act 109 · squaremeter · kopyright liberation · lp

tracklist:
kopyright liberation, protect, trancentral, clarity, ru con, reefer spin

the limited human is just a surreal drop somewhere between infinity and nonentity

a scientific bridge between electronic minimalism, organic synthesis and sonic mega-sampling which could be audialised as digital ambient. warm ambient tunes with delighted clicks. special cover in nacreous cardboard. limited 680 copies

sampled, de- and reconstructed by panacea.

reviews:

re:mote induction
kopyright liberation is the second release by the panacea project squaremeter to be released on ant-zen - following 14id1610s, and the sinecore album on mille plateaux and just preceeding the squaremeter vs. needle sharing 12" on hands. this 12" comes in a die cut sleeve, the cut forming a black cross within the white card, an astronaut floating in its center. kopyright liberation features 6 tracks, different from each of the other squaremeter releases - creating a solid atmosphere throughout, complimented by the consistent feel of the vocal sampling.the first side starts with the dense pulse and blip of clarity, starting in similar territory to sinecore. this forms an intense minimalism, with atmosphers slithering through till they build into integral elements. as they do so a voice reveals that "i am filled with clarity and peace". this voice loops with the build and addition of mild tapping, tinny beats. the whole forms a coherent piece of electronica, atmospheric and melodic. clarity goes out in the way it started, leading us to ru con. the tones more focused in the bloop and bass, with shifts of melody going through in sweeps. this creates an easiness, unhurried build - mounting to a layered territory. the consant bass shift mixing with the interrupts of melody and well paced percussion. a subtle vocal intonation adds a sighing element. again ru con creates a strong atmosphere - complimenting the mood created so far. shifting into its final stretch it draws out the mood emphasizing the melodies, before resuming the flow once more. this side is concluded by reefer spin - echoing bass pausing with high bleeps. a pulsing, egulat melody builds as a steady wave - creating a vibe which melody and minimal tones swirl through. the second side starts with the title track, kopyright liberation, a cut up construction, creating fractioned mood. within these layers another rises, with a more coherent form. a bass melody, edged with static, higher clouds spinning from that solid core. all along the bleeps and bass adding their continual fractured presence. after several minutes a vocal sample is added, expanding from the looped "penetration". this development bringing a more dispersed and open moment - that persists with the return of the established body. with the final pulsing tones we shift from liberation to the first dial up connection of protect. strings gather in a mass behind the blip, sudden atmospheric pressure. leading to the bass line and the repeating rush comes a voice talking about fear and the four angels rising from the sea to protect us. this creates an atmospheric plain, flat and bass tinged, with sweeps across is surface at regular intervals. as we progress the atmosphere gains a denser feeling, consistent with the tracks growth. the lp concludes with trancecentral, a slow atmosphere of minimalism. bass tones strung together in disjointed integration - pause and pulse moodiness. a swirl and rise in bass leads to the vocal sample "trancecentra", music sweeping round to the progresion of the speaking. stray elements mix through the body adding mystery and uncertainty to the dense trancecentral. kopyright liberation contains elements of the stripped minimalism squaremeter demonstrated on the sinecore cd. but with that it is far from a minimal release, containing an influence from 14id1610s in some ways. in some ways kopyright liberation could be considered a hybrid of squaremeter's other releases - presented in a coherent fashion that results in a strong release. with its atmospheric mix of melody, bleeps and sampling this could be the best squaremeter release to date

seven
there are a few reasons why i like this record (and i do like it). first of all, the sound of "kopyright liberation" is a lot more cohesive and actually more structured than early squaremeter (or panacea's contribution to "architettura" series for that matter). second, the conceptualism and the whole idea of recycling and using other sounds, presenting them in a different light, transformed through squaremeter's vision, starts making more and more sense seeing how consistently and with more and more creativity this gets executed. after all, it's interesting to see how this whole chain of "sample-use-reuse" gets built and how people react to different reincarnations of the sound, sometimes not even realizing that what they though was original is indeed just a transformed and processed version of something else. and the final reason was probably the fact that gradually i grew to like the minimalism and inhuman precision of this genre. it did take me some time, and i still cannot listen to releases a la early squaremeter constantly and at any time. i leave them as an exquisite treat, a sort of mind gymnastics that fascinates and at the same time is too distant and cold to cause any powerful emotion. clicks, cuts, analog bleeps and skips are still present, but now they sink into a dark mass filled with sparse industrial humming and rhythms, vocal samples, distant strings and cold echoing frequencies with occasional cohesive and minimal percussion. the use of those sparse cut-up noises is a lot less and less radical than previous squaremeter album. here it serves more as a constant reminder of the inhuman, assembled nature of the music, at the same time contrasting more organic ambience of the tracks where strings and vocal samples build more familiar textures that exist in short spans, fading out into timeless void filled with swirling small noises, never ending bleeps, occasional percussion textures, and analog drops. what appeals to me most on this album is the unusual constant presence of controlled, minimal side of squaremeter that contrasts atmospheric music parts, that never become the main focus of the music, serving as a passing episode in an unfolding mysterious sequence of short fragments floating in the dimensionless artificial space. tracks like "trancentral" happen to remind me of calder's mobiles. beginning of "trancentral" is filled with abrupt, finite and perfect clicks and cuts that slide, stop, balance and pause, building a precisely balanced structure connected with elegant long curves of cold strings and atmospheric washes. later on it starts its movement obeying the force of tidal waves of minimal percussion and growing string movements. the mobile in motion is slowly changing shapes and colors, remaining perfectly balanced at any point in time by precise touches of short bleeps and clicks. on the other hand, tracks like "ru con" are blossoming with beautiful chorus movements and melodic passages built on top of steady flowing percussion. the combination of familiar clicks, pan sonic-like static humming, pauses and ethereal quality of chorus and percussion was simply stunning and unbelievably, unexpectedlyŠ melodic and even emotional. at this point i do not even want to get any deeper into the conceptual side of the record; that is yet another substantial layer offering more food for thought, emphasizing the "music for the mind" appeal of squaremeter. also the "guess this sample" game could be left as an exercise for the readerŠ uh, listener...

brainwashed
with almost no down time from cross-continental touring and releasing albums as panacea and disorder, matthis mootz has released this scarcely limited mini-lp on ant-zen. limited to 680 copies, "kopyright liberation" isbuilt from sources from the now legendary kopyright liberation front, a.k.a. the klf. while this 40-minute mini-lp is rather tributal in nature-with track titles "trancentral," "ru con," and "reefer spin,"-a scattering of micro elements have been recycled in an entirely new surrounding. the record strays from the more minimalistic tendencies of the first two m2 [pronounced and sometimes listed as squaremeter] releases (three if you consider brasilia). mootz weaves an intricate tapestry of low end rumblings, nasa beeps, clicks for measure and tempo marks, and speech samples with spacious effects. for a man known in the drum and bass world for his lengthy intros, some of these songs can take up to six minutes before every individual element introduced begin to play with each other. this could possibly be my favorite squaremeter release to date. - jon whitney

recycle-your-ears
This LP is the second release by Squaremeter (m2) on Ant-Zen, after the "14id1610s" CD. What could have looked at first as a one time experiment by Panacea has turned out to be a productive experience, with already another CD on Mille Plateaux and the "Mono Brutal" collaborative LP on Hands. The change in sonorities is clear between "14id1610s" and "Kopyright Liberation". The music, still relying on bleeps incorporate more soundscape-like elements and longer sounds. Less abstract and more cinematic, some tracks, like the title one, are short epic journey through spacelike theme. You have to listen to this LP very loud to hear its subtilities, but you may then be taken abroad a trip through what could have been a modern soundtrack to "2001, a space odyssey". Since i'm not an amateur of bleep based music, I was a bit reluctant towads this project at first. If "14id1610s" proved me that it could end up in nice things, this new LP is really what seduces me. The voices and the deep sounds used here provide a lot of emotion to this release, who, as a result, fits well with Vromb as one of the better crafted "clear" music released on Ant-Zen.

orkus nr. 11 november 2000
klick, klick, fieps, kratz, plöng, tönt es auf diesem hübsch verpackten vinylrund in behäbiger herzschlagfolge und darunter hallen finstere ambientflächen, geheimnisvolle sprachsamples und allerlei organisch gluckernde soundbits. wie auf der anfang 2000 erschienenen debut-cd beschäftigt sich der deutsche drum¹n¹bass-rebell panacea auch auf seiner zweiten veröffentlichung unter dem namen m2 mit dem montieren von samples aus den verschiedenen klangquellen. dem hörgenuss zuliebe, folgt er auf kopyright liberation immerhin größtenteils den grundgesetzen von rhythmus, melodie und harmonie und lässt den hörer in eine meditative, filmisch angehauchte klanglandschaft eintauchen, anstatt industrielles ambient-chaos zu produzieren. panacea ist von seinem gleichnamigen hauptprojekt eher als spezialist für grobe und aggressive töne mit massivem rhythmusanteil bekannt, und so ist es immer noch faszinierend, wie ruhig und gelassen dieser mensch doch bei m2 die atmosphäre und den kopf regieren lässt. nicht revolutionär, aber stimmungsvoll. (alexander maciol)

side-line no.36 july-august-september 2001
i really wasn¹t fond of his first outing which was composed to 89% of samples from various ant-zen releases. too much randomization, not enough structure. this new vinyl-only album is the exact opposite and a damn fine piece of music to match. it might as well be a completely different band. haunting dirgy sounds, scraping and sweeping across the soundscapes, echoing from bleep to beep over interspersed vocals and drone bits, i don¹t know what made him change his approach. due to my non-interest upon first encounter, i must admit i never did listen to his other record which preceded this one. so it might have been a gradual change from sample-based cut-ups and digital fragmentation to this dark, cold beauty, but whatever it was it can rest assured of my eternal gratitude. Œkopyright liberation¹ is an updated, slimmed down version of clock dva with a dose of noise peaks akin to black lung¹s approach to minimal starkness. cold, minimal, twisting and spiraling in slow-motion ever subtly gaining momentum. especially the vocal delivery reminds me of adi newton¹s subdued, slightly husky whisper. i was instantly mesmerized by the enveloping soundscapes and ominous atmospheres which took the bleak mood from his main project panacea minus the drum¹n¹bass onslaught. 6 tracks of clinical frost and stuttering trippiness which rarely surface in such polished form. a much, much welcomed improvement of his sound. highly recommended. (ttm)

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