Atom™ & Burnt Friedman release new Flanger, Oct 16th

Flanger´s new release “Lollopy Dripper” (D-LP/CD) is coming out October 16th 2015, 10 years years after “Spirituals” (nonplace 18)


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 début 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.

“…the most iconoclastic, unpredictable and original minds to have applied themselves to the task of raiding and re-articulating the cultural dead-ends, the psychic interiors and granular physics of jazz.” (Sonic Future, NZ 2007)
“Lollopy Dripper”, 18 years later, is once again a sound in that vortex: unpredictable, inviting, pathologically groovy and as corresponds the adventurous cover motif (O.T., Detail, Oil on Cardboard, 2013 ) by Theo Altenberg.
“There´s a degree of nimble intelligence and wayward non-utilitarian playfulness/adventure from both Schmidt and Friedman that gives Flanger a totally unique spin.” (Real Groove, NZ 2005)
“The most compelling, intricate and witty electronic collaborative utterings to date..” (Footloose magazine, U.K.1999)
“Heaven on plastic for jazzniks and avantgardists.” (Update, 1999)
“Jazz tipped on its head, taking it to places other producers haven´t dreamt about yet.” (DJ, 1999)
“Breaking down the barriers that exist between the electronic and the acoustic.” (What´s On, 1999)
“(…) makes almost everyone else look 20th century in their music making.” (The Wire, 2000)
“The perfect soundtrack to 21st century horizontal dancing.” (Jockey Slut, U.K.2000 )
“This is lightyears ahead of what anyone else is doing.” (Footloose magazine 1999)
“Future Glitch Jazz of the highest order.” (BPM magazine, U.S.2007)
“Flanger’s Templates (…) was regarded as a milestone for electronica, in that it took some well-worn jazz tropes and demolished them with an album full coruscating wit and playful invention.” (Sonic Futures, N.Z.2007)