'krill.minima' is the more exotic ambient-project of Martin Juhls from Dortmund, Germany. While working on compacting orchestral and instrumental sounds in his other project 'Marsen Jules' (Autoplate/City Center Offices), he makes smooth, wafting patterns and dub-chords meet with crackling crispy beat fragments, accompanied by unusual sounds and finally floating into a relaxing bass-groove.
The tingling submarine-dubs of the 'Kalamar/Kalmar EP' (Genesungswerk), the industrial dub netting of the 'Radiodub EP' (Miasmah) or the conceptual release 'Zwischen Zwei Und Einer Sekunde' (Thinner) – they all merge in one thread: rambling in ambient regions and bringing together exceptional sounds with an uncommon definition of a pliable pop-appeal.
Forming influences come from concepts and sound-visions of timeless composers like 'Brian Eno', 'Erik Satie', 'Steve Reich', and 'K.H. Stockhausen', or modern sound-innovators like 'Sonic Youth', 'Autechre', 'Aphex Twin', 'Alva Noto', and 'Einstürzende Neubauten'.
'All what I hear is available material' said musique-concrete-initiator 'Piere Henry', and in a way this statement describes Martin’s vision of music, too. Thus it isn't astonishing that krill.minima's sounds are mostly not electronically produced. Instead everyday life sounds were sampled, alienated, and finally adapted. The squeak of an finger on a wet window as a hihat, the knocking on a cardboard box as a kick, the scratching of fingernails on the carpet as percussions, and the Japanese wind chime over the window sill as trailing of sound pattern.
Andreas Toelle (promoter of the 'Berlin Pop X' concert series) depicted the result 'gently floating, nearly elegiac pop-monsters, which gorge little trance kids while doffing delicate elfin suits.'
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