Lollopy Dripper Flanger

Album info



Label: nonplace

Genre: Jazz

Subgenre: Nu Jazz

Album including Album cover


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FLAC 44.1 $ 15.00
  • 1Onset05:38
  • 2Sweet Silence03:14
  • 3Heady Men04:36
  • 4Körperspannung04:30
  • 5Centre of Unrest04:15
  • 6Spin07:30
  • 7Mulch03:05
  • 8They Don't Know What They Don't Know04:30
  • 9Rubberhead Illusion04:06
  • 10Chlorophyll Drop Shot03:43
  • Total Runtime45:07

Info for Lollopy Dripper

After 10 years, Atom™ and Burnt Friedman have composed and produced their fifth long player. This time, not surrendering to genre-restricting limits, both have progressed from the initial skills shown on their debut album Templates back in 1999, which still spins today on many turntables: intangible, mutating, part jazzy-electronic sound beyond the constraints of time and space, encoding sound and silence (Press info 2002), until our heads are spinning, and we no longer feel we are hearing correctly. Flanger creates music that stimulates your head and goes straight to your legs. (Die Zeit, 2005). Bet you didn´t think something this mutated could be this funky. (Echoes, U.K. 2001)

Over the past years, both often retreated to Burnt's Berlin studio in an attempt to release new energies. Their previous, distinctive albums Spirituals (Nonplace 2005) and Inner Space/Outer Space (Nina Tune 2001) were the prelude to the incorporation of a decomposition of real jazz instrumentation or combinations resulting from midi-fied, electronic processing: here was jazz but not jazz, techno but not techno, some evil hybrid...; (Montreal Mirror, 2005).

Apart from Hayden Chisholm's saxophone contributions on 2 tracks, this is how it worked again for Lollopy Dripper - 50/50 duo mode composition with in-house, boosted equipment, very similar to the set-up in 1997, their foundation year, when the first tracks of the duo were produced within a week in Santiago de Chile - albeit with a customary, naturalistic Jazz-trio sound - in an almost brain to midi- modus.

is one of the most prolific contemporary electronic musicians of our era, with over 200 releases produced under a dizzying array of aliases. Producing and releasing music since 1990, he is considered to be responsable for more than one fusions of musical styles, triggering entire sub-genres of electronic music such as "glitch-pop" (album "Pop Artificielle", 1999) or, perhaps his most well-known and celebrated project is “Señor Coconut”, of "Cha cha cha" Kraftwerk cover fame, which initiated the "Electrolatino" movement in 2001. As producer, re-mixer and collaborator he worked with and for musicians such as Ryuichi Sakamoto, Towa Tei, Yellow Magic Orchestra, Depeche Mode, Tom Tom Club, Bill Laswell, just to name a few. Pushing the envelope for more than two decades, he still keeps producing, releasing and performing electronic music, most recently with his "HD" album and the related audio-visual live show.

Burnt Friedman
is one of Germany’s most long established and highly rated electronic musicians with a career spanning almost 40 years. He was born in Coburg, Germany, in 1965 and has lived in Berlin since 2009. After initially being a student of art in Kassel in northern Germany, Burnt started to focus exclusively on music from the late 1980s onwards. He went on to attend the Academy of Media Arts in Cologne, as a postgraduate student, and began to publish his musical works along with his studio productions in 1979. He also began performing live around the same time, both of which soon attracted the attention of the Cologne electronic music scene. From there he progressed to various notable music collaborations throughout the 1990s on projects with the likes of Can´s drummer Jaki Liebezeit, Hayden Chisholm, Root70, Steve Jansen and David Sylvian. In 2000 Friedman launched his own record label, Nonplace, with 41 releases to date. His studio and on-stage partnership with Can drummer Jaki Liebezeit, now dates back 15 years; the two musicians have developed pioneering electronic-acoustic music, so called "Secret Rhythms".

This album contains no booklet.

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