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7 of 7 people found the following review helpful
on 28 October 2003
Its probably fair to say that anyone reading this review will have at least a passing familiarity with either Plastikman or Richie Hawtin. In that case I have no hesitation in telling you to BUY THIS. Yeah sure, Plastikman can be an acquired taste, but this album (after 5 long years) is just what an electronic/techno fan needs. Its not as heavy as Hawtin's recent Cocoon album with Sven Vath, neither is it as experimental as DE9: Closer to the edit. What it is is a techno album by a master at the peak of his powers. Just when you think you've got it sussed, along comes the next track to blow all your preconceptions out of the water (Disconnect is very special with the bass up).
Only 4 stars cos it doesnt exactly push boundaries, merely beats every other contender hands down for techno album of the year.
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6 of 6 people found the following review helpful
on 4 October 2003
plastikmans last studio album consumed was a dark ambient journey through a void far removed from any dancefloor.
the new cd,closer,begins where consumed left off with a similar sound although with a more structured and beat driven sound.
although still not aimed at the dancefloor his beats will have your head in a spin.
closer as an album sits comfortably between the more uptempo works of musik and the more eerie soundscape of consumed. this is a recommended purchase for plastikman fans and also people into quality electronica but it is certainlt not one of plastikmans more dancefloor friendly productions.
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4 of 5 people found the following review helpful
on 5 November 2003
Probably the most complete Plastikman album. After the minimal minimalism of Consumed and Artifakts (q.v. the complex minimalism of Robert Hood), Closer is an album full of textures and effects that confuse the concepts of rhythm and melody, and unlike all previous Plastikman albums, this works as a complete piece rather than a collection of tracks. Themes and ideas reappear all over the album, and with few exceptions its difficult to distinguish the start and end of each track. However, Richie, drop the techno vocals please, that is so 1980.
This could easily be a Richie Hawtin retrospective. There are the strings and pads of FUSE and From Within (Richie's 3 collaborations with Peter Namlook), the occasionally obvious TB-303 sounds of early Plastikman (Devilfish or not), and the atmospherics of Consumed and the Concept works. The last three tracks are particularly majestic.
A fine piece of work which perhaps ties up all loose and ends and sets up the next phase of Richie's career. However, a new FUSE album would be nice.
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