Monolake, the Berlin-based duo of Robert Henke and Gerhard Behles, bridged
minimal dub-techno music and abstract digital soundsculpting (achieving
symphonic effects with the manipulation of field recordings).
The single Cyan (1994) and the EPs Magenta (1996) and
Lantau.Macao (1997), partially collected on
HongKong (Chain Reaction, 1997), displayed a manic attention to
detail and an uncanny sense of dynamics.
The project evolved via Interstate (1999),
the EP Gobi: The Desert (1999),
Gravity (2000) and Cinemascope (2001), not to mention the EPs
Stratosphere Ice (2000),
Bicom.Remotable. Cut (2001),
Ionized Ping Frost (2001),
Robert Henke also recorded under his own name
Piercing Music (Imbalance, 1994),
Helical Scan (Chain Reaction, 1997),
Floating.Point (Imbalance, 1997),
Signal to Noise (Imbalance, 2004).
He composed ambient music
for FM3 Buddha Machine on Layering Buddha (2006).
Atom/Document (2009) documents an installation of visual artist Chris Bauder.
Momentum (Monolake, 2003) delivered the shower of echoes of
Cern and Atomium, indulged in the
glitchy dissonance of Tetris, painted the alien soundscapes of
Linear and White II.
But overall is was a more linear and less ambitious recording.
That trend continued on the more lively danceable
Polygon_Cities (Imbalance Computer Music, 2005).
Silence (Imbalance Computer Music, 2010) was almost the alter-ego of
the seven-year predecessor: a set of contemplative zen-like pieces that use
techno and dubstep only as a (gentle) springboard to reach inner dimensions,
aided by a discreet percolation of field recordings and found sounds.
It was a producer's album, as opposed to an artist's album, focusing on the
sound for the sake of sound just like some Hollywood movies focus on visual
effects for the sake of visual effects.
Ghosts (2012) was perhaps an attempt at reaching a broader audience,
but the result was the emptiest of his albums.
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