"Sense
Danny Kreutzfeldt is not new to the scene. In fact he had many releases under several monikers like sgnl_fltr or Periskop on labels like Databloem, Aabtek and especially Thinner/Autoplate, which he influenced a lot.
Concerning his new Stadtgruen LP,the first thing we wanted to know is why his LP is called Atrum:
'It's a collection of various depressing minimal techno and electronica tracks. Atrum is latin for gloomy, but really appeared to me as a crashwriting of traum and atrium. To me there are certain dreamy and architechtural aspects to these tracks, but by just calling the album Atrum i am only giving away the depressing aspect of the tracks.'
When preparing everything for the release of Atrum via Email (which was in fact queued, queued and again queued), we came on the topic of clubmusic. Danny reprocessed Atrum when it was still in the queue and meant, this could also be released on Stadt, because of the more beatdriven tracks now. Though the rhythms in Atrum are somehow even grooving, I argued with the fact that it's not exactly clubmusic and hoped I didn't insult him in that way:
'I hate clubs and don't think i've ever danced in one unless I was pretty demented by some substances. I am not saying people should dance to my music instead of clubby beats, or that I enjoy dancing to my own music (far from it actually), but tolerance to complexity in danceable rhythms really is a question of taste.
I like the idea of a rave as something that only takes place inside the head, or maybe just a dimly lit room with speakers and people, who are slightly shaking for hours and barely moving with blank expressions on their faces because the slow repeated rhythms and thick layers of sound have put them in a state of calm intrapersonal numbness. This is the sort of party Atrum could be the soundtrack for.
Sometimes, however, I feel like I have to use rhythms in a track out of weakness, because i'm not good enough at letting the sounds sustain through time.'
What I love in Danny Kreutzfeldt's music is the uncomparable atmosphere. I was so happy getting some unreleased tracks directly from him in Soulseek some time ago, because I was (and still I am) digging his music. For my understanding, every work of Danny has this icy coldness and gloomy darkness within itself. The music sounds just so pure, sometimes even raw. Some tracks even create images of an somehow "evil nature" in my head, like those tracks are made by the forces of it. The only thing i wonder is why Danny Kreutzfeldt's music always incubates those impressions. Isn't there any blissful ambient track he made so far?
'I hope you agree that blissful is a problematic term to use here. I often find bliss in very dark or angry music. The bright or happy music appears from me once in a while, but always seems to have an ambiguous nature to it, that draws the good times in doubt. In the same way I don't think my music is just cold and dark. Even if a track starts out in a cynical or illtempered way, I often try to add more emotional layers into the track, which suggests a refining of the mood instead of a mere development.'
And there we see again that the reception of the creator can differ very much from that of the listener (in that case me). I also made this experience quite often, and it seems to be a necessary attribute of music. Otherwise it wouldn't be music, it would just be something or some thing.
Danny Kreutzfeldt & Martin Donath" (From the Stadtgruen's release page)

"This release is special. Not only because it's Danny Kreutzfeldt's return to Thinner after his last EP from fall 2003 but also because it is the farewell of his Sectorchestra project.
"No Morchestra" is a vast collection of tracks created in the past years that are now compiled into a constitutive album format. Sectorchestra is/was Danny Kreutzfeldt's project for abstract atmospheric house constructions. The contributions Danny did on Thinner under the Sectorchestra guise were known to be discrete releases, critics favourites, with both richness and diversity in terms of sound and aesthetics. Although this is the last Sectorchestra one, this vibrant danish bedroom scientist always has many other projects running so just check out his homepage to see his upcoming releases.
Speaking about his overall output, Danny gains creative incitement from the darker sides of the human soul. To my ears, Sectorchestra has a special touch of fantastic advanced dungeons (AD&D) complexity clickhouse, that is original enough to make you feel unsure whether these grooves are intended for humid chamber floors or for atmospheric homelistening sessions in darkness that can turn out quite eerie. For sure Sectorchestra is a listening experience that demands attention from the listener, unlikely to many arbitrary dubby ambient releases this exemplar of release unveils it's craft by carefully listening to the detailism inside. Immediately you will figure that Sectorchestra is not about the chubby warmth many dub insprired recordings offer, in fact "No Morchestra" is the perfect complement to it by offering abstract, yet chilly mechanic clickhouse with inevitable groovey antipoles relating to the 4/4 grid.
Gently slow and humid grooving downbeats open up the album. The first cut "People And The Things They Do" slowly marches distributing tantalisingly accentuated hats shooting first dub polar spells. This opener for this sinister journey is followed up by "Tabula Rasa" that carries on with different, more cautious beats but also more deep dripstone dubs. "Danish Throatsinging Dub" stays beyond ground level and grumbles with background throats that are diametral to this careful, almost marine tranquility whose signals originate from the calm twinkling background strings.
"Taking It Back" then makes a cut with compact minimal winding beats that lead on to the 4/4 parts of the album. "Muted Day" creeps on the fragmented floor with bumping, fumbling crackles. Using a large spectrum of sound creation Sectorchestra moves from Jeannefair's vocals in "Downwards" to a more raw n dirty attituded motörhead clickhouse in "Extinguish my flame" to finally rotate into the twisted rhythmic drum patterns "Jamaica Hub" offers. "Redub (Version)" is a pool of rhythmic shifting microscope dubs while the outro "More Jingles" is instrumentalized with only a multiple modified jingle sample, a treated snare and a stretched pan pipe.
And then it is over, a trippy hour journey into the evocative dungeons of Sectorchestra. One of the most consequent projects is closing it's gates to descend into the abyss, however the legacy remains." (From the Thinner's release page)

"Initially the motivation behind our new compilation was to build a sequel to the 2003 'Silent Season Dub' compilation - to blend warm ambient with minimal dub concepts. But during the phasis of collecting tracks we figured that this compilation will turn out more experimental, more rough than than the reference. So we decided to put things into a new context, that would either underline the variety of concepts but also stand for each artists own formular of sound: 'Crossways'.
Herein, electronic music with rather minimal rhythmpatterns are crossed with spheric ambience, in different moods, different slopes and different colours. The listener is able to find warm ambient pieces like 'Warm Night Lullaby' by Transient or more dubbed out ambience with Zen Savauges 'Sunken Streetlights'. You can lose yourself in the organic cycles of Boris Heizmann's 'Azure' or drift along with 'Scrap of Truth' by Selffish. But If you feel like enjoying some darker felt material then you'd like to explore the realms of Sgnl_Fltr's chamber dub in 'All Form' by or listening to the crickets resting in Kenneth Kirschner's 'June 8, 2003 (excerpt)'. Generally said, if you're interested in the contemporary minimal electronics of 2005 you'll definately find the one or other piece within this compilation that will suit you fine.
As the music crosses the flash artwork of this releases does so, too - if you reload the page you'll figure changing background pictures of the cover artwork. The pictures were taken in several countries where Joerg (Digitalverein) has performed in a Thinner context. Note that this compilation is split into 3 parts, each part about 60 minutes of length. If you want to enjoy the compilation mixed then you can download the Crossways Mix by Selffish." (From the Thinner's release page)

"«Bleak EP, by Ubeboet, is one of those kind of releases that lives on lasting relationships and on constant reintegration processes, achieving 'that' multidimensionality (big word) typical of the acoustic universe, giving so much freedom to the listener, that he (or she) will diminish or amplify the particular singularities of the sound particles that go in and out of the brain.
This work could be very easily integrated into the art of installationism, although never leaving the 'soundscape' genre. A constant struggle to arrive (or at least try to) an ideal of 'musique concrète'. Holding itself to the capturing of sound landscapes, submitting them to a low-frequency treatment, Ubeboet breathes a comforting 'less is more' ambient, (re)created and integrated into unhabited sound habitats, or sometimes directly injected into the overcrowded urban territory. Ubeboet rests in the complex world of the 'anti-fast listening', where the perception and the raw and naked power of the music are intimately connected. A not-easy, not-clear and not-resolved world, into which we are forced to submerge and seek for the unknown. Highly recommended.» - Bruno Barros" (From the Test Tube's release page)

"White Plains, Comfort Rooms
When winter draws a deep cold breath over fields and forests the human adjourns to his sitting room, retiring back to warm places and looking at the world outside. The glass window is the required artificial separation that lets us survive from the mortal power of coldness. Behind the window we can build up our private little universe with plants and flowers which need southern heat normally. Within this little world everything is put in the right cultivated order, everything is all right.
Building up a secure room we can lean back and contemplate the course of the world, the well-stabilized harmony between nature and culture, which we have built up. But the precondition for this little paradise is separation. In order to conserve the state of life, securing our spirit conceives new separating techniques again and again. With glass we may construct a winter garden to conserve summer state, with photos and videos we may remember past times and with recording techniques we even may hear formerly faded sounds. The conservative attitude always looks back in order to conserve a certain state of life, to stop the course of world.
But life with its seasonal eclipse always goes ahead. Janus, the ancient deity of transition and passage dominates the brumal season. He has two faces, one looking back and one looking forward. The first has a contemplative and conservative mindset and the second a planning and visionary one. At the conservatory we may learn something about right techniques and a former way of living. But we should realise it as our everlasting challenge for our future.
Contemplation is the condition for vision. So join our musical invitation and lean back in contemplation to draw breath for an exciting new year." (From the Stadtgruen's release page)