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¥024 beefcake . in medias res . 12" . 45rpm . may 2000. [deleted]
accompanying 12" release to the new album ' coincidentia oppositorum'.
4 tracks giving an excellent
outlook on beefcake's musical universe.
like on the album the versatile style of beefcake's great architecture is outstanding. starting off with a trance-like melody smoothly combined with drum and bass beats the record goes further into the typical (can we really say typical?) beefcake style - break beats, voice samples and the overwhelming need for some movement interrupted by bizarre breaks. it seems as if the flipside contains magical moments of childhood fading into spheres you'd never want to leave anymore - strange, huh? no, it is still beefcake - always expect the unexpected and get ready for the innovators of sound ...
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.
dj quesako (ascolta - strasbourg). www.b-product.com/speaklouder/disc.phtml
c'est le 2ème ep de beefcake sur ce label mais cette fois-ci c'est une production beaucoup plus calme. entre electro et electronica, ce maxi ravira tous les amateurs du label warp. le 2ème morceau de la face b pourrait également se rapprocher des prods les plus dures de la planète rome, ce qui, à nos yeux, est une très bonne référence.
this 4-track vinyl complements the atmosphere created by full length ("coincidentia oppositorum"). unlike the cd, it is not a solid flowing composition arbitrarily divided into tracks, but rather 4 standalone tracks that offer different perspectives on band's new sound. starting with track one, we are immersed into minimal techno with soft keys and subtle beats driving a pleasant warm melody with steady rich atmosphere with few simple elements used throughout the track. while the core of the track stays the same, variety of deep strings, tempo changes and rhythmic progressions gives it enough variation to be classified as idm. overall, if i didn't know it was beefcake, i would have hardly recognized this track. second track is unmistakably beefcake - collage of intricate unique beats with deep dark strings on the background. percussion develops at rapid pace, and when you expect a powerful progression, it stumbles over itself, collapses and disappears replaced by next wave of bizarre beats. erratic and unexpected, sharp crispy sounds bubble throughout the track; taken out of context they might be called funky or even funny, but together they provide a solid atmosphere, which is not as flowing as earlier beefcake work, but more unexpected and, if you wish, "experimental". a little similarity to some of black lung or xingu hill material could be heard here (especially compared to "andronechron incident", that was of course a lot slower and mysterious than this track, but definitely exploring the same music realms). this track appears to be a tribute to "old" beefcake sound; it is the darkest and most technoid track on this record. third track starts out with swirling fast-paced percussion in usual beefcake manner, but somehow despite all the breaks and turns, it manages to remain steady enough backed by soft keys and funky little noises. this song is a pure percussion playground, similar to the track on the full-length album that was absolutely devoid of any string elements. overall, this is a very mellow track that be easily mistaken for a high-speed and hi-tec version of boards of canada track off "music has the right to children". to take this resemblance even further, last track is filled with laughter and cries of children (boards of canada again?), rich and gentle funky percussion, full of little soft noises. somehow it balances on the fine line between being completely goofy and being just a soft relaxed melodic techno. very slow-paced and simple, it probably would be a biggest surprise to anyone that liked their earlier sound. this track seems to indicate how far the band could move from their debut album. last 30 seconds of a track are like a gust of a cold wind with a few seconds of usual beefcake percussion fading out into quiet nothingness. if you play this record at 33rpm instead of recommended 45 (something that worked remarkably well with new passarani), you will experience a down-tempo, minimal intricate sounds that seem to be richer and deeper than the original record, adding a slightly darker and dreamier edge to the music. since you are not being as overwhelmed with high-speed percussion anymore, you get some insight into how the intricate soundscapes were made, a sort of easily-available reverse-engineering technique that at the same time gives you yet another perspective on the band's sound. after listening to two latest beefcake releases for a while, i can say that this time the band has created a different type of music experience; first two releases were easily acceptable and instantly loved by everyone - the duo used a lot of easily-acceptable conventional song structures, mixing intricate percussion and rich lush strings, the moods created were complex and solid, easily finding the way to the hearts of listeners. when the audience finally grew up to understand and enjoy their music, they discovered that meanwhile the band was not standing still, but moving onwards, taking their sound to the next level. last two releases are a lot more of "music for the mind", where you cannot just relax and flow with the sound, but you have to pay close attention noticing the uniqueness of the elements used, the unusual song structures, the variety of instruments. this is definitely a step that many would not be willing to take, refusing to understand and accept band's new direction
re:mote induction. www.remoteinduction.com
there is some debate as to whether in media res the latest 12" from beefcake is supposed to be played at 33 or 45. i've found that it can be listened to at either, though successive listens suggest that it should really be 45. this is particularly evident in the vocal samples through the release and some of the drums - both of which slow down just a little too much. however at 33 in media res is a remarkably mellow release and some pleasure can be attained from the easy melody. while at 45 it is a considerably more upbeat and infectious record. as with spontaneous human combustion, beefcake have not been big on track titles on in media res, only seeming to note their durations. first side, first track and we have a light tapping beat with sighing melody. a second beat is added, offering a thicker sound to the percussion. notes are added, clean, round and complimentary to the melody, with a bass vibe sliding through backgrounds. very easy listening, progressing with slow shifts and detail. melody reprises while a tum-tum beat plays out with piano notes on a bass scale. a manipulated voice groans and we are into the second track. altogether a different mood as the beats are twitchy and on edge, while backgrounds are oily swirls. this piece thickens its beat structures, harking more to the threat beefcake can hold. building a tense atmosphere, motions rapid, while the sum drifts. progression is taut and controlled, totally consistent. motion is an eventuality to be accepted. moving to side 2 we have a fluid undertow, a bubble which then bursts with rapid tinny beats. encompassing piano notes are delivered in to the mix, and we are enthralled. the beats shift through varying effects, remaining a speeded constant, contrasting the slow melodies which come in as they please. a voice seems to tell you its "alright", but that's okay because you never felt doubt for this electronic joy. for all the easy melody i find myself moving again, plugged in by headphones to that infectiousness. then we are into the final track, plucking a tune while voices display a giggling euphoria. beat taps out, a tickling of timing and a child laughs - filled with good, wholesome beefcake joy! while the last two tracks demand an element of motion, this piece has kicked back in the comfy seat, eyes closed with an uncomplicated smile....ahhhh. in recent times we have developed a saying - "it's good, but it's not beefcake". well in media res certainly is beefcake and we suggest you deal with it - a must for beefcake fans and less of a surprise than coincidntia oppositorum which is released at the same time
spectrum issue 4
in a continuance of the review above this vinyl is another in the 12" series that acts as the counterpart to the main album. here we are treated to four unnamed pieces not on the album proper, which just goes to show how productive this group is (remember that main album is over 60 minutes in length). on obvious difference regarding these tracks is that a more beat-oriented focus is solidly infused throughout. even on the first track the beats are much less scattered and cut-up, which makes for brooding groovy ambience with the same sparse sweeping background of solemn melodies. track 2 has a flurry of mid-paced beats that are quite forceful in a way that could be described as 'big beat', if one was so inclined. the backing of this track remains a sparse collage of scattered drones with limited if any tune being shown. the cut-up hiphop inspired beats of track three (side b) makes for a moody listen when transposed over the trademark cinematic keyboard layers in perfect beefcake style. bittersweet beauty is on order for the final of the four tracks with slow beats consisting of kick drum, snare and high hat that assist in focussing the classically inspired keyboard lines. overall yet another piece of beefcake brilliance. (richard stevenson)
black ausgabe 20 - sommer 2000
etwas gradliniger und eingängiger (für beefcake-verhältnisse) ist dagegen die dj-freundliche 45 rpm vinyl-12" ‚in medias res' ausgefallen, auf welcher vier exklusive drum'n'bass-tracks in richtung dancefloor schielen. ausführliches interview im nächsten heft! (m.f.)
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)
coincidentia oppositorum . cd . may2k. hymen
in medias res . 12" . 45rpm . may2k. hymen ¥024
polycontrale contra punkte. cd. nov98. hymen ¥702
spontanious human combustion lp. 33rpm. nov97. hymen ¥003
'moondrops' on 2cd 'the flatline compilation', flatline records, 1998. www.flatline-records.de
'listen to the call' on 2cd 'teknoir', hymen ¥701, 1999
'germanized industries' original by p·a·l, hymen ¥005, 1998. www.ant-zen.com/pal
'headhunter 2000' original by front 242, zoth ommog & metropolis, 1998. www.front242.com