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¥771 keef baker. pen fifteen. 2cd. february2k9


tracklist cd1. pen fifteen:

getting older *.mp3
dead end *.mp3
skellington *.mp3
the east is not the enemy *.mp3
sailing the goat sea *.mp3
mr snugglebunny's happy paradise is slowly turned inside out *.mp3
big dick bricks covered in sick *.mp3
mintymart overdraft *.mp3
setekey sysfuckoffcunt v1 *.mp3
sheepscar junction *.mp3
sugar daddy for shemale *.mp3

 

 

















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tracklist. cd2. light city:

part 01: the voice of light city *.mp3
part 02: you've been snarpooned *.mp3
part 03: the square *.mp3
part 04: acid indigestion *.mp3
part 05: a glittering netto palace *.mp3
part 06: cake and black sheep *.mp3
part 07: shut up neil, for fuck's sake! *.mp3
part 08: the great escape *.mp3
part 09: wine sponge *.mp3
part 10: aeronautics *.mp3
part 11: return to light city *.mp3
part 12: soul folding *.mp3


download pressrelease.pdf


mighty subbass drones, driving, energetic beats, wonderful piano lines, atmospheric keyboards, doomy guitars, occasional vocal work - pen fifteen is another journey into keef baker's world, where unequal
musical styles like trip hop, electronica and even metal are used as baseplates and sometimes merge within a single note - just check out what starts as a distorted guitar and ends as click'n'cut in 'dead
end'. instead of 'eclecticism' a logical extrapolation of varied influences is displayed, whether it is post-rock, intelligent dance music, dub... in the end they become one style that can only be called keef baker. 11 songs of melodic harshness - loud and powerful even in their quietest moments. expect your expectations to be confounded!

"this is the voice of light city..." - intended to be listened to without interference or pauses - a trip into sudorific clublife that keeps you moving for more than an hour. an astounding mix with well-placed increasing and decreasing speed, ranging from dubstep to techno to drum and bass to breakcore and back. this is keef as he sounds while performing live - a great addition to a phantastic album. and remember: "the state loves you!"

a review in russian language can be found on the machinist's webpage:
http://www.machinistmusic.net/reviews/keefbakercd2009.html

cuemix
http://www.cuemix-magazine.com/cuemix/inhalt.php?image=1068
this is a mighty double-long player! “pen fifteen” is the new album from keef baker, the mighty idm poet. “pen fifteen” comes along with a second disc called “light city”, a stunning mix done by keef. but, first things first. pen fifteen is a dream of youth by keef, merging his personal music style together with metal music. kicking of with the melancholy track called “getting older” keef gives us a bewildering statement that will clear up through the following tracks itself. then with the following tracks mighty basses and absolute stunning programmed drums allow us to take a look inside his genius brain. this man is living “art” and a punk and metal addict! this rough basis is flavoured with ambient soundscapes, piano lines and suddenly out of nowhere with metal guitar riffs. each second is a surprise, but in this unsafe musical environment you start to feel safe. sounds illogical, but the answer is that keef brings forward the feelings of a generation above the thirties, and bewitch the generation beneath this age with his bittersweet appraisal. this album is a milestone, its straight forward, cynic and strangely dreamily. a miracle. i love “pen fifteen” for its roughness and its grown up vulnerability! a perfect ten that touched my heart deeply! the second disc you get with “pen fifteen” is called “light city”. a trip into keefs live sets, an enthusiastic mix! but this fast and wild mix of keef’s club sounds is also a statement adjunctive to the music, the person and the concept of “pen fifteen”. both albums are a kind of “dropping pants”. if you listen carefully to this mighty double-album you will out more about the person keef baker as you can read in any magazine. a rough journey though keef's conception of a clubbing night ...techno, idm, acid merged together to a perfect night. “light city” is a statement, a testimonial of a genius and a present for all of you who listen to music with your ears, brain, heart and feet… message received? 10*** so make an addition a perfect ten and a perfect ten makes what?

der medienkonverter
http://www.medienkonverter.de/kritik.php4?id=3351
um die 20 jahre macht er nun schon musik, doch keith "keef" baker wird nicht müde, ständig etwas neues auszuprobieren und vor allem weiterhin mit überraschenden live-sets aufzuwarten. erinnern wir uns kurz an sein letztes album "redeye", das sehr viele einflüsse miteinander verwob. ein album, das zeigte: alles ist möglich. sein neues werk "pen fifteen" ist ein wenig anders gestrickt. natürlich flossen auch hier wieder mannigfaltige einflüsse mit ein, aber keef baker ist ruhiger geworden. schon der erste song macht das klar und der titel des songs hört sich fast wie eine begründung für diesen schritt zurück in sachen tempo an: "getting older". das stück klingt, man traut es sich fast nicht zu sagen, poppig. ein paar schnuckelige streicher dudeln, verträumte melodien säuseln und eine gehauchte vocoder-stimme singt den text. die sich nun im kopf auftuenden fragezeichen werden beim folgenden "dead end" noch größer, knallt einem hier erst einmal ein trockenes gitarrenriff entgegen. das kombiniert keef baker mit streichern und klavier, was einen sehr schönen kontrast bildet. das nachfolgende "skellington" klingt mit leichten breakcore-beats und gitarrenriffs wieder wie der 'alte' keef baker. überraschend ist die dominanz der gitarre in songs wie "the east is not the enemy". das könnte in der form auch von einer rockband stammen, wären da nicht gegen ende des songs die tribal percussions. generell sind die songs aber sehr sanft ausgelegt und lassen eine regelrechte verträumtheit durchblicken. selbst wenn im letzten stück electronic, gitarre und trompete aufeinander treffen, kommt dabei ein downtempo-song heraus. aber "pen fifteen" hat auch eine andere seite, genannt "light city". keef baker wollte nämlich mal eine brücke zwischen seinen alben und seinen live-sets spannen, die sich teils erheblich voneinander unterscheiden. das eine ist geplant und durchdacht, das andere emotional beeinflusst und spontan entstehend. bei diesem doppelalbum wird der unterschied am extremsten deutlich, ist doch "pen fifteen" keef bakers bisher ruhigstes album und "light city" sein bisher aufwühlendstes. "light city" ist hibbelig, knarzig, schnell, langsam, mal wummernd und mal sphärisch. ein einstündiger mix, der den spirit von keef bakers liveauftritten und seine emotionalen schwankungen und seine impulsivität bei solchen sets einfängt. das doppelalbum "pen fifteen" zeigt damit keef baker erstmalig vielumfassend, wenn es auch nur einen teil seines musikalischen universums abdeckt. gerade diese zwei so gegensätzlichen pole machen dieses doppelalbum so interessant. (veit)

gothtronic
http://www.gothtronic.com/?page=23&reviews=5933
keef baker is back with another release on hymen records. it’s also a rather big release, since it contains two cd’s, called ‘pen fifteen’ and ‘light city’ respectively. keef baker is known for his authentic approach to idm and breakcore with a lot of other influences. the main album of his new release does sound a little bit different from his other work. it sounds especially inspired by rock music. often times it is very electronically manipulated or aided by much electronic sounds. tracks like ‘kellington’ do contain the breakbeat/idm approach, but there are a lot of filtered rock tunes to be found in here. this can get some getting used to. the very long titled track ‘mr snugglebunny's happy paradise is slowly turned inside out’ is very interesting; it’s a combination of nicely melodic idm with some guitars in it, towards the end it turns somewhat into breakcore and ends in autechre-like manipulations also with the aid of guitar sounds, which almost seems like to turn into some digital hardcore track. then there’s the second cd, ‘light city’, which actually sounds really like the keef baker we know. lot’s of fucked-up rhythms and breakcore structures. the whole second cd is one big fast and twisted trip. also funny to know is that, expect for the last song, all the song are exactly 5 minutes in length, the last one being 59 seconds longer. a very interesting release from keef baker, were the main album sounds very different from his common material. though with the second cd included, you do get the keef baker were you’re paying for. perhaps it’s kind of like a fail safe, in case people don’t dig the main album, there’s still a cd with more ‘conventional’ keef baker sounds. whatever it may be, it’s a rather interesting and good release you really should pick up! (fabian)

sonic seducer
http://www.sonic-seducer.de/index.php?option=com_reviews&func=detail&anzeige=8595&virtuemart=23f597b95236eca59d57e3ba1809eaac
schubladen sind keef baker völlig egal, wenn er sich in seinem maschinenpark austobt, das durften fans von experimenteller elektronischer musik in der vergangenheit schon mehrmals beobachten. der vierte reguläre release des briten macht da zum glück keine ausnahme und erstreckt sich gleich über zwei cds, die sich stilistisch wiederum nochmals deutlich voneinander unterscheiden. die erste scheibe ist ein absurdes mischwesen aus triphop, idm und noise, welches weder herrliche pianosounds noch grässlich verzerrte saiteninstrumente außen vor lässt. jeder track ist ein sammelbecken für unzählige ideen oder musikalische zitate, die manchmal nicht bis zu ende gedacht erscheinen, sehr zäh fließen und somit das prädikat „experimentell“ wirklich verdient haben. selbst nach dem fünften hören möchte sich nicht das gefühl einstellen, das album wirklich wiedererkennen zu können – genrepuristen werden das zu schätzen wissen. ungleich leichter verdaulich ist die zweite cd, die den untertitel „light city“ bekommen hat und aus einem guss ist, ohne pausen zwischen den je genau 5 minuten langen tracks. der schwerpunkt liegt hier eindeutig auf tanzbarkeit. elemente vom dubstep, breakcore, drum’n’bass, hard trance und techno kommen in wilder kombination zum einsatz… stillsitzen ausgeschlossen! beide seiten des keef baker sind hochinteressant. (catrin nordwig)

connexion bizarre
keith baker has maintained a steady output of an album almost every year since his debut “the widnes years” on n5md in 2004. having recorded albums for ad noiseam and n5md, baker has found a home on hymen records, the sister label of respected german label ant-zen. for this release, he presents a new full-length album with the spam filter baiting name of “pen fifteen” and adds a second disc of more club focused tracks entitled “light city” which is intended to be listened to as a continuous piece and represent the content of his live sets. “pen fifteen” itself is an interesting prospect and showcases baker’s ability to create unique sound combinations in his own inimitable style. he does this by fusing a range of different genres in his own unique way to create something new and original. utilising his own skills as a guitarist, baker incorporates heavy metal or shoegaze guitar themes into most of the tracks, most notably album closer “sugar daddy for shemale” where he takes a full-on heavy metal guitar workout and adds brief passages of trombone playing to it. quite an unusual combination on paper and in reality but it actually makes much better sense when hearing the end result. also notable is the album opener, “getting older”, which takes hazy shoegaze guitar and mixes it with mildly distorted half sung, half spoken vocals, giving the track a futuristic if slightly doleful slant. the addition of a crashing beat and emotive piano to the mix makes the track even more poignant. “dead end” opens with a grinding heavy metal guitar and continues with a steady plodding beat and melancholic piano keys to provide subdued interlude before erupting once more towards its close. after a short stop/start beat outburst, “skellington” unleashes a torrent of sharp breaks and driving guitar underpinned by creeping ambient tones and a demonic voice hidden deep in the mix. a new element is introduced on “the east is not the enemy” which features gentle eastern influences in the form of flute, sitar, rhythmic drumming and percussion mixed with driving guitar, a brief choral accompaniment and electronic rhythms. “mr snugglebunny’s happy paradise is slowly turned upside down” is a track of stark contrasts, opening with a prolonged period of radiant birdsong and crisp beats before slowly taking on an entirely darker subtext to close with a torrent of hard industrial beats which mutate into the grating sound of a revving motorcycle engine mixed with electronic noise and grinding guitar. immediately after this is “big dick bricks covered in sick” which starts and finishes as a gentle drifting ambient piece but inbetween becomes a crazed torrent of breaks and flowing electronic layers. “setekey sysfuckoffcunt v1” takes thudding percussive beats and off tune piano keys and embellishes them with grandiose strings and driving guitar. on the more ambient side of things is “sheepscar junction”, a track with gentle melancholic piano keys paired with slow beats, crashing drums and short passages of droning shoegaze guitar. “light city”, the companion disc to “pen fifteen” is a different prospect altogether, focusing more on the electronic aspects of baker’s work. opening with “the voice of light city”, the second disc opens with relaxed beats over a repeated mantra being broadcast around an idealised sci-fi metropolis. designed to be listened to as a single continuous track, “light city” is a rollercoaster ride of adrenaline fuelled energetic rhythm blasts peppered with periods of calming ambience, almost as though baker is providing a rest stop before the next furious flurry of rhythms descends. as it progresses, it starts to really unleash its full rhythmic power, stepping things up to industrial noise levels by “part 3: the square”. cunningly however baker manages to discretely underpin his tracks with fluid ambient tones that creep around and lurk in the background, occasionally surfacing as the torrent of beats eventually subsides. the prominent guitar elements are still there too but to much lesser degree, appearing in true james bond style at the start of “part 04: acid indigestion” or as underlying metallic textures of the generally mellower ”part 06: cake and black sheep” for example. as the journey continues baker takes in acid house, noise, drum ‘n’ bass, industrial, breakcore, dubstep and techno to varying degrees, incorporating a diverse range of influences into his music. switching from furious rhythms to distorted breakcore and on to glittering ambience in the space of a single track, he frequently fuses disparate musical styles but pulls it all together in his own unique fashion. where “pen fifteen” experiments largely with combining various forms of guitar and electronica, “light city” is more for the electronic purist. there are guitars in “light city” but they are used sparingly with the focus being mainly on crazy levels of bpm punctuated with calmer interludes. if “light city” is representative of his live appearances, baker must deliver some interesting sets with a careful balance of furious rhythms contrasted with gentler tones. there is a definite distinction between the two discs; “pen fifteen” is experimental and explorative while “light city” is no holds barred after hours fun. (paul lloyd)

heathen harvest
http://www.heathenharvest.com/article.php?story=20090714202151719
what the fuck was that?! this is a question that admits two interpretations. one compiles the awkward result of a confused mind after having an experience that unlocks the imminence of the sublime chaos that he has been so fervently trying to repress under a mantle of logic reasoning, an effect that invariably ceases that comfortable niche of stability and comfort that secures his so called “sanity”, and now, unable to stabilize the current neuronal transit after this shock he desperately cries for his reason to take it all back. the other interpretation may be the unashamed admittance of a grateful surprise, a zap in the head, and the great discovery of the day, the acceptance of the fatality of a life out of norms and plenty of lucky and uncontrollable chaos, the ultimate form from divinity. “pen fifteen” latest marvel conceived and interpreted by, let me say it clear and loud, the genius mind from keef baker will more than surely cause this simple question yet complicated enough for opening stirred interpretations in the forthcoming months, lets not say years. this is one of those scarce opportunities in contemporary music that we would be able to see the dawn of a true star, or perhaps the singular explosion of supernova that we will probably not see again, at least not as just a blurred stamp of stellar gas in the infinite cosmos from the history of music. “pen fifteen” is so uncompromised with standards, rules or public expectations, so brave to defy the logic on how to perform electronic music that leaves behind a whole generation behind and finally so worshiper of chaos and yet so utterly connected and joined that finds no imitator of comparison possible and only a well deserved niche in the history of electronic music. the melting pot of idm conjectures created by baker on this work allows the apparition of multiple representatives. the iron hand from metal, the windy melancholy from post rock, the crammed density from dub, the multiformed acoustics from ambient, the epic nostalgia from trip hop, the hectic sewn from drum n’ bass and many other convergent styles that finally transcends into the syncretism realized in “pen fifteen”. these chosen styles serve as legitimate accents ready to be shaken in the experimental dexterity from baker’s barman ship where he is finally able to magically preserve the essence from each style, determined to capture their particular virtues without forming a massive fusion out of identity of too fuzzy in their structure. “pen fifteen” rocks a unique sound, an innovative amalgam not made of sonic rags or sampler pieces as usual in contemporary electronica but of massive compositional constructions with precise routes and solidity. each track is a world in their own with a defined identity and ultimate rarity. the monumental track that opens the album “getting older” is like a pushing set of waves slowly deepening and introducing you in a vast sea of post rock nostalgias and decayed feelings of hopeless dreams. ethereal ambience with a fierce organic rhythm demarked by the compass of a drum set that slowly increases its temper and profundity in an oceanic like rhythm. after this voltaic discharge comes “dead end” that surprises the listener with a ultra thick and slow riff that compromises with a profound doom metal, the guitar reverbs in its own heaviness and occasionally gets intentionally distorted but then post picks, the riff gets absorbed in a never ending spiral of melodic piano lines, nebulous ambience dissoluting in what we could call a vacuum that its merciless shattered by the returning power of a drum blast accompanied by the preposterous heavy riff. the amount of electronic accomplices routines set to round the tracks are so expertly adhered that the progressiveness inherent to the tracks remains invisible to the perception of the listener. in this sense the electronic accompaniments are rather set to help the transition, to sum feeling and momentum. it is evidenced that this work takes special diversion in the application of feeling more than simply effectism over the listener, and the progressive character of the music serves the purpose to remould the impression on the listener constantly, conducing him from one sentiment to another in an irregular formation. the pieces evolve unnoticed, transporting you into the infinite melancholic delight to then attack with full force of organic instrumentals or drumming discharges, setting crude rock aesthetics as indispensable methods. it takes up to “skellington” to introduce the listener in a more decidedly electronic appeal. the imperishable drum set marks the entrance for a set of breaks and an industrial rock like bass line throbbing behind, permeated by an ominous atmosphere that cover everything like an infinite blood painted sky. till here is now evident that keef baker is paying tribute to rock, using it as a strategy to deliver his electronic dream, recharging the rock appeal with a good amount of addendums from this era. breaks, tribal rhythms, scatterbrained downtempo cuts and the always massive vastness that he wants to emancipate with the accompaniments and atmospheric details he gives to his compositions. “the east is not the enemy” shows a world music, tribal accompanied, dub centred track that unexpectedly transforms from a heavy rock riff structure to an epic ritual dub transition full of ornaments, twists and turns, soothing the listener in a travel through vast plains of desert lands and arid eastern faces. “sailing the goat cheese” plays with a rocky outfit transiting through elemental analog ambient with delicious electronic accompaniments that result in a never ending delight for the ears and present a crescent euphoric sensation full of magical bliss. total madness takes in with the apparently inoffensive happy-ever-after synth-pop like commence from “mr snugglebunny's happy paradise is slowly turned inside out” slowly evolves in the most evil distorted maelstrom of rhythms that finish looking sound like the chain saw from hell. baker never ceases to amaze the listener with his out of norm aural deliveries and malformed sounds that always result in highly entertaining results! consecutive tracks 7 & shows a more distinguishable idm and less experimental baker dealing with more classical but gauged breaks, highly moving sequences and delicate ambient passages as usual marked with that tone of melancholy and detailed fantasy. “setekey sysfuckoffcunt v1” retakes the rock modus operandi. drum set and guitar riffs start in a powerful introit that progress in amalgamated synchrony of eastern music samplers and slow paced breaks preserving that definitive dub appeal that gives the tracks that typical vibe of earthly anchorage. the way that baker distorts the texture of his instrumental escapades along with the weird appeal of his electronic accompaniments and the exponential aperture of his atmospheres is definitively something that has flavour and above all a definitive character that most bands lack today, something entirely original. “sheepscar junction” and “sugar daddy for shemale” opt for a jazzy-post rock-ethereal mix with a focused interest in harmonies demarked by piano lines and strange sensual rhythms. think of heavy guitar riffs a la godflesh, very slow paces, added with dubbed bass lines and a drugged saxophone placed on the stratosphere accompanied by an ever strange set of electronic ornaments and as usual demented distortions and aural speculations. monster track charged with a chilling malevolence. second disk “light city” or “your state loves you” as the sampler used to welcome the listener opens the sequence is very dub accented, highly dynamic and although it evidently presents a rhythmic stance that could be used for the dance floor, its own bizarre appeal and strange convergence of progressiveness with movement may be way too much for a normalized audience. the work slowly intrudes in the dark side of breakcore and drum and dub and as the tracks succeed in transition, the intensity of a an evocated trip relocates the listener out in the uncanny orbit where this work resides. everything starts to become weirder and more distorted, reaching the parameters of ultra dirty rhythmic noise anchored in highly moving drum n’ bass sequences or extremely intense electro acid sequences like in “acid indigestion” a combination of 808 sickening analog sequences with ethereal atmospheres and industrialized drum n’ bass sequences. at this moment the listener may be already hallucinating with colourful cartoons and demented landscapes. tracks 6 and 7 reduces the peak ascent in a dual valley of downtempo rhythms and bubbling fizz of electronic melodies and effects. then smashed to bits and rising again with the return of dirty drum n’ bass sequences. the rest of the work will turbo propel the listener mercilessly with just minor pauses and tiny instrumental clips to a restless finale of ecstatic dynamism and only peaks out with the induction of a more atmospheric finale where the odd sampler from “your state loves you” kicks again as farewell, repeating itself and decaying in distortion and slow motion until it disappears. baker has transcended the barriers of what is allowed or expected in electronica aside from that, he has revived rock principles redesigning them completely and constructing highly innovative formations with them. his ability to permeate his music with sentiment and the opportunity chosen to really touch the listener is just immense. when you listen an album like “pen fifteen” you feel youre listening to something that reaches higher planes of human creation, the evidence of a landmark of historic proportions in some way. i think it would be rather difficult for him to surpass something like this with its incredible amount of compositional value, skilled experimentalism and focused syncretism. a classic album without a doubt, and obviously absolutely recommended for anyone wanting to experience highly advanced idm sonority and a masterfully planed music geniality. (jack the ripper)


enochian apocalypse
http://www.enochianapocalypse.com/index.php?option=com_content&task=view&id=758&itemid=37
it was always going to be interesting as to what mr baker would fire back with after the mightily impressive ‘redeye’, and yet again he never fails to surprise with ‘pen fifteen’ (just think about that title for a second) and the accompanying sparring partner ‘light city’. opener, the excellent ‘getting older’ shows a dramatic change of direction, but if you know keef it isn’t something that you wouldn’t expect from him at all; whilst certainly being a song i could probably relate to lyrically it also has a definitive sludge rock element to it whilst dragging on a subtle melancholy which doesn’t overstate itself too much. keef has always been known for his impressive hooks and while this avoids a lot of that, the opening track still manages to have the same effect and that’s impressive enough for me. ‘dead end’ is where the big changes happen; coming across something like a slightly more melodic ‘godflesh’ with guitar riffs wrapped in treacle and crushing drum structures, that pretty much pencilled in the fact that keef has made an album for himself above all else without fear of alienating previous listeners. couple this with numbers such as ‘the east is not the enemy’, which wouldn’t have been out of place on the debut ‘vast’ album and you almost can see him sticking the middle finger up and conventional musical fraternities everywhere; indeed it’s not until ‘sailing the goat sea’ that everything flows back to previous styles that we are accustomed to, and thematically everything changes in this direction for the next few songs, up towards the final couple of tracks right up to when ‘sugar daddy for shemale’ goes all hardcore on us. onto disc two, an entirely live set of new tracks created on ableton, and is effectively one huge song split down into 12 pieces with no break whatsoever and concentrates on beats a plenty rolling around at a frantic pace, with hardly any let up at all. there are moments on ‘light city’ that the casual baker fan can grab onto such as ‘aeronautics’ which are pretty much excellent tracks on their own; i think i understand the concept behind this second disc, and the latter half of it is fantastic and thoroughly enjoyable, but it did take a while to get to that point and i am wondering just how often this disc will get taken out of the tray for aural consumption. got to hand it to him though, it certainly adds up on the value for money stakes, i just found the first half a little too self indulgent, but then i guess all music is and all musicians are. all in all though as a whole this double package is like a breath of fresh air if truth be told; genuinely brave and bold and as brash as i would have expected and he has to be commended for this as a statement. this release will undoubtedly have the genuine baker fans out there relishing practically every second as he further displays the level of musical talent he has in his arsenal. (tony young)


premonition.fr
http://www.premonition.fr/premod.php3?chroid=276004&ta=9
"pen fifteen" est un disque énorme, et le matériau que façonne keith baker est tellement dense et rare qu'hymen records lui a permis de le sortir sous la forme d'un double cd, seulement le troisième du label allemand en un peu plus de soixante-dix références. c'est dire si le disque en impose ! cinquième album pour cet artiste anglais, bassiste de formation, d'abord porté sur le death metal puis le jazz, et enfin compositeur de cette idm post industrielle si personnelle, teintée de riffs de guitare et de basse qu'il est le seul capable d'insuffler dans une musique d'ordinaire cent pour cent électronique. et le résultat est là, massif, inespéré, vierge, comme un nouveau terrain de jeu que l'on découvrirait enfin après des années lasses et vaines. "pen fifteen", le premier disque, fait la part belle aux guitares et aux basses lourdes, soutenues par des beats ciselés et des claviers envoûtants. mais pas seulement, puisqu'un piano a trouvé sa place dans cet enchevêtrement de pulsations parfois saturées, souvent ouées sur une vraie batterie, augmentant ainsi le crédit "musique de film imaginaire" du disque. quant à la deuxième face de ce monstre crossover inédit, "light city", elle s'étire le long d'une pièce unique, plus électronique que la première, et découpée en douze parties de cinq minutes chacune, sans concession. "light city" recèle tout autant de moments d'anthologies, comme cette ligne de basse plus vraie que nature sur acid indigestion, et l'on comprend alors à quel point "pen fifteen" est un disque intelligent, audacieux, d'une modernité rarement égalée, et forcément indispensable. (bertrand hamonou)

 

discography 02.2k9:
the widnes years. cd. n5md md124. 2004
the widnes redevelopment project. cd. n5md md133. 2005
pure language. cd-ep. ad noiseam adn59. 2006
redeye. cd. hymen records ¥757. 2007
pen fifteen. 2cd. hymen records ¥771. 2009

keef baker on the web:
www.keefbaker.com
www.myspace.com/keefbaker

 

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