The most mysterious genius on the mod-rock landscape IMHO.
Who is he? I understand he played percussion with indie-popper 'the Associates' - correct?
Did he 'invent' the filtered/ heroin house sound or was it Juan Atkins?
The Rhythm and Sound stuff kickstarted the reggae/dub revival me tinks. After trip-hop, shoegazer and techno and whatever, it still lingers on. sure Burial Mix/Basic channel is the new 'On-U' sound, but that's a mighty call. 'On-U' were a totally under-rated label in context of the 80s. Their influecne is all over the new New York DFA thingy-scene. Same ways the Basic channel/burial mix has become somewhat of a standard in the post-house sound/glitch/gulch/nose picker/Intel house whatever sound.
Even so the source is still the best and purist.
And for a cinematic-rockist like myself, purity is a noble thing, as long as there's sublte variation on a riff.
Moritz always seem to do it. Even if the latest R&S comp sound like different singers chanting over the same track. Deeper listening hears that each track is ever so slightly different - whether its a slight Wurlitzer wucka or a diffracted guitar wikka, it is there, and it gives me tingles up da bassline-spine.
The beauty of the Moritz work is you can HEAR the construction and delicate placement of sound, just like a blues or soul or reggae rekkid or Eno or mid-period Sonic Youth rec.
That purity is a rare thing in todays electro climate, where charlatans puss-out over-produced dense computer mashmushes that lack subtley, timbre, reality.
Oswalds minimal layers are like a Tarkovsky film, elemental in their technique, natural in their slow progression and complex in the minutae.
and like Studio One or Robert Johnson or even the JAMC - its in the hiss.
Who is he? I understand he played percussion with indie-popper 'the Associates' - correct?
Did he 'invent' the filtered/ heroin house sound or was it Juan Atkins?
The Rhythm and Sound stuff kickstarted the reggae/dub revival me tinks. After trip-hop, shoegazer and techno and whatever, it still lingers on. sure Burial Mix/Basic channel is the new 'On-U' sound, but that's a mighty call. 'On-U' were a totally under-rated label in context of the 80s. Their influecne is all over the new New York DFA thingy-scene. Same ways the Basic channel/burial mix has become somewhat of a standard in the post-house sound/glitch/gulch/nose picker/Intel house whatever sound.
Even so the source is still the best and purist.
And for a cinematic-rockist like myself, purity is a noble thing, as long as there's sublte variation on a riff.
Moritz always seem to do it. Even if the latest R&S comp sound like different singers chanting over the same track. Deeper listening hears that each track is ever so slightly different - whether its a slight Wurlitzer wucka or a diffracted guitar wikka, it is there, and it gives me tingles up da bassline-spine.
The beauty of the Moritz work is you can HEAR the construction and delicate placement of sound, just like a blues or soul or reggae rekkid or Eno or mid-period Sonic Youth rec.
That purity is a rare thing in todays electro climate, where charlatans puss-out over-produced dense computer mashmushes that lack subtley, timbre, reality.
Oswalds minimal layers are like a Tarkovsky film, elemental in their technique, natural in their slow progression and complex in the minutae.
and like Studio One or Robert Johnson or even the JAMC - its in the hiss.
