Mikael Stavöstrand ‎– Reduce

Force Inc. Music Works ‎– FIM-1-049
CD, Album

Companies, etc.

  • Distributed ByEFA – EFA 04449-2
  • Pressed ByMPO



Constructed and produced in Linea, Stockholm winter 2001.
Mixed in Linea and Efphö, Stockholm winter 2001.

Made in France.

Barcode and Other Identifiers

  • Barcode (Text): 7 18750 44492 9
  • Barcode (Scanned): 718750444929
  • Matrix / Runout: [MPO logo] FIM 1049 @@ 01 20010117 0743 @@ 4
  • Mastering SID Code: IFPI L032
  • Mould SID Code: IFPI 120B
  • Label Code: LC 06001

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April 19, 2018

What happened to dance music? In the 2000s you had all these producers doing weird stuff with glitches, rhythms, making mistakes, asking you to make an effort. And then they all went to the same sounds as everyone else, as if their beginnings were something to remove.

This Mikael Stavostrand is a sample of so many things released at that era - with the center in Mille Plateaux / Force Tracks - that sound much more modern than anything released 18 years after.


January 29, 2017

I've come back to it the next day to chill, and soothe the hang over. Love the twitchy sounds and the machine rhythms. Found myself tapping to some tunes and swaying or nodding to others. To say its called minimal there's enough sounds and rhythms to keep it interesting.

For me, it's good music to noodle about on the computer to or just sit and listen. Not ideal in the car or if you have others in the room chatting or you'll miss the twitches and sounds.


January 28, 2017

Excellent twitchy, glitchy dub. Very relaxing and easy to listen to and drift away with.


December 1, 2013

Mikael Stavöstrand, with REDUCE, takes the elements of glitch-house and rubs it with some dub techno, as "!/sn2.ai 0853" slowly comes into being. "!/sn10.1.ai 0711" is cooler and more brisk, while "!/sn13.1.ai 0808" is almost pure ambiance. But "!/sn5.s.1.2.ai 0741" picks the pace back up, while retaining much of the spaciousness. A mellow darkness slips into "!/sm4.1.ai 0627" and "!/sn3krt.1.ai 0723" has some Tim Hecker-like reverberations. "!/d+mt.sn6.1.ai 1346" returns to Pole-esque dub techno, and "!/sn7.1.ai 0636" with some ambient dub. Sparse and lovely.


November 4, 2013
edited over 4 years ago

A warm sonic experience that is defined by the sounds in-between expected melody and progression, rather then the 4 to the floor.

Each song works its way from minimal openings, into deep and complex passages. These passages achieve a complexity not by layering sound upon sound, but rather by developing specific sonic components into a cohesive whole that fill the listeners sound stage.

Over all, it is this albums exceptional mastering and production which pushes it into the pantheon of great electronic albums. Exceptional material and an elegant representation of an under appreciated genre.


December 16, 2010
edited over 7 years ago

Imagine the effect channels on an old dub-reggae mixing desk; they'd be noisy, full of warmth, colour, and probably the heartbeat of any respectable dub track, with most of the chattering, shuddering chord material and light percussion trickling along and repeating until they disappear into the depths of inaudibilty. Well, 'Reduce' features this tone-colour throughout its long, sub-bass driven tracks, complimented by kick drums that harken to the hardest of techno. The album, while unique, sometimes flounders about in its own material, and the listener can feel less than welcome - as if the tracks are too occupied with their own agenda, and us 'mere' listeners are an extraneous option; cast aside like a soggy tissue. This feeling is only fleeting, and it is the album that draws these same listeners back in with some seriously catchy sub tunes and clever delay effects.