Kanye West, Jay Z). Meanwhile, ‘Fantasie Mädchen’ sees Gudrun Gut, founding member of Einstürzende Neubauten and formerly frontwoman in German punk band Malaria!, breathing husky menace over a clattering beat and grunting tuba. There really is noone else making music like this.
BINARY & DYSLEXIC are Christophe Biache aka Mr Bios and Fred Baus aka in circles. They explore their personal vision of a groovy and minimal music by using old analog gear combined with new experimental production techniques. BINARY & DYSLEXIC’s music is psychedelic, repetitive and danceable. Source: www.rotondes.lu