'BiP_HOp Generation [v.7]' CD compilation

Various Artists: 6 page digipack with 12 page booklet
BiP_HOp [Bleep 24]
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Press Release:

A collection of exclusive commissioned compositions. New design for the first chapter of the second series.
Minimal moves for listening pleasures...

Track listing

1 TAYLOR DEUPREE (us), inhabits New-York and founded 12K records in 1997 : a center for minimal, digital music. In collaboration with Richard Chartier, Deupree started the LINE sublabel to further question the ideas of minimalism. Deupree has issued music on Sub Rosa, Mille Plateaux, 12K... www.12k.com
2 EMISOR (ar), After years performing in the underground arts world in Buenos Aires, Leonardo Ramella started his Emisor project in 1998. He has released 5 albums since then... www.emisor.ws
3 FONICA (jp), Keiichi Sugimoto and Cheason live in Tokyo. Keiichi is also a member of Minamo and runs the Cubic Music label. Cheason designs most of the artwork for the plop label -- www.inpartmaint.com/plop/
4 FM3 (cn), a Beijing-based collective of computer and classical musicians, fm3 focuses on digitally distilling ancient Chinese folk tradition into an organic, meditative, minimalist soundscape -- www.fm3.com.cn
5 GHISLAIN POIRIER (ca), Montreal native Poirier released two critically-acclaimed full-lengths on experimental labels 12K and Intr_version. Recently his work appeared on Chocolate Industries.
6 JANEK SCHAEFER [uk] Janek trained as an architect at the Royal College of Art, emerged as a sound artist and composer, and lives and works in London. He has releases on FatCat, Hot Air, Staalplaat, Sirr, Sub Rosa and runs audiOh! -- www.audiOh.com

Janek's track is called, Vasulka Vauban's 'A Day in the Good Life' [10:00]. Inspired by the 1974 short video ‘Reminescence’ by video pioneers Woody and Steina Vasulka. He collected and created sound in six different cities over six months and mixed them in a hotel room one winters day in west France, looking out over the town. A sound story of those happy times.

Running Time: 80mins


ALL MUSIC GUIDE [USA] (François Couture)

After a hiatus of over a year following the completion of the first series of Bip-Hop Generation compilation CDs, the French label Bip-Hop embarked on a second run of six albums. The new design is not as unifying or defining as the previous one, but the modus operandi of compiler Philippe Petit remains unchanged. Vol. 7 allots between 10 and 15 minutes to six experimental electronica artists from six different countries, balancing sure values with names previously unknown. 12k guru Taylor Deupree gets to open the set, but his three lukewarm pieces, as decent they may be, are quickly overrun by the other
contributions. Emisor, aka the Argentinian electronician Leonardo Ramella, delivers bouncy, quirky tunes like a warmer, sunnier incarnation of Bovine Life. The Japanese duo Fonica blend guitar and electronics without sounding like Fennesz (a rarity these days!). Their 12-minute „Scoot" could have been a little bit shorter, but it still provides a highlight. So does Fm3's two tracks. The pipa and the guzheng are two traditional Chinese string instruments, and they seem to be featured in 'p.pa' and 'zheng'. although heavily processed. There is a dreamy quality here once doesn't naturally associate with China. Montreal's Ghislain Poirier contributes three sweet-and-sour tunes, similar in style to Mitchell Akiyama's If Night is a Weed and Day Grows Less. 'La Danse du Plaisir' uses a voice-over from a documentary on mating rituals to good effect, although that will be lost on French-deaf listeners. Janek Schaefer closes the proceedings with a 10-minute offering, 'Vasulka Vauban's A Day in the Good Life'. a nebulous piece switching back and forth between murky analog-sounding drones and dense digital multi-textures. If anything, the assured taste displayed by Petit in previous installments of this collection ensures a quality compilation, and this volume doesn't disappoint.

Vital [NL] (Frans de Ward)

After releasing six volume of 'Bip Hop Generation' it was time for a break. A new design had to come in place and the label had to take
things quieter for a while. Now they are back with the seventh volume of the series and with a fresh design. The series plays around with
the notion of new electronic music, that is rooted in techno, ambient and glitch. One can find well-known names, here Taylor Deupree,
Ghislain Poirier or Janek Schaefer and some lesser knowns as Fonica or entirely new ones such as Emisor or FM3 (there are always six
artists on each compilation). Taylor opens up with three pieces of Ovalesque electronica that are along the lines of his recent collaboration with Christopher Willits (see also last week's issue). Good pieces, of course I need to say. Deupree is a master in what he does. Emisor is one Leonardo Ramella from Buenos Aires, who sits more in the techno-glitch corner of music, but I can't say I am too impressed by his work. Fonica are from Japan and play one long pieces of current day glitch and ambient. Maybe sounds boring on paper, but
actually works out really fine.
Fm3 are a Chinese group around long term China resident Christiaan Virant. In his group he combines cleverly traditional instruments with electronica, in two very nice pieces of improvised acoustic and brooding electronics. Ghislain Poirier's music is also not always convincing me, but the three cuts here are sort of alright - although not brilliant. Janek Schaefer closes the compilation with a very nice composition based on street sounds from six different cities. Quite a nice example of soundscaping. A booklet with information is of course still part of the deal, so this 'encyclopedia electronica' is growing again.


De 'Bip Hop Generation Vol.7' is uit! Dat wordt weer smikkelen en smullen en is zelfs beter dan zoute chips en Duvel. Eerst mogen we genieten van de digitale microkosmos die Taylor Deupree uit zijn apparatuur tovert. Over hem lees je meer in Gonzo 63. Ontdekking van deze compilatie is de Argentijn Emisor. Dansmuziek voor anders bewegende mensen. Stotteren, flowen‚, pruttelen, Œgrooven‚, chillen. Fonica bekt beter dan Keiichi Sugimoto. Hij heeft zijn diensten al verleend aan Minamo een clubje dat mooie electro-akoestische cd‚s op het palmares heeft. Zijn bijdrage waait wat te veel weg. Het is te veel ambient en te weinig sculptuur. Tweede ontdekking is het Chinese project FM3 dat evenals Kammerflimmer Kollektief het digitale koppelt aan klassieke muzikanten. Maar FM3 klinkt puurder. Spanningsvelden van snaarinstrumenten, soundbits en schimmige Oosterse accenten krijgen hun plaats binnen de geijkte punklengte van
een song, zijnde drie à vier minuten. Ghislain Poirier (lees meer in Gonzo 62) laat zich na de leftfield hiphopuitstappen weer eens van zijn elektronische zijde zien. Experimenteelste bijdrage komt van Janek Schaefer, een electro-akoestisch hoorspel waarin hij weer zijn meesterschap bewijst.

STYLUS MAGAZINE [Canada] (Ron Schepper)

Another satisfying chapter in the French label‚s ongoing electronica series... Following a prolonged absence, Phillippe Petit‚s Bip-Hop Generation project returns with the first volume in a new series, the first collection having ended at volume six. Given the break, one might have expected some significant change, conceptual or otherwise, from the first series but in fact there‚s little different save the more minimalistic packaging design. As in the past, six or seven artists appear, a mixture of the familiar and the lesser-known, with each allocated ten minutes, and the generous offerings topping out at just under eighty minutes. This time around, Emisor, Fonica, Fm3, and Ghislain Poirier are bookended by the more established Taylor Deupree and Janek Schaefer, but all make credible contributions.
12k label head Taylor Deupree opens the set with three tracks, all in his customary tactile, textural style. His music is typically labeled minimal but, at least in this case, that seems both inaccurate and inadequate as the tracks exhibit a perpetual restlessness and even (in 'Street/Light') aggressiveness. Certainly the crackles bursting atop the blurry, wavering drone in the meditative 'Slow'suggest that the microsound label is ill-applied here. Argentinean Emisor (Leonardo Ramella) is up next and, of the six artists featured, his pieces are the most conventionally structured. In all cases, fuzzy bass patterns establish a stable, often lurching base while flurries of activity appear above, panning seething wipes and descending percussive rolls in 'Querer Libera' and static stutter and skitter in 'Bordando'. The next two contributors hail from Japan and China respectively. Fonica (Kelichi Sugimoto and Cheason from Tokyo) contribute the 12k-like composition 'Scoot', a slow, meditative piece of icy tones, pinging burbles, and ambient chords that builds in density and volume over the course of its twelve minutes. By comparison, Fm3, a Beijing-based collective of computer and classical musicians fronted by Christiaan Virant, integrates traditional Chinese instruments into meditative soundscapes, and thereby creates music that‚s more directly associative with its members‚ homeland. While the group's two pieces represent its recording debut, they're also mysterious, portentous, mystical, and unsettling - the strongest of the collection. In 'P.pa', moody strums and extended Doppler tones emerge through a dense cloud as the sharp plucks of a Chinese stringed instrument, perhaps a pipa, slice through the fog. „Zheng‰ begins with the looped rhythm of crackle, the needle loudly gouging into the vinyl surface, while a pipa moodily strums and plucked tones count time metronomically. We visit Montreal next for three pieces from Ghislain Poirier, known for album releases on 12k, Chocolate Industries, and intr_version. His lovely 'Caresser un cercle' features melancholy organ melodies accompanied by laconic hip-hop-inflected beats, while a male voice provides sensual French recitation over an ambient collage of rain showers, rumbles, and animal croaks in 'La danse du plaisir'.

Assembled from sounds collected in six cities over six months, 'Vasulka Vauban's 'A Day in the Good Life' by Janek Schaefer ends the disc in fine fashion. Beginning with a cacophony of vehicle and other assorted noises, the piece momentarily quietens before building again until its industrial array of vinyl crackle, storm sounds, and electrical wire drones segues into a uniform, surging mass of ruffling clatter and thrum before ending with soft rumbles.
Aside from the packaging design, is there anything else that differentiates volume seven from its predecessors? Not a lot, aside from the obvious stylistic differences associated with the artists, although the latest installment does tend to hew slightly more to a style of meditative minimalism whereas each in the first series includes marked contrasts in artists‚ styles. Volume one, for example, ranges between Marumari‚s melodic electropop, Goem‚s minimal drones, and Phonem‚s distinctive beat patterns. In light of that precedent, more contrast could have been introduced had Poirier‚s tracks been more in the style of 2003‚s Conflits. But noting the presence of a more unified overall sound amounts to an observation in this case rather than a criticism. Volume seven‚s modicum of surprises is ably compensated for by its musical satisfactions.

The Milk Factory [UK]

Bip-Hop Generation Vol. 7 comes complete with a new design. Featuring contributions from the Brooklyn-based 12K label
founder Taylor Deupree, Emisor‚s Leonardo Ramella, from Buenos Aires, Argentina, Japanese duo Fonica, Chinese collective Fm3, Canada‚s Ghislain Poirier and British sound artist Janek Schaefer, Bip-Hop Generation Vol. 7 continues to dig deep into the world of experimental music, bringing together an interesting range of artists and ambiences. The general mood of this album is downbeat, with textural structures as the common denominator. From the beatless constructions of Deupree‚s three tracks or the lush minimalism of Fonica‚s Scoot to the dark and oppressive ambiences of Fm3 or the environmental inputs of Ghislain Poirier, everything here is about
impression and perception. Despite collecting work from six artists, this album is incredibly consistent all the way through, and reinforces once again the intrinsic notion of quality releases from the label and the pertinent ear of its founder, Philippe Petit.

SOMA MAG [Germany]

Nach sechs Teilen und einer kleinen Pause startet die BiP_HOp Generation-Reihe mit neuem Design in die zweite Runde. Sechs weitere
Compilations stehen auf dem Plan. Auch auf vol.7 dreht sich wieder alles um minimale Soundarchitektur und experimentelle Klangstrukturen. Die Beiträge stammen von sechs Künstlern aus verschiedenen Ländern, bei deren Auswahl Philippe Petit einmal mehr
ein glückliches Händchen bewiesen hat. Mit dabei: Taylor Deupree (US), Emisor (AR), Fonica (JP), Fm3 (CN), Ghislain Poirier (CA) und Janek
Schaefer (UK). Taylor Deupree eröffnet routiniert mit drei für ihn typischen beatlosen Konstruktionen, gefolgt von vier, eher konventionellen Strukturen folgenden, Tracks des Argentiniers Emisor die auf doch recht eingängigen Bass-Patterns und Beats bas(s)ieren. Das längste Stück der Compilation kommt von den Japanern Fonica, die hier Gitarren- und Electronica-Sounds zu einem zwölfminütigen Ambient-Stück verschmelzen lassen. Wir bleiben noch etwas im fernen Osten - das, wohl bis dato einzigartige, chinesische Musikerkollektiv Fm3 verknüpft gekonnt die Klänge traditioneller, chinesischer Folklore-Instrumente mit elektronischen Sounds und erschafft so organische, mystisch-meditative Klangräume denen man sich nur schwer entziehen kann. Dann drei Tracks von Ghislain Poirier - melancholische Pianoklänge-bzw. Orgelsounds treffen auf Hip Hop Beats, Field Recordings auf Spoken Words und dann noch ein Abstecher in experimentelle Dub-Gefilde. Nicht sonderlich spektakulär, aber in Ordnung. Janek Schaefer beendet stilvoll mit einer interessanten Komposition, beruhend auf Field Recording-Sounds die er in sechs Monaten in sechs Städten zusammengetragen hat - recht spannend. Alles in allem wieder eine qualitativ hochwertige Compilation aus dem Hause Bip-Hop die auf baldigen Nachschub hoffen lässt. Die CD kommt im schicken Pappklappcover inclusive 7-seitigen Beiheftchen mit Infos zu den einzelnen Künstlern.

Neue Einblicke in die Bip Hop Generation Mit Teil Sieben ist die zweite Staffel der Bip Hop Generation Compilation Reihe eröffnet. Das Design hat sich geändert und erinnert nun stark an Veröffentlichungen des leider nicht mehr existenten Mille Plateaux Labels, das Konzept der Reihe wurde jedoch beibehalten, sprich: eine Handvoll bekannter und weniger bekannter Electronica Acts präsentieren jeweils um
die zehn bis 15 Minuten Material. Den Anfang macht Tayler Dupree mit drei seiner Mikrocompostionen, die diesmal sehr eingängig und im Falle von „Slow" sehr atmosphärisch und sehr dicht (Drone + Knistern) ausgefallen sind. Ein bislang trotz einiger CD-R Veröffentlichungen noch unbekannter Name folgt danach mit Emisor aus Argentinien. Seine vier Tracks orientieren sich an Minimal Techno dabei genauso wie an klassische Minimal Music. Lediglich das Sounddesign könnte an einigen Stellen etwas origineller ausfallen, ab und an meint man allzu
bekannte Klänge wieder zuerkennen. Fonica ist ein Duo aus Japan und wie es sich für japanische Acts gehört, arbeiten die Beiden teilweise mit sehr hohen Frequenzen, die sicher nicht in jedermann's Ohren auf Gegenliebe stoßen werden. Dabei nutzen sie die lange Laufzeit ihres Tracks um diesen für seine Entfaltung von Hochfrequenzknistern zu digitalen rosa Wölkchen die nötige Zeit geben zu
können. Erstmals auf einer internationalen Compilation vertreten ist Fm3 aus China, dessen Kopf Christiaan Virant erst lange Zeit in China's Punkszene aktiv war, um dann mit Fm3 eins der ersten chinesischen Electronciaprojekte zu gründen. Die Tracks beinhalten Versatzstücke chinesischer Folklore, welche der Musik einen unwirklichen und mitunter auch etwas düsteren Beigeschmack verpassen. Eindeutiges Highlight der Compilation. Ghislain Poirier veröffentlichte bereits auf Taylor Dupree's 12K Label, arbeitete jedoch auch schon mit verschiedenen Rappern zusammen. Die drei vorliegenden Tracks vereinen im Ansatz beide Welten, indem Poirier seinen sehr reduzierten Soundscapes nicht allzu dominante Downbeats hinzufügt. Der Abschluss bildet Janek Schaefer aus England, ebenfalls mit einem langen Track. Schaefer's eigentlicher Hintergrund ist die Architektur und für seinen Beitrag hat er über einen Zeitraum von sechs Monaten in sechs verschiedenen Städten Sounds zusammengestellt. Das Ergebnis ist schwer greifbar und bewegt sich zwischen bleiernen Klängen über Momente mit Melodiefetzen und Rhythmus hin zu Lärmeruptionen. Auch wenn sein Konzept ein gänzlich anderes war, so presst sein Beitrag den facettenreichen Charakter der Compilation sehr gut in einen einzelnen Track.

WESTZEIT / Germany / October 2004
Wer die Generationen 1-6 im Schrank hat, verfügt nicht nur über ein feines Kompendium zur Gegenwartselektronik, sondern hat auch ein nettes "Rückenbild" im Regal (wie früher bei den Disney-Comics). Mit Nr.7 wird dieses Konzept dialektisch aufgehoben - neues Design auf bewährter Basis. Wieder gibt es 6 Musiker, die an sehr unterschiedlichen Auffassungen von electronica arbeiten, dabei sind es weniger die schon etablierten Taylor Dupree, Fonica, Ghislain Poirier oder Janek Schaefer, die die stärksten Beiträge liefern, als die völlig unbekannten Fm3 aus China und der Argentinier Emisor. Eine Kompilation wie aus dem Lehrbuch - durchweg spannend und voller Überraschungen und Entdeckungen! 5/5

Metica.se [Sweden]

Av omslaget att döma skulle man kunna tro att det är det japanska bolaget Plop som står bakom utgåvan. Liknande pappomslag med sparsmakad design och färgsättning samt nästan samma typsnitt som merparten av Plops releaser gör mig misstänksam. Men har man någon som helst koll på läget samt är något sånär läskunnig står det snabbt klart att det är skivbolaget, radioprogrammet, konsertarrangören och webbzinet Bip-Hop som är ansvarig för plattan.
Med strax under åttio minuter musik av sex projekt från lika många länder är volym sju av Bip-Hops serie en både exotisk och prisvärd samlingsplatta som går i den experimentella elektronicans tecken.
Och redan de första försiktigt knastriga styckena av jänkaren Taylor Deupree, som bor och arbetar i en gammal skofabrik i Brooklyn, tänder mina sinnen. Deupree står bakom bolaget 12k men har förutom på denna etikett också haft nöjet och äran att få sina alster utgivna av både Sub Rosa och Mille Plateaux Lyssnar man noga kan man höra att hans intressen för bland annat arkitektur och design kommer fram i musiken. Inbillar jag mig.
Deupree följs av Leonardo Ramellas projekt Emisor som bildades 1998 i Buenos Aires, Argentina. Emisor fortsätter där första musikskaparen slutade och även om det är svårt att höra någon skillnad vinner nog Emisors nedtonade rytmer i längden. Lyssna särskilt på 'Disolución imaginaria' och 'Bordando'.
Den som är bekant med bolaget Plop är säkerligen också bekant med Fonica som tidigt förra året gav ut plattan 'Ripple'. Här medverkar Keiichi Sugimoto och Cheason med det experimentella tolvminutersstycket 'Scoot' som går i ganska typiskt japansk 'Plop-stil'. Inte särskilt banbrytande men väl värd en plats på denna samling.
Mer exotiskt låter i så fall Fm3, ett av de få kinesiska projekt jag känner till. Fm3 är ett Beijing-huserande kollektiv av musiker som använder såväl datorer som traditionella instrument. Med minimalistiska ljudbilder försöker man omvandla och infoga kinesiska folktraditioner i modern elektronisk musik, en hybrid jag gillar skarpt. Dess enkelhet och snygga gränsöverskridningar med elektronik och något oidentifierbart kinesiskt stränginstrument gör 'P.pa' till något av det trevligaste jag hört inom denna och liknande genrer.
En flygresa till och vi landar i Kanada där Ghislain Poirier guidar oss genom en skog av rytmer och märkliga ljud i 'Caresser un cercle' och 'Les enfants sont des épanges' medan 'La danse du plaisir' kompletteras av franska röstsamplingar.
Som avslutning på jordenruntresan hamnar vi i Storbritannien där Janek Schaefer bjuder på en tio minuter lång skapelse inspelad i sex städer under sex månader och sedan sammanställd på ett hotellrum i Brest, Frankrike.
'Bip-Hop Generation vol. 7' är en relativt tyst och till viss del intetsägande platta men som likt andra releaser på Bip-Hop och liknande bolag är perfekt vid tillfällen när man inte vet om man är vaken eller sover. Och med en samling som är så enhetlig trots flera projekt från så många delar av världen är det bara att lyfta på hatten och tacka Philippe Petit som sammanställt kalaset.
Låttips: Fm3 - 'P.pa' och Emisor - 'Disolución imaginaria'. Författare: Martin Engström

Phosphor Magazine [Germany]

The label bip-hop, which is renowned for their releases in the field of microsound and clicks & cuts, have released a number of compilation CDs that usually showcase a variety of artists, some better known than others. This is the seventh installment in that series of compilations. The first three tracks are by Taylor Deupree, founder of the label 12k and co-founder of the label line. On the three tracks he contributed to this compilation he engages himself with questions of stillness and movement, using a remarkably warm palette. Soft and subtle drones present an over-arching whole whereas clicks and pops provide a stream of smaller aural events, carefully giving Deupree's pieces a more gritty feel. Tracks 4-7 are by Emisor from Argentina and are far more poppy than those of the
aforementioned artist. Jittery rhythms and playful melodies meet dubby bass-lines. Track 8 is by Fonica who are Keiichi Sugimoto (who is also a member of the brilliant improv / electro-accoustic group Minamo) and Cheason from Japan. This track is more subtle and detailed, and carefully builds up to a beautiful melancholic atmosphere with multiple layers bouncing back and forth and onto each other. Tracks 9 and 10 are from FM3 from China. This Beijing-based collective
works with Chinese folk music to create meditative soundscapes. What sounds like snare instruments are beautifully processed and arranged into very intriguing and moving compositions. Wow. Where can I hear more? Chislain Poirier from Canada delivers the next 3 tracks (11-13). Distant piano melodies are combined with a gently cut-up rhythm on his first track. The next track is more atmospheric and features haunting sounds that echo through some kind of sonic mist. Poirier's final track again features a rhythm, more straight-forward this time. The final track is by Janek Schaefer and was made using recordings from six different cities made over six months. The piece can more or less be cut in half, thus hinting towards a day-night cycle. After a relatively quiet beginning, the
piece settles in with a underlying growling drone and high-end frequencies. A fine piece by this talented artist. All in all this is a varied compilation that is likely to have some for all. Delivers exciting pieces of known artists, and puts those as of yet unknown on the map of electronic music. An exciting series that I hope to
see continued!

KindaMuzik [Holland]

Het probleem met hedendaagse electronicaverzamelaars is dat het schrijnend duidelijk wordt dat vrijwel niemand een eigen gezicht heeft, dat er nauwelijks een greintje oorspronkelijkheid te ontdekken valt. Ook op Bip_Hop Generation vol.7 is dit weer evident. Taylor Deupree doet zijn best, maar zijn abstracte glitchdrones zijn niet meer dan aardig. Nooit wordt duidelijk welke kant hij eigenlijk op wil gaan, wat zijn intenties zijn. Het gaat voorbij zonder indruk achter te laten, het is niet dreigend maar ook niet relaxerend. Emisor probeert in zijn soundscapes de speelsheid te bewaren middels springerige ritmes die bijna hiphop zijn, maar de muzikale invulling achter de beats bestaat uit pure saaiheid en een totaal gebrek aan spanning. Ghislain Poirier heeft een goed oor voor melodie en sfeer, maar ook hier is het allemaal zo gezichtloos en weinigzeggend. Als zijn tracks afgelopen zijn heb je het nauwelijks in de gaten.
Veel beter is Janek Schaefer, die het aandurft om volledig de abstractie in te duiken en met zeer spannende geluidscollages aankomt. De geluiden doen denken aan het 'normale leven' maar zijn vervormd en uit hun context genomen, en daardoor hebben ze enorm aan zeggingskracht gewonnen. De ijzingwekkende noisedrone die overblijft is niets minder dan prachtig.
De mooiste momenten zijn echter voor het verre oosten. Fonica uit Japan houdt zijn muziek klein en bescheiden, maar hun zachte ambient soundscape zit boordevol microtonale details en melodieuze pracht. Alleen vergelijkbaar met Minamo, de moederband van Fonica's Kelichi Sugimoto. En dan hebben we Fm3 uit China, die electronica koppelen aan Chinese en klassieke instrumentaties. Met afstand het meest originele geluidsbeeld op deze verzamelaar, en ook simpelweg het mooiste. De muziek mag dan minimaal zijn, er zit zoveel spanning en dreiging in verborgen dat uw recensent regelmatig naar adem moest happen. Prachtig!
Half gelukt dus, Bip_Hop Generation vol.7, maar Janek Schaefer en de nieuwe helden uit het verre oosten rechtvaardigen zeker de aanschaf.

BoomKat [UK]
After a bit of a hiatus, Bip Hop return with the 7th installment in their ...'generation' series. The line-up here is good : new and exclusive tracks from Taylor Deupree, Ghislain Poirer, Janek Schaefer, Emisor, Fonica and FM3. Deupree's thre contributions are typically inspired - crackling space and dronelike spacious echoes of beatless sound, executed with a clinical precision that at no point loses its warmth or appeal. The fabulous Ghislain Poirer, and newcomer 'Emisor', meanwhile, lilt through the tones of stripped down electricity blended with a smattering of percussive structure, usually with a nod to hip hop. Schaefer's closing 10-minute track, meanwhile, pieces together recordings made in six different cities over six months - typically dronelike and atmospheric. Nice compilation.