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709 beefcake . coincidentia oppositorum . cd . may 2000. [deleted]





sound architects beefcake from jena, germany with their second full length release after "polycontrale contra punkte" (¥702). with this release they follow their the chosen path consequently featuring 16 tracks of finest electronica around. recent reviews have tried to compare beefcake somehow with autechre, aphex twin, bochumwelt, black lung, etc. but despite all familiarity with the acts mentioned before, beefcake stands with its own unique style - the beefcake sound collage universe.

it is the means by which beefcake approach sound. working mainly as djs, their most used instrument is a sampler. nearly everything imaginable in sound is being collected, deconstructed and rebuilt afterwards. a unique and vast collection of sound ranging from catchy melodies, voices and samples mercilessly interrupted by distorted beats without losing the initial idea - reconstructing and building music.

and music does not need any descriptions, titles are regarded redundant. would you ask an architect for the name of a building? just build your own track names and follow beefcake's journey into the world of sound. a never- ending journey since the invention of the repeat button ... this applies to our digital friends only, of course ...

all in all, beefcake create such a versatile style that it is hard to find a short (and binding) description of their music - there is only beefcake's chosen path leading to one formula:

the square root of architecture plus inventiveness divided by aural feast equals beefcake. or to put it shortly, electronic chamber music for the eclectic listener.


the german duo beefcake are back after their highly praised debut ´polycontrale contra punkte´, with a stunning release that may very well prove to be the perfect electronic record. ´coincidentia oppositorum´ exhibits a strong progression in the act´s sound and production, while maintaining much of the dark hybrid of idm "glitchiness" and post-industrial noise that has put beefcake on the map. this is top notch music; never compromising stability, and effortlessly maintaining smooth track transitions and cohesive album flow throughout. ´coincindentia oppositorum´ is a record that can only be experienced from start to finish; treating the listener to an immense collage of sounds and emotions. harsh drum ´n bass, quirks and beeps, beautiful synth and string arrangements, rain storms, german propaganda samples, and even the occasional heavenly female vocal compliment this masterpiece of audio design. this is a genuinely proficient release that will probably never gain the attention and admiration it deserves, but ´coincidentia oppositorum´ will surely find a warm place on this critic´s top 10 list for 2000

chaindlk. . by maurizio pustianaz
beefcake come from jena, germany and coincidentia oppositorum is their second full length release after "polycontrale contra punkte". the sixteen tracks of the album deals with a sort techno experimental electronic music that also contains dark ambient influences (the second track, for example, could be perfect for a new blade runner soundtrack). the samples are deconstructed and rebuilt and the distorted and frenetic rhythms used help a lot breaking the dark atmospheres created giving in this way freshness to the sound. the lack of titles and the particular construction of the tracks give to the album a sense of mystery and as the band explain: "music does not need any descriptions, titles are regarded redundant. would you ask an architect for the name of a building?" very various and interesting coincidentia oppositorum is an album that you'll enjoy for sure.

i should be going to sleep, but you must hear what i am hearing now, the new cd from beefcake on hymen. another great release from hymen. i had remembered that i was not too impressed by their first cd release on hymen. there vinyl releases have all been enjoyable, but i couldn't get into the first cd, except for the house track w/female vocals. but the machine gun staccato programing of "coincidentia oppositorum" on the other hand left me breathless! don't get me wrong, though, the depth of this release lies in the total control and manipulation of the sonic environment in total. many sweet melodies swimming through a coral reef of ambience and well thought soundscapes. autechre, squarepusher, aphex twin.......tangerine dream!!!! keeping this in mind, this could very well be the alternative soundtrack for blade runner--tangerine dream with break beats. "coincidentia oppositorum" begins with a sample of an italian torch song sample from the roaring '20s. setting the tone, the oblivious forshadowing of the impending gloom of the dustbowl '30s. we are submerged further by the pommeling beats, and far off keyboard treatments pine our decent. this is definitly not the beefcake i remembered--i had to call quinn. the last copy of "polycontrale contra punkte", sold long ago; i had to verify my recollections. had my memories been deleted and a new record for my impressions of "polycontrale contra punkte" implanted in replacement. and if so, what else. who can i trust now that i doubt even my own experiences. i talked to quinn, he wasn't into "polycontrale contra punkte" as well. but could he also be in conspiracy against my mind. regardless, "polycontrale contra punkte" was in the past,and "coincidentia oppositorum" is here now. they have progressed very nicely--actually incredibly nicely. with this full length release beefcake has created a state of the art contemplation on autecre in a uniquely beefcake voice. this is damn complex and damn beautiful music: distinctive serephim vocal treatments, keyboard treatments, layers of tonal construct, melancholy chords, and ambient depth. there is phatness based on the maturation of talent, and not on transposing bass patches 24 octaves. could this cd be so good that i doubt my own remembrances. yes. only because it has an effect of crushing your mind if your not wary--you will transcend your t.v., emails, bills, neighbors, and all other prefuctory implements of capitalist/transnational constructs that force you to belive in gravity-but in reality you are drowning, very, very slowly. is the sea really blue; is the sky such also--but why do you think money is green. i think it's best thing being produced in this genre now; but then again beefcake is a genre onto itself, now. beefcake's eminance comes to fruition with "coincidentia oppositorum".

re:mote induction.
every once in a while, an album comes along that is just so unbelievably good, so unbelievably unique, or something else unbelievable (terrible sometimes) that it knocks you on your ass. beefcake's latest is one of these. so, so incredibly good, you don't even know where to start with it. i'll start with their history. ...of which beefcake has little. a year ago (i think, i'm probably wrong) they came out of nowhere with an album and a 12" on the new hymen records, subdivision of the hipsters at ant-zen, and i figured any band that named themselves beefcake would be worth a listen. as it turns out, they were worth one hell of a listen. polycontrale contra punkte, their first album, was a revelation. beautiful, haunting, sad, smooth idm mixed with bizarre tongue-in-cheek german weirdness made for one of the most unique albums i've ever listened to. and here we are, at the second album, and once again, this is one of the most unique albums i've ever listened to. basically, it takes the formula of the first album, expands upon it, and leaves me breathless. the album flows together seamlessly, and instead of being just a bunch of really great songs, it becomes one really great album. the only fault i can find is the "glitch" crap at the end of song 5... which, upon further inspection, pulls the listener back into "active" mode (as songs 4 and 5 are very melancholy and calming). another thing that i loved about this album was the fact that i came into it with the *highest* of expectations. i expected to be fully blown away. in other words, i hoped for another pcp. needless to say, i got what i wished for. beefcake, in my opinion, have established themselves to be on the top of the idm heap - well, no, standing side by side with gescom - but still. coincidentia oppositorum is a subtly beautiful album that reveals its genius with each subsequent listen, and to think this is only their second album...!

re:mote induction.
released at the same time as the 12" in media res comes the second beefcake cd, coincidentia oppositorum. coincidentia oppositorum following on from polycontrale contra punkte , with thematically consistent packaging - this time textured blue paper charting the growth from caterpillar to butterfly. the sound can be seen as an extension of polycontrale contra punkte , a little surprising in some places at first, but from the start it is clear that this is beefcake. a sensation that garners physical reaction. with coincidentia oppositorum and in media res beefcake answer the age old question of how do you come up with a name for an instrumental piece - the answer is you don't, with beefcake titles are redundant and the sound is all that matters. the album starts with a soaring voice and piano melody, both suggesting a time gone by, perhaps the 1920's? bass wells up swallowing this cheerful moment, while feet skitter, little scurrying sounds in the mass. a star falls, shimmering and a voice says "relax". the pace evens out and layers of warm melody rise to cushion us. swelling strings creating a heady sensation, to which garbled electronics are added, which pulls us into the pausing structure of the second piece. the melody is of sighs while in the background there is a buzzing. we can hear the loading, the preparation - a german voice, a broken glass - mounting sense of imminent eruption. a sense beefcake are content to exploit, with their slow beat release. piano notes mix with stray moments of fractured drum programming and with consideration this sound is quite messed up. with a buzzing congestion we shift to the third piece, where all teasing is off and beats launch all around us. though as we think we have the measure of this there is a shift in the salvos, beefcake slip us a dash of melody and a looping female vocal sample - both slick and lush. mellow and relaxing while equally hectic and dizzying - trying to focus on either becomes a challenge, you have to accept both at once. continuing the seamless motion a crunch of hip hop leads to the fourth piece and a sweep of desolation with a melancholic swirl of melody. you are lifter from where you lie, your eyes closed, your body limp, balancing only on a moment of hesitation. then its gone with a sense of loss, but the fifth piece wraps us, removes the wind. though we hear the rain and feel a little lost we can't help but understand. the single notes and slight beat step up - the note backed by a second melody while the beats have layered. the pace remains easy, languorous in its growth and increasing complexity. a glitch to the head and we move further into coincidentia oppositorum, the sound opening on us - a bass expanse that fluctuates on our senses. beat work builds then gains its moment to overwhelm, content the sides balance once more. crackling and static add, while pulses come flying at us, and beats blip and dash. there is a sense as it builds that it can't last, and with the ticking passage of time we are into the seventh piece. beats layer in lashing techno structures, beefcake unleashing their percussive might like a constant stream of blows to the head. when you dance, it will be to this... passage of three minutes ad we move on - street scene bustle, dramatized accompaniment from the string section. added to the bass bows come flurries and harp, with a tip-tap beat keeping time. a flute or similar, adds a solo piece to the forefront, providing a yearning to the intoxication. a little beefcake ending and we come into the closing in of the ninth piece - focus melody and straight beats. bound by increasing distortions and deviations - sweetness in playful contributions, with glitches and consumptive beats. there is something a little dreamy to this piece. the tenth piece has sighing with bass, beats springing as they are shaken and released. from the dreaming this is wandering and gently explorative. deep bass tones chime, drawn out and then compressed in the eleventh piece while beats are added. electronics swirl in an expansive curl, tight then unfolding, building to a near high. then swamping you in blanket melody till you can take a little more of those precision, pin-point, trigger beats. after a moment where we're all moving we have the sly hesitance of 12, teasingly the vocal sample says "hey baby, please come back to me..." discharge of electronics, plinking light melody, a little laughter. is it just me or is this music perfect for makin' luv? go on let yourself feel it as you circle those hips in your moment of beefcake seduction. while 13 is a rush, a crackle, a building percussive beat. dissipated in the mix of melody - beats come off in flat layers with great donging church bells. fizzing in their static edges with a sweep of bass and stunning key stroke melody. building to spatial effect, with a haunted sense unresolved. things spin backwards in the reverse melody of 14. the melody plays out, a switch is flicked and we hear an audible acceleration. a great crumping bass beat come with the jangling of rapid breaks. boo-bp. boo-bp. boo-bp. bop-bop. ka-chunk chunk chunk chunk. ooh ooh ooh oh. track 15 = signal, beat , voice. then a little space melody - doodoo-doh, doodoo-dohwheep. sliding gently while we feel that need to move come over us once more. showers of strings fall on us, backed by the reliable bass contours and unfazed beat patterns. for some reason at 4 minutes we have a sense that we are being offered more, maybe by this stage beefcake think we can take it? 6 minutes past and we sit in the piano lounge of 16 and look back, a little smile on our face, a tear in the corner of our eye. once again the looping vocal sample says it all "you make me feel strong". sweet! i think it fair to warn the uninitiated that coincidentia oppositorum contains 16 tracks adding up to over 60 minutes of pure beefcake. while this is immensely engaging and extremely recommended listening we feel that we cannot be held responsible for those approaching coincidentia oppositorum unprepared. but wait i have forgotten to note the best tracks, damn i'll just need to go back and listen to it again, oh well.......

side-line no.32 july/august/september 2000

the new album of beefcake is a particular experience that find its place in the temple of contemporary intelligent electro music. the receipt is quite easy: you created extremely ambient atmospheres and you mixed them with triphop percussion! this is original drum'n'bass that has been already compared to a project like autrchre. i think that the comparison stands for the originality, but beefcake sounds a little bit more extreme… or alternative! i get deeply impressed by the outstanding and artistic ambient soundscapes. they reassembled a bunch of sounds and rework everything with their sampler. i'm not gone call this album a major success, but the intelligence of the composition will please to lots of people in search of new and intelligent music. (dp)

spectrum issue 4

with cover art very similar to the first cd, i could make some comment between the metamorphosis of the sound of this albums in comparison to the cockroach to moth insignia of the cover art - yet i won't (but then again did i just do it anyway?). regardless, anyone who heard the first cd will not be disappointed here, likewise anyone who hasn't should not pass this by. in short, beefcake have a highly distinctive sound of sweeping cinematic melodies and classical inspired backings, infused with obliterated break beats, vocals and text samples. the first album was quite dark yet had playful0 elements, and while the same tendencies are displayed here, this disc is overall a slower, much more gloomy affair. the breadth of soundscapes can sometimes be mistaken for sparseness, which would actually be quite incorrect as it is the volume of the beats in the mix that tends to subdue the sections where they are not included. the third track works on three levels, that of slow melodies, chaotic break beats (that are messed up beyond simple sequencing) and a full femald vocal sample. this doubling and even tripling of sound layers is where the genius of beefcake lies - part classical musical theory, part cutting-edge studio composition. a true merging of past and present sounds is perfectly illustrated on track 8, with the drum-and-bass beat enhanced by chamber music orchestrations - and the harp and flute melody gives the track that extra special touch. at its most playful, track 9 is based on multilayered cut up beats and light quirky melodies. regardless of the shear variance of tempo of beats and modulation of sound textures, one track still merges seamlessly into the next, yet another trait that makes this album play out as a stunning whole. beefcake have opted to not title any of the 16 tracks, letting the listener decipher their own meanings. my unqualified translation? brilliant! (richard stevenson)


electronic chamber music for the eclectic listener. the german duo of gabor schablitzki and volker kahl, known to the world as beefcake, conquered the sampler and established their electronic mastery back in 1998 with polycontrale contra punkte. they waste precious little time in picking up where they left off. coincidentia oppositorum opens with a lenghty dark symphonic stretch that sets a fairly ominous mood, punctuated with samples of breaking glass, snippets of conversation, and disjointed, sporadic beats that slowly pick up into a flowing rhythm. before long we are inundated with multiple layers of break beats; splintered, shattered, and scattered. no-holds-barred, intense rhythms that at times develop a level of complexity that virtually obscures any pattern. the true beauty of this disc doesn't lie in the energetic percussion, however, but in the complementary electronics that set beefcake apart from their average crop of aphex twin/autechre-inspired contemporaries. simple, emotive melodies, constructed with a symphonic grace, work in contrast to the frenetic beats. or, such as with track five (all are untitled) the percussion is subdued into a downbeat tempo and assimilated into the forefront of rich tones. some vocal samples lend a human touch now and then, most notably the female vocals that outline beefcake's alluring capacity for a balanced elegance early on the disc. essentially beefcake - replete with their quirky band name with which my mind is irreperably branded - push electronica to its limits with ease, constructing over an hour of diverse, captivating material composed with a master's touch. (ben didier)

auf abwegen #29 sommer 00

o wunder der technik! der release des monats mai kommt von beefcake, deren neues album eine durchweg stimmige sache ist. ich hätte es nicht für möglich gehalten, daß sie ihre mischung aus schockeratmos und scharfen schlägen noch verbessern könnten, aber sie haben sich selbst getoppt, und zwar ohne jegliches krampfhaftes bemühen, sondern spielerisch leicht. ‚entscheidend ist nicht der fall, sondern die landung' wie es in einem sample des albums heißt. grandios, daß es beefcake nach den beatgewittern jedes mal schaffen, auf den füßen zu landen. prrrr-krrt, pftpft-zakzakzak geht das und dann auf einmal große weite und abfedernde sounds. bleibt nur zu wünschen, daß dieses album, mit seinen verzückenden, abartig-zerstückelten beats und den schwären, stellenweise tangerine dream-mäßigen synthiepassagen nicht in der allgemeinen euphorie um lesser oder kid606 untergeht. denen können beefcake nämlich locker das wasser reichen.

black ausgabe 20 sommer 2000

unermeßlich, was dieses album bzw. beefcake mir persönlich bedeuten! wenn die cd eher erschienen wäre und ich nicht schon for a space zum album des quartals erkoren hätte, stünde mit absoluter sicherheit ‚coincidentia oppositorum' an jener stelle! aber selbst sebastian ullmann von for a space erkennt an, daß beefcake schon etwas weiter sind als er. das jenaer duo beefcake ist im jahre 2000 noch komplexer geworden und verzichtet (leider) gegenüber dem ersten album ‚polycontrale contra punkte' völlig auf mißverständnisse bzw. interpretationsfallen. dem ist der verzicht auf sämtliche tracktitelbezeichnungen und das fehlen jeglicher politisch-aussagekräftiger samples geschuldet! um so aufregender, anregender und verwirrender ist dafür der sound ausgefallen, welcher zwischen den eckpfeilern atmosphärischer soundtrack und sich überschlagenden drum'n'bass nur schwer festzumachen ist. traurig-melancholische scores wechseln sich mit poppigen hooklines und experimentellen rhythmusgewittern ab, werden zu einer homogenen einheit zusammengeschweißt und wieder zersplittert - eine gute stunde beefcake'sche magie und für mich einfach herzzerreißend bzw. eine poetische sternstunde der musik!

equinoxe ausgabe 13

ich lege eine cd in meinen player, und unter stilvollem vinylknistern erklingt ein alter schlager aus der ersten dekade des nunmehr vorigen jahrhunderts. der auftakt einer weiteren blutharsch-veröffentlichung? leider weit gefehlt, denn ich halte das neue album der jenaer beefcake in den händen. was diese uns hier unter dem merkwürdigen titel ‚coincidentia oppositorum' präsentieren, klingt jedoch auch nicht uninteressant. man hat sich wohl das ziel gesetzt, die verschiedensten stile elektronischer unterhaltungsmusik, sowohl aus dem underground als auch aus dem mainstream, miteinander zu vermischen. das ist sicherlich nicht die neueste erfindung, doch beefcake stellen es zumindest mit einfallsreichtum an. breakbeats, minimale distortions, groovige drum'n'bass-rhythmen, trance-loops und ähnliches werden zusammen mit vocals, sprach- und instrumentalsamples und ruhigen flächensounds zu einer collage vermengt, die in erster linie mit überraschungseffekten arbeitet. immer wenn man sich an eine bestimmte melodie, einen rhythmus oder einen sound gewähnt hat, wendet sich das blatt, und das klangbild zeigt ein völlig anderes gesicht. beefcake lassen den hörer nicht zur ruhe kommen, man könnte die musik am besten mit einem irrgarten vergleichen. an verschiedenen stationen des labyrinths werden assoziationen zu bekannten größen aus dem techno-bereich wach. die band selber beruft sich auf einflüsse von autechre, aphex twin und anderen, man fühlt sich außerdem an interpreten wie mouse on mars, tripwire und gelegentlich auch massive attack erinnert. die überraschungseffekte bringen jedoch auch das problem einer gewissen kurzlebigkeit mit sich, die ich hier als einziges relativierendes kriterium einbringen muss. denn wenn man erst einmal den weg aus einem irrgarten nach draußen gefunden hat, hat man für gewöhnlich wenig lust, den gang noch einmal zu wiederholen, da man nach und nach die irrwege durchschaut und die sache ihren reiz verliert. dennoch kann ich die platte jedem freund elektronischer musik empfehlen, der sich auch für kompositionen jenseits des diskothekeneinerleis interessiert. (uwe schneider)

barcode #3

this is the sort of release that instantly restores your faith in electronic music. comparisons with aphex twin and autechre have been made and it's obvious why, yet coincidentia oppositorum stands up in it's own right. atmospheric tracks full of subtle melody and state of the art, often bizarre sampling technology, flutter and illuminate the album from start to finish. in places we have some truly awe-inspiring break-beat programming to give the album a powerful, reconstructed feel. at other times the album breaks down into filmic heartwarming string and piano sections. purists might well file it under ambient but with the music often interrupted by short bursts of break-beat or distorted sampling of overwhelmic proportions it would be wrong to categorise this as anything to fear of misleading the listener. coincidentia oppositorum is an imaginitive island of work, with little treasures placed in every nook and cranny, anybody with that truly eclectic sense of adventure will find this an absolutely crucial addition to their cd collection. (dt)

orkus nr. 06 juni 2000

eines fällt sofort auf: die predigtartigen, deutschen sprachsamples, die auf dem debutalbum 'polycontrale contrapunkte' mehr gestört als zum nachdenken angeregt haben, sind auf cd nummer zwei ersatzlos gestrichen worden. an ihre stelle treten noch ausgedehntere klassik- und ambient-passagen, die mit warmen melancholieschwingungen, einer menge hall und filmischem bombast den etwas chaotisch rhythmisierten rest des albums angenehm kontrastieren und zusammenhalten. die stilschwankungen sind noch wesentlich härter ausgefallen als auf dem vorgänger. völlig verhetzte beatbox a la squarepusher oder aphex twin (‚come to daddy' läßt grüßen) und architektonische noise-elektronik-skulpturen a la autechre stehen direkt neben lässigen easy listening-grooves, melancholischen pop-arrangements, abstrusen gesangssamples und der eben schon erwähnten, nicht unkitschigen ambient- und soundtrack-klassik. alles in allem liefern beefcake absolut filmreife achterbahnspannungsbögen ab, die aus jeder futuristischen großstadtballade mühelos großes kino machen können. für den filmischen ansatz spräche auch, dass fast wie beim imaginären abspann-song eines soundtracks ‚coincidentia oppositorum' mit einer gefühlsduseligen ‚alanis morisette meets celine dion'-piano-ballade schließt, deren interpretin eindeutig das zeug zur pop-diva hat. ein sperriges album zwar, aber es lohnt sich. (alexander maciol)


sie nennen sich selbst "sound-architekten" und ihre musik "elektronische kammermusik" - und genau das trifft es wohl auch, was da aus den lautsprecherboxen kommt. fröhlicher 20er-jahre-swing eröffnet das inzwischen zweite album der jenaer, dann allerdings wird es schwierig zu entscheiden, was man gerade hört. streicher-elemente, die an den soundtrack zu "das boot" erinnern, flirrende und düstere klangwelten bauen sich auf. der filmische eindruck vertieft sich, als sich auf einmal eine handlung, ähnlich dem eines hörspiels offenbart: türen knallen, fußboden knarrt, glas zersplittert, männerstimmen reden, schüsse fallen. langsam mischt sich eine klassische pianolinie ein, der einsetzende beat trägt jungle-züge und eine sanfte, elektronische brise lässt den zweiten track dann fast besinnlich ausklingen. der harte beat des nächsten songs weckt den hörer allerdings schnell wieder auf. unaufdringlich umspielt von ambient- und chillout-sounds wird der auf den ersten blick stürmische song zuletzt doch noch zahm. rasanz und melancholie wechseln sich auf beefcakes album harmonisch ab, satter folgt auf rudimentär ausgestatteten sound, harte elektro-elemente spielen mit klassischen instrumenten und immer wieder tauchen an den ungewöhnlichsten stellen sprach-samples auf. eine stilbeschreibung für "coincidentia oppositorum" gibt es nicht, nicht einmal namen für die einzelnen songs - man muss sich die scheibe einfach anhören und wirken lassen.
(inga stumpf)

textundton #35 juni 2000

die musik der jenaer war bisher immer wie ein aufgerissene wolkendecke. ein drum and bass wolkenteppich, der plötzlich die sicht auf sonnigen ambient und verhangene klangstratosphären frei machte. auf ihrem zweiten album erleben wir eine veränderung der wetterlage. es regnet bereits, während noch die sonne scheint. ihr ambient ist noch introspektiv ruhiger geworden und ihr drum and bass noch kaustisch konzentrierter. diese art der trennkost von soundtrackartigem ambient und hyperventilierenden break beats, die wie eine zusammengerollte klapperschlange 150 mal pro minute attackieren, hat den raum zwischen diesen polen zu pandoras paradies gemacht. elektrostatisches brummen, chaotische randomisierungen, fehlerhafte beatsprünge schälen sich aus den auseinanderdriftenden genrepolen und entfalten kurzzeitig ein eigenleben, bevor sie wieder in die vereinheitlichenden klang-gravitätsfelder geraten. nimmt man die essenzen von autechre, aphex twin, squarepusher, moby, black lung und lustmord, das destillat hieße beefcake (auch wenn auf ihrer zeitgleich erschienenen remixplatte der anteil kindlich naiven aphex twins der ära "richard d. james" unproportional hoch zu sein scheint). langsam aber stetig wird der eigene beefcake stil unverwechselbar. die jungs haben es einfach drauf. (till schröder)


the unique german duo beefcake is back with their second full-length. coincidentia oppositorum is the calm after the apocalyptic technoid realm of their debut polycontrale contra punkte, a deep soundtrack highlighted by blissful melodies. beefcake's second full-length still unpredictable as their debut album, surprising the listener at each single second of its content. coincidentia oppositorum's tracks are untitled and should be taken as a whole single soundtrack. at each step the tracks found of this album are building an intriguing and unique sound experience where, like its predecessor, you're drown in a melted sensation of joy and fear. the subtle emotions are slowly making their intrusions over the quiet array of wiry electronics sometimes interspersed by a gloomy landscape supported by furious dissembled drum sequences. from the beautiful and delightful melancholic melodies of the fifth track to the chaotic architecture of the seventh and the almost ethereal end, coincidentia oppositorum rapidly surrounds you. the technical abilities and capabilities of beefcake are more than admirable, providing an unique and modern technoid sound that few of their contemporaries are capable of. again, beefcake have created an essential work of technoid far away the cold and static essence usually embracing the genre. coincidentia oppositorum is more than perfection, it's beyond the imagination. the perfect gift to the mind and soul; an outstanding experience.


sie spielen wieder mal mit den gefühlen des hörers... beefcake sind einfach phantastisch, übertrieben könnte man sagen, die jungs können aus scheisse benzin machen, aus holz einen mercedes schnitzen und mit grashalmen einen pulli zu stricken. was im laufe der cd sphärisch düster anfängt, endet in 1000 von rhythmen aus den unmöglichsten sounds, samples klingen wie sinnlose fetzen, ehe ihre folge sich allmählich zu einer collage verdichtet, um dann mit den piano- und klangteppichen zu einem ganzen zu verschwinden. man muss dieses werk wirklich in sich aufsaugen, um es zu verstehen, denn fast jede sekunde birgt eine überraschung in sich und manchmal verdichten sich die drum'n'bass sounds zu einem song und ehe man es kapiert hat, geht's weiter. auf tracklisting hat man laut info verzichtet, was man nicht unbedingt verstehen muss, aber angesichts eines wahrscheinlich beabsichtigten gesamtkonzepts verstehen kann. das werk unterschiedet sich dadurch grundlegend vom vorgänger. es gibt aber trotz der verwirrungen ein anfang und ein ende beide eignen sich als sprung in das kalte, anziehende beefcake-wasser. wer meint, er sei musikalisch innovativ einzuordnen, der muss dieses werk einfach haben...


discography 04.00

coincidentia oppositorum . cd . may2k. hymen ¥709
in medias res . 12" . 45rpm . may2k. hymen ¥024
polycontrale contra punkte. cd. nov98. hymen ¥702
spontanious human combustion lp. 33rpm. nov97. hymen ¥003

compilation appearances:
'moondrops' on 2cd 'the flatline compilation', flatline records, 1998.
'listen to the call' on 2cd 'teknoir', hymen ¥701, 1999

'germanized industries' original by p·a·l, hymen ¥005, 1998.
'headhunter 2000' original by front 242, zoth ommog & metropolis, 1998.

beefcake homepage