Various – QFG: A Compilation
Label: | Parametric – 0.12q |
---|---|
Format: | 3 x CD, Compilation |
Country: | France |
Released: | |
Genre: | Electronic |
Style: | Abstract, Ambient, Downtempo, IDM, Industrial, Minimal, Rhythmic Noise |
Tracklist
1-1 | Flint Glass– | Germ Code | 5:16 |
1-2 | Ab Ovo– | Eddy B. Rmx | 6:05 |
1-3 | Gom (11)– | Hype | 3:53 |
1-4 | Pilonaa– | Gouache | 3:56 |
1-5 | Morthem Vlade Art– | Sleuth | 4:01 |
1-6 | Oil10*– | To The South | 4:32 |
1-7 | NKL– | Unfunk | 6:14 |
1-8 | Von Magnet– | Onzeocho | 4:40 |
1-9 | Nimp– | L'Homme Qui N'Existait Pas | 6:39 |
1-10 | Mimetic– | 2002 | 4:23 |
1-11 | Haïku– | 1 | 7:01 |
1-12 | Mlada Fronta– | Contrast | 7:02 |
1-13 | Rabbits | Sorrow*– | Rain On Mollon | 4:47 |
1-14 | Shizuka– | Tetsuo | 3:12 |
1-15 | DJ Enthrall– | Black Eggs | 6:06 |
2-1 | We Are Gentlemen– | Cherry Pie | 6:52 |
2-2 | Moon (15)– | Omniprésence | 3:30 |
2-3 | Apophasis– | Et Nox Facta Est | 5:05 |
2-4 | Tin.RP– | D.I.N. v2.3 | 3:41 |
2-5 | Zonk't– | Soft In The Middle (Parametric Edit) | 3:34 |
2-6 | Frédéric Nogray– | Beat Régulier À 200 Hz Près | 6:35 |
2-7 | Celluloid Mata*– | Hec.Riv | 2:39 |
2-8 | Mid&Ric– | Sherman Release | 8:57 |
2-9 | FinalCut– | Zones Grises | 6:28 |
2-10 | Ultra Milkmaids– | Pleure | 5:16 |
2-11 | Audioside– | Quel Que Soit Le Régime | 2:46 |
2-12 | Margrave Ruediger– | White Water-Lily | 3:38 |
2-13 | Such:– | Isotope-H | 5:20 |
2-14 | De Mange Machine– | La Même Indifférence Qu'Il Témoignait Envers Toutes Choses | 5:00 |
2-15 | Trombone– | Fanfare Mécanique | 3:02 |
3-1 | Milligramme– | Intestines | 3:13 |
3-2 | Lith– | Rupture | 4:10 |
3-3 | Rudra Vena– | Produit | 5:25 |
3-4 | Morphoex– | Cobaye | 3:23 |
3-5 | Komplex– | Le Sens Des Nuances | 4:56 |
3-6 | Zerogoki– | Layer 1 Weird | 5:05 |
3-7 | Remain Silent– | Introversion-Part 4 | 4:39 |
3-8 | Punish Yourself VS The Cult Movie Memorial– | Khalifa / Replacement For Anything | 3:49 |
3-9 | Vassalfada– | I Am Between | 3:11 |
3-10 | Macrocoma– | Soleil | 5:40 |
3-11 | Sensory Mindfields AKA HIV+*– | Strange Noise | 3:27 |
3-12 | J213– | S6st | 4:21 |
3-13 | Le Son De Convergence– | Verrou | 4:36 |
3-14 | Stelladrine– | Steampunque | 4:14 |
3-15 | Mourmansk150*– | Poussière | 4:54 |
Companies, etc.
- Licensed From – Brume Records
- Licensed From – Parametric
- Licensed From – Antonn Records
- Licensed From – Sculptured Sounds
- Licensed From – 213 Records
- Licensed From – Hypnoise
- Licensed From – Burning Emptiness
- Licensed From – Ant-Zen
- Licensed From – Sinik Department
- Licensed From – Divine Comedy Records
- Licensed From – Geisha Machine
- Licensed From – Phosphen
- Licensed From – Mechanoise Labs
- Manufactured By – Van De Steeg
- Licensed From – AGI, USA
- Mastered At – Millenium Studio, Nice
Credits
- Design [Graphic] – [email protected]
- Director Of Photography – Rémy Pelleschi
- Mastered By – Rémy Pelleschi
- Photography By – Stella (50)
Notes
In triple digipak.
QFG stands for "Quadrature Function Generator", a peculiar modulator used in analog synthesis.
Mastered by Rémy Pelleschi at Millenium Studio, Nice (France)
QFG stands for "Quadrature Function Generator", a peculiar modulator used in analog synthesis.
Mastered by Rémy Pelleschi at Millenium Studio, Nice (France)
Barcode and Other Identifiers
- Matrix / Runout (CD1): QFG A COMPILATION MILLENIUM STUDIO 21.01.03 0.12q CD1
- Matrix / Runout (CD2): QFG A COMPILATION MILLENIUM STUDIO 21.01.03 0.12q cd2
- Matrix / Runout (CD3): qfg A COMPILATION MILLENIUM STUDIO 21.01.03 0.12 q CD 3
- Mastering SID Code (CD1): IFPI LB91
- Mastering SID Code (CD2): IFPI LB91
- Mastering SID Code (CD3): IFPI LB91
- Mould SID Code (CD1): IFPI 5G04
- Mould SID Code (CD2): IFPI 5G03
- Mould SID Code (CD3): IFPI 5G04
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Reviews
- Edited 17 years agoThis superb production showcases 45 different artists from the French experimental scene, chosen among more than 120. There’s a great variety of styles: from atmospheric beatless ambience to obduriate noise. All the tracks are futuristic and boldly electronic. Most of them are instrumental because their mechanical essence wouldn’t go with a human voice. The artificial effect is built-up by several layers of sounds that come and go: beats, beeps, drones… The listener can catch each of these layers clearly and separately. There are many emphatical pauses.
All music is based on three elements: melody, rhythm and texture. The most important here is the latter, which helps to create an abstract atmosphere where melody is hardly present and rhythm not always appears. The few melodies used are minimalistic and much of the rhythm applied is random or anarchic (forget about this compilation for the dancefloor).
But what’s most fascinating about this music is its rusty sound. Only in this specific sense can you apply the term <em>industrial</em> to this compilation. Don’t expect guitar or drums sampling, nor NIN-like grunts. Industrial style has its rules and these artists have emancipated from them. What we have here is an <em>industrial</em> flavour: it seems as if we’re in a noisy factory surrounded by self-moving machines that are almost alive.
The impersonality of the tracks inhibits the arise of any feeling through the listening of this music: it’s absolutely free of emotion, anger, happiness… But the listener might feel the threat of the machines and that can lead to fear or, at least, mystery. Just like a clock’s tic-tac or the sound of the sea, the soundscapes and noises of these artists can help you enjoy the peace of silence and make you dive into your own imagination.
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