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(Clicka qua per la versione Italiana)
German laptop musician Sebastian Meissner started out in
Autopoieses, a duo with German soundsculptor Ekkehard Ehlers,
whose La Vie A Noir (Mille Plateaux, 1999) used
snippets of jazzy film-noir soundtracks as building blocks to create music.
Meissner then crafted the
abstract glitch music of
Random Industries' Selected Random Works (Ritornell, 2000)
and the ambient music of
Random Inc's Jerusalem Tales Outside the Framework of Orthodoxy (Ritornell, 2001), based on vintage recordings made by Jewish and Palestinian musicians, and Walking In Jerusalem (2002).
His project
Klimek
epitomized "pop ambient", basically beat-less minimal techno,
whose looped digital melodies ("extracted" from acoustic sources) replaced the role of rhythm.
The elegant Milk & Honey (Kompakt, 2004) was followed by the more
trivial and monotonous Music To Fall Asleep (Kompakt, 2006),
Dedications (Anticipata, 2008), that focused more on the guitar but
failed to create engaging music, perhaps intentionally, and by
Movies Is Magic (Anticipate, 2009).
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