Plastikman Albums (4)
What The Critics Say
Closer music indeed. The first Plastikman album in five years brings you so close to Richie Hawtin's mind that the listen can be discomforting. There is no major change in his sound from Consumed; Hawtin takes his mastery of minimalism and use of space a couple steps further, rarely putting dance rhythms to use. Paranoia and claustrophobia persistently fester throughout the course of these 75 grueling minutes, with little in the way of release. Adding as much suspense as the filmic, synthetic orchestrations present in a handful of the tracks are the producer's own vocals, which are disguised in a manner similar to an extortionist or stalker who wants to hide his identity over a phone line. There is, however, no doubt that this particular voice belongs to Hawtin, who examines himself in the wake of what sounds like an extremely torturous relationship: "I don't know what's left to gain/All the guilts and now the blame/I don't want to stop this game/I'm starting to enjoy the pain." The few tracks with any sense of forward motion are mostly saved for the tail end of the album, and with reason; the impact of "Mind in Rewind"'s menacing chug -- which could be passed off as an acid remix of Burger/Ink's epic "Twelve Miles High" -- is maximized when heard after the first seven tracks. A good percentage of the early reviews for the album drew comparisons to The Wall, despite the fact that there are more significant parallels with another Pink Floyd album: The Final Cut. Just like The Wall's follow-up, Closer will likely become the one that a small number of devotees declare to be the supreme Plastikman album, while most of the crowd dismisses it outright for being impenetrable, deadened, too glum. Regardless of where the average listener falls, Closer is quite an accomplishment, even if it's the least inviting in Hawtin's discography. Given the right frame of mind, Closer has the potential to be the most powerful Plastikman album -- an alternatingly cathartic and mind-wrenching place to lose yourself in. It's as solitary and sobering as his DJ sets are communal and hedonistic. ~ Andy Kellman, All Music Guide
What The Critics Say
The third in the series of Plastikman albums produced by Richie Hawtin, Consumed is a turn away from the high-bpm, drum-machine mania that characterized much of his its two predecessors, Sheet One (1993) and Musik (1994). The acid techno motifs remain in place, and Consumed is structurally similar to Musik: it commences and concludes with standout epic tracks while its mid-section tends to be experimental in nature, filled with shorter Ping-Pong-ing tracks that aim to disorient. However, this is an ambient techno album, make no mistake, driven largely by deep, rumbling basslines and accentuated with shimmering synth washes and almost subliminal microsound ticks -- and not only is it ambient, but it's dark and mysterious in tone. Moreover, Consumed plays like a continuous album rather than a collection of tracks; individual tracks stand out only when memorable moments arise, the opening build of the title track, for instance. It's easy to be drawn in by Consumed, which makes the title all too fitting, for the ambient mood and dark tone are inviting while the mammoth basslines and synth washes are enveloping. All of this makes Consumed Hawtin's most listenable album to date. His previous Plastikman albums are remarkable achievements, for sure, and are filled with plenty of astounding tracks; likewise, his Concept album has its own share of highlights. But none of those albums is as thoroughly excellent as this one, even if it's fully removed from the dancefloor, best enjoyed at home rather than in a danceclub context. ~ Jason Birchmeier, All Music Guide
What The Critics Say
For Musik, the second full-length album in the Plastikman series, producer Richie Hawtin returned to everything that had made Sheet One so successful, crafting a follow-up that is as much a sequel as it is a rewrite. Once again, he powers each track with minimal yet harsh 909 percussion and adds plenty of crazed 303 acid lines, wonderfully re-creating the acid techno motifs of Sheet One. This time, however, Hawtin veers away from the pervading ambience of that album, giving Musik a much livelier feel instead, particularly toward the beginning and end of the album, where the tempos reach dancefloor intensity. The album begins with two lengthy tracks, the slow-building "Konception" and the snaking "Plastique," both of which amble on for a total of 20 highly acidic minutes. From this grand introduction, Hawtin follows with a series of shorter tracks -- "Kriket," "Fuk," "Outbak," "Ethnik," "Plamastik," and "Goo" -- that push the limits on what can be done with strictly percussion. This somewhat experimental middle section of Musik resembles the percussive tone of the preceding Recycled Plastik EP and its standout inclusion, "Spastik," forgoing acid lines and synth melodies in favor of multi-layered 909 percussion and little else. From here, Hawtin returns to the acid sounds of Musik's opening 20 minutes for "Marbles" and "Lasttrak," a very similar 20-minute stretch of slow-building, snaking acid techno. While the opening 20 minutes had been lively and energetic, these closing 20 minutes are foreboding and dark, even downright chilling at times. Taken as a whole, Musik masterfully covers all aspects of the minimal techno spectrum, from acidic anthems to ultra-minimal explorations and back, in the process showcasing Hawtin's staggering command of the Roland 303 and 909 drum machines as well as his brilliant grasp of album-level continuity. ~ Jason Birchmeier, All Music Guide
What The Critics Say
One of the first records to turn the 303 acid box upside down from glorious high to isolationist low, Plastikman's first album focuses on laser-precise minimalist rhythms to drive a series of echo-box acid lines that gradually acquire power over the course of lengthy album tracks like the ten-minute "Drp," "Glob," and "Plasticine." ~ John Bush, All Music Guide
