Concept 1 ‎– Concept 1 - 96:VR

Label:
M_nus ‎– CONCEPT 1VR
Format:
CD, Album
Country:
Released:
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Tracklist

1 01:02 10:38
2 02:04 8:45
3 04:08 6:08
4 06:11 11:33
5 07:13 7:02
6 11:22 7:25
7 11:21 9:30
8 12:24 9:26

Companies, etc.

Credits

Notes

Remixes by Thomas Brinkmann of the Concept series. These are not regular remixes but rather re-recordings of the original records using Brinkmann's dual-tone two-arm turntable.

Some explaination on tracks titles: 01:02, the 01 refers to January, 1st month, during which the first 12" of the concept series was released ; the :02 refers to the hour of the day, in European format (02:00 = 2:00 AM)

© 1998 Minus Inc. ℗ U.T.K. Productions Inc. (SOCAN) Administered by Mute Song

Barcode and Other Identifiers

  • Matrix / Runout: MUSIC MANUFACTURING SERVICES DISQUE AMERIC 19UY2<0067>96VR
  • Mastering SID Code (Variant 1): IFPI L482
  • Mould SID Code (Variant 1): IFPI 8122
  • Mastering SID Code (Variant 2): IFPI L482
  • Mould SID Code (Variant 2): IFPI 8124
  • Rights Society: SOCAN

Other Versions (2 of 2) View All

Cat# Artist Title (Format) Label Cat# Country Year
96:VR Concept 1 Concept 1 - 96:VR(2x12", Ltd) Concept 1 96:VR Canada 1998 Sell This Version
96:VR Concept 1 Concept 1 - 96:VR(2x12", W/Lbl) Concept 1 96:VR Canada 1998 Sell This Version

Recommendations

Reviews Show All 5 Reviews

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Escherichia

Escherichia

December 12, 2012

A fascinating reimagining of Hawtin’s “Concept 1” series. This is extremely minimal music, and as such it took me a long time to get into it. It’s not “techno” per se, although most tracks contain a slowed-down 4/4 throb resembling techno proper. But despite the experimental nature of the album’s creation (using a two-armed turntable), each track has its own groove, and through subtle phases the pieces become completely hypnotic. The tracks do start to sound a bit same-ish by the end, but that’s to be expected when all of them were created using the same technique – and the album ends very strongly with 12:24, a swirling, propulsive, dubbed-out track that perfectly exemplifies everything that’s great about this record. My only overall complaint about the album is the sound quality, since with Brinkmann’s process the sounds are all very murky. I’ll grant that that muddiness adds to the subliminal quality of the music, though, so it’s a complaint only because it limits where I can play the music so that I can properly enjoy it (silence and concentration are best). Recommended for any fan of Hawtin, and minimal music in general.
triangulum

triangulum

March 19, 2011
Perfection. This album encapsulates the genre absolutely superlatively. Untouchable!
bhbognar

bhbognar

July 8, 2004
edited over 13 years ago
Hawtin generally doesn't commission remixes, so it's a lucky that we get treated to a combo of two rather innovative minds in electronic music. The premise is simple--Brinkmann deconstructs a selection of the originals with his famous multi-tonearm turntable, so that the listener hears the same thing in each ear, only shifted extremely out of phase. The result is a mesmerizing set of sounds and patterns that seem to float around in space.
Chillcode

Chillcode

April 23, 2003
Concept 1, composed by Richie Hawtin, marked a yearlong correlation between musical development and the progression of time. The original series (1996) of 12 monthly twelve-inch singles comprised of 24 tracks, strictly limited to 2000 copies per release, was a timely musical emission of that moment. Before the compiled CD release of Concept 1 96:CD in February 1998, Thomas Brinkmann (Cologne, Germany) visited Windsor to play Hawtin some of his "Variations" of Concept 1. The results unfolded a new structure from the original material, exposing a new side of Hawtin's compositions.
Explaining his custom system to produce the Concept 1 Variations, Brinkmann notes, "I used a self-made turntable with 30 kilo plate, and two SME 309 Tone Arms utilizing both Ortofon and Van den Hul moving-coil pickups." Using the original Concept 1 records on his two-arm turntable, Thomas found unheard dynamics within these recordings. Even the imperfections of the vinyl pressing process find new character within his Variations. "The interventions with the actual vinyl are few: I slowed down the speed of the record and used the left pickup (arm) for the left channel, and the right pickup (arm) for the right channel. I found out that the use of different pickup systems for both channels is important for the sound," Brinkmann adds. "It's possible to hear a melodic displacement between the channels."

Re-thinking the depth of sound, Thomas said, "I don't believe in creativity, but in sensibility. We have to invent the things to make them visible or audible, even though they had been there before, only invisible and inaudible." Through his unique angle of attention, Thomas has allowed us to hear what he hears, something that was there but unheard until now. Summing up his technique, Thomas mentions, "With a little intervention and displacement of elements, the Concepts are sounding different. The same information they had before, but two times present. Like the idea of cloning and twins: still Richie's DNA with a little mutation. A different groove."

In the spirit of MINUS, Thomas has used an untraditional technique based on theories of alternative listening and experimentation to produce an image of difference. A scientific yet natural way of revealing the complexity of what was originally deemed minimal.

Richie Hawtin