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new artist - new release: on 26 january atom TM will release his new album „liedgut“ on raster-noton.
From a contemporary point of view, Atom™’s “Liedgut” may be considered
a romantic work. While researching his own past, Atom™ found himself in the
austro-german time, space, thinking and feeling. Between Nietzsche, Helmholtz,
Schubert and many other guidelines, Atom™ absorbed a universe striving for
clarity and simplicity, where science and irrationality, ornament and mathematic
purity were the key elements of a (still) oscillating social and mental order.
“Liedgut” therefore oscillates between those poles: scientific exercises on
Schubert chord progressions, digital waltzes and romantic lyrics. This research
consistently lead him to the post-romantic works of Oskar Sala, Kraftwerk and
others, who could be seen as direct heirs of the romantic movement. Upon
completition of the album Florian Schneider of Kraftwerk contributed a spoken
epilogue, commenting the leitmotiv of “Liedgut” in the track called “Weißes Rauschen” (“White Noise”). For Atom™ the phenomenon of “white noise”
perfectly served as an analogue expression of the romantic dualism: scientificly
defined on the one hand, it is described in a poetic manner, seeking for a
more profound meaning on the other. “Wellen und Felder” (“waves and fields”),
which directly connects to “Weißes Rauschen”, similarly refers to both scientific
models and philosophic/poetic ideas. Consequently Atom™’s research does
not stop here thus managing to convey “Liedgut” into the present. Both form
and content appear to be explicitly new and contemporary, yet “ex-temporary”
at the same time.
the wire magazine 299, january 2009:
In the publicity photos that accompany Liedgut, Uwe Schmidt, the man behind both the sculpted electronica of Atom TM and the cheesy exotica of Señor Coconut, stretches out in a chair at the Schumann Haus Zwickau, at a piano that used to belong to Clara Schumann. His hair is slicked, the moustache perfectly trimmed, and his clothing immaculately creased. The moods which it captures are multiple: European aristocratic sophistication, Weimar decadence, the stiff poise of Kraftwerk. The apparent inspiration for Liedgut was an exploration of Romanticism in the Germanic mode, from Schubert and Nietzsche to Kraftwerk. While both the presentation and the iridescent electronic sheen of the music suggest a gloss on this weighty historical heritage, the multi-layered nature of the project means this is superficiality which takes deep roots.
Liedgut is precise, pulsing but mostly beatless electronica, with none of the flirty Latin flippancy of Señor Coconut.
Although it shares a melodic purity and some vocodered spoken cadences with Kraftwerk, the dynamic is not Europe Endless motorik horizons, but the frozen-in-time classicism of the waltz. Concise, graceful melodic segments are duplicated across many of Liedgut´s 19 short tracks, with the album´s centrepiece three exquisite "12 Mittlere" compositions. The repertoire of Liedgut is intimately familiar but uncannily assimilated, as if Germanic classicism had been rendered as a endless fractal electronic composition.
Florian Schneider adds vocals on an elegiac epilogue to the album, and even some repeated sampled tics of mobile phone interference in the middle section can´t quite shatter the mirage of timelessness.