Stephan Mathieu, musician I was born october 1967 in Saarbrücken ...
Stephan Mathieu, musician I was born october 1967 in Saarbrücken ...
Stephan Mathieu, musician I was born october 1967 in Saarbrücken ...
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04 works for dance and theater<br />
Kim Itoh, Tokyo<br />
Sal Vanilla, Tokyo<br />
Torsten Konrad, Cologne<br />
05 artists cooperations<br />
w/ Cedrick Eymenier, Tobias Rehberger, Liam Gillick, Darren Almond,<br />
Andreas Brandol<strong>in</strong>i/Daniel Hausig<br />
/and<br />
teach<strong>in</strong>g digital arts and conception at the University for Arts and Design HBKSaar, <strong>Saarbrücken</strong>, Royal<br />
Academy Göteborg and the Bauhaus University, Weimar<br />
curat<strong>in</strong>g/conception for several festivals<br />
several publications of graphic design <strong>in</strong> magaz<strong>in</strong>es and books worldwide<br />
»<br />
pressclips<br />
”Essential listen<strong>in</strong>g.“<br />
amperesand etcetera<br />
”<strong>Mathieu</strong> has succeeded to create a sound of his own, unique from anyth<strong>in</strong>g else I know.“<br />
Frans de Waard <strong>in</strong> Vital Weekly, Amsterdam<br />
”The Sad Mac is among the very best computer music of the new millenium.”<br />
Erik Benndorf, de:bug, Berl<strong>in</strong><br />
”After all, it’s the little details <strong>in</strong> life that make all the difference, and that’s especially true of <strong>Stephan</strong> <strong>Mathieu</strong>’s<br />
work. Like his close friend Akira Rabelais, whose “wonderful software creatures” he acknowledges us<strong>in</strong>g here,<br />
<strong>Mathieu</strong> shows that that most functional and impersonal of musical <strong>in</strong>struments, the laptop, is capable of<br />
produc<strong>in</strong>g work not only of great beauty, but of mysterious and powerful emotion. <strong>Mathieu</strong>’s trademark slowly<br />
shift<strong>in</strong>g <strong>was</strong>hes of sound – “drone” is far too banal a word to describe them, and “stasis” won’t do either, as<br />
they’re never static – are simply gorgeous. The predom<strong>in</strong>antly acoustic orig<strong>in</strong>s of the source material, however<br />
camouflaged and extruded beyond recognition by the software, imbue <strong>Mathieu</strong>’s music with a warmth and<br />
richness of timbre often lack<strong>in</strong>g <strong>in</strong> the overpopulated world of contemporary electronica.”<br />
Dan Warburton, Parisatlantic<br />
”Hav<strong>in</strong>g established himself as one of premier digital composers, <strong>Mathieu</strong> makes a profound shift <strong>in</strong> methology<br />
as he eschews the “DSP-Magic” of his earlier albums <strong>in</strong> favor of a much simpler arrangement with a few digital<br />
programs applied as pixelated flourishes upon field record<strong>in</strong>gs and m<strong>in</strong>imalist compositions for viol<strong>in</strong>, pump<br />
organ, and harpsicord. Even without all of the pixel push<strong>in</strong>g of yonder year, <strong>Mathieu</strong> manages to construct<br />
beautifully susta<strong>in</strong>ed drones, seamlessly comb<strong>in</strong><strong>in</strong>g all of the elements as the flicker, echo, dissolve, blur, and<br />
expand with his signature fluidity. The Sad Mac proofs why <strong>Mathieu</strong> is one of the best sonic architects around.”<br />
Roy Haynes, Aquarius Records Reviews, Los Angeles
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