Opinions
»Abrupt end and noise at track#1, Long hiss noise at the end of track#6« -Romy Pakendorf, Sony DADC
»Som om Lee Perry gillat GHB istället för gräs« - Känd Recensent, Dagens Nyheter
»I vanlig ordning förstår jag verkligen ingenting« - Dagens Skiva
»Experimental tones, oppresive drones and sequences really keep you
locked in and it's the subliminal way that it works that's the key I
think as well as the somewhat heavy nature of the drone textures. Deep
as hell in fact.. Fans of his other work should check this out even
though it's a considerably heavier beast.« -Smallfish, UK.
»It’s like Christmas again, after a couple of years of silence, Mokira
(aka Swedish superstar Andreas Tilliander) manages to erupt with two
releases on the same week!? Well I must say I’m pretty pleased, and
what’s even more interesting is they’re both totally different and
both totally unexpected. ‘Hateless’ is Tilliander’s latest full-length
album under the Mokira moniker and takes his sound into places it has
truly never been before. The first thing you’ve got to realise is that
there’s no computer involved… yep you heard me right, Andreas
Tilliander, one of the laptop scene’s pioneers has ditched his PC and
gone analogue. Using a Korg MS20 and a Korg MS50 to generate his
sounds and a bunch of other electrical doohickeys to aid in his noisy
quest, Tilliander sets off on a journey of hate with only our pity to
accompany him, and across fifty minutes he lays his emotions bare.
Pulsating step sequenced synthesizer loops are mulched into cavernous
ambient noise, bass tones become booming robotic footsteps and
distortion steps into play as Tilliander’s new favourite instrument.
Sitting somewhere neatly in-between the exploratory early electronic
machinations of the Radiophonic Workshop or Raymond Scott and the
post-modern noise-punk of Wolf Eyes or Dead Machines ‘Hateless’ is the
muso’s wet dream – experimental and visceral yet keeping a sense of
humour throughout. Indeed Tilliander’s humour is expressed in his song
titles, all skits on famous songs replacing ‘love’ with ‘hate’ – ‘Hate
Me Like I Do’, ‘You Can’t Hide Your Hate Forever’ and ‘Hand in Ghate’
being my favourites. Despite having a hateful core however, this isn’t
as depressing an experience as you might hope, rather it is more of an
exercise in analogue fetishism and improvised, noise-ambience and far
less aggressive than, say Prurient or Whitehouse. This is noise
music’s cavernous side, and should appeal to fans of Double Leopards,
The Skaters and Axolotl – it’s epic, organic and hugely engrossing and
marks a huge step in this producer’s sound. On ‘Album’, released in
2003 on the then-fledgling Type imprint there were signs that
Tilliander’s sound was traveling in a more experimental direction, but
little could prepare you for ‘Hateless’. A brave album and one which
needs to be played very loud indeed! Highly recommended." - Boomkat, UK.
»Andreas Tilliander doesnīt only produce techhouse for the coolest clubs
in town. Under his moniker Mokira he has also produced some beautiful
ambient records on labels such as Type. Albums, where the harshness and
the coldness of industrial music dwelled just beneath the surface of
the harmonic and romantic melodies. On the new album he letīs all hate
loose and releases the furious sounds of his analogue gear on total
distortion. Itīs in the same vein as Pan Sonic or Throbbing Gristle,
but differs in the aspect that it still contains that fragile beauty
that is significant for the Mokira sound. It doesnīt come as a big
surprise that Tilliander plays around with titles from shoegazer bands
like My Bloody Valentine (the marvellously beautiful track Hatelee
Sweet Darlene is an obvious reference to MBVīs Lovelee Sweet Darlene).
Just like these guitar gazers Mokira gets caught up in thick layers of
sound. Perfect for shoe or whatever gazing. Harsh, industrial and cold,
but at the same time with a sweet sting of warmth, melancholy and
emotions. To cut it short: another wonderful album from one of the best
in ambient, this time more brutal than ever.« - by Mats Almegård, BPM |
