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act 125 á celluloid mata á spectrum á 2cd

tracklist cd1:
the council (from escaped from room 7, with sheila mata), rhizome (from invasion of), honey babe 2 (from fancy binaries), cyborg colony (from invasion of), exit liquid (from invasion of), faster than sputnik (from bimbo oscillations), tri-fin theatre (from fancy binaries), level mp (from la connectique,), another defvac soul (from fancy binaries), out of the afternoon talking about r. kern, (from fancy binaries), protocol. (from pink one ep 7''), 550^print (from la connectique), scaffold. rmx by s.a.l

tracklist cd2:
trinity test (from lp jerusalem, 12''), lost where u're lost (from fancy binaries), frau towcmlfe (from pink one ep 7''), everlasting rail (from invasion of), 100 years of loneliness (from bimbo oscillations), h.a.t.e.d (from black 7'' mata mensch), convex (from invasion of), no bimbo's or i'll die (from bimbo oscillations), the cyborg (with sheila mata), log boot (from invasion of), terminal

this is celluloid mata, yet again surfing on sound waves and presenting a compilation of mostly released tracks. this is not a 'best of' sampler, as 'spectrum' is more of a dossier of tracks, which are hard to find. all of the cd tracks of this double set (and most of the vinyls) are not available anymore. instead of a re-release of all lost items, this is the essence of the past.

the direction of cd1 is focussed on heavily distorted rhythms that are monotonous, minimal, and repetitive. however, you can always hear mata's experience in the building up of an electrified analog beat in concert with the unique elements of a track or of a song. listen to 'the council' featuring sheila mata's voice and you will understand mata's craftiness. this cd ends with an unreleased remix by two ant-zen artists which lead the listener to the non-rhythmic soundscape of cd2. these soundscapes illustrate mata's melodic direction with the use of disturbing mostly non-distorted rhythm-loops that are overlayed with harmonious passages. 'trinity test' is a good example of the genres 'rhythm industrial' and 'ambient' overlapping perfectly. once again you can hear sheila mata on 'the cyborg' -- threatening indeed. the very end is strictly rhythm - just before you drift into bliss... or start again with cd1.

'spectrum' covers all parts of mata - diversification and variation with satisfaction guaranteed. you won't find a single 'sable' track in this package!

discography 02.2002:
2002. 2cd. spectrum. ant-zen act123
2000. 12 inch. la connectique. hymen records y20
1999. cd. invasion of. noise museum records
1998. cd. mix oscillations. noise museum records 027. remixes
1998. cd. bimbo oscillations. noise museum records 021
1997. 7 inch. pink one ep. v-lego 0.02
1997. cd. fancy binaries. noise museum records 014
1996. 7 inch. mata mensch. v-lego 0.01

collaborations and other projects:
2002. 10 inch "hoola hopz" by noosa hedz. a fusion of ultra milkmaids + celluloid mata
1999. 10 inch "acti-room" with ultra milkmaids. ant-zen
1999. remix for ultra milkmaids "lyr 40 122" - "vorely relay" - cd on noctovision (japan)
1999. side project my - "randomsundaytracks" - 10 inch on v-lego rds
1999. v.a. "welcome to execrate" cd. leaf
1998. track "trifin theatre" taken from "fancy binaries" on sampler triton compilation (germany).

celluloid mata homepage: www.zone51.com/mata

reviews:

black #27
celluloid matas fusion aus repetitiver, analoger elektronik, ambientmelodien und mikrosoundstudien hat noch nicht die beachtung gefunden, die sie verdient. das ist zu gro§en teilen dem fakt geschuldet, da§ fast alle seine alben auf dem nicht mehr existenten, franzšsischen noise museum label erschienen sind und damit nicht mehr erhŠltlich. das ist sehr schade, denn noise museum hatte neben vielem anderen auch so exzellente bands wie oil 10, roger rotor, dither und electronicat (der mit seinem depeche mode remix ja nun endlich in die verdiente šffentlichkeit gezerrt wurde) veršffentlicht, die aber wegen dem lšchrigen vertriebsnetz und natŸrlich der einstellung des labels vor kurzem ziemlich untergegangen sind. nach einer 12" und einer cd fŸr ant-zen, hat man sich dort entschieden, jetzt eine retrospektive aus tracks seiner frŸhen alben ("invasion of", "fancy binaries", "bimbo oscillations") und platten ("la connectique", "escaped from room 7", "pink", "mata mensch", "jerusalem"), sowie unveršffentlichte stŸcke und remixe zusammenzustellen und damit seine weite bandbreite zu demonstrieren. disc 1 legt das augenmerk auf seine rhythmischen fŠhigkeiten mit donnernden, repetitiven, aber sich subtil verŠndernden tracks, die jeden po zum wackeln bringen sollten. jedenfalls kann ich nie still sitzen, wenn ich seine technoiden behandlungen und widerhallenden beats hšre. wenn sich mal die chance bietet, ihn live zu sehen, packt die gelegenheit beim schopfe und freut euch auf die klangliche wucht. das ist echter tanzbodenkrach. disc 2 pickt sich die ambienttracks, hypnotisch und experimentell, und zeigt besonders, wie gut er ambient und rhythmus verschmelzen kann. langsam anschwellende tracks voller atmosphŠre, klangforschertum und elastischen beats. wenn du diversifizierung von leiser unterwanderung bis massivem angriff ab kannst, ist das die richtige platte fŸr dich. ich hoffe instŠndig, da§ diese retrospektive ihm viele neue fans einbringen kann. (till)

recycle your ears
releasing music since 1996, having four full length album and a plethora of collaborations and remixes, cellulo•d mata is one of the most steady act of what is now called rhythmic noise. at the core of the ant zen label since his "connectique" 12", but maybe not the most well known project of this roster, this french one man project offers here a "best of" on two cds. the tracks are taken from various items (some being sold out), and mostly from the album "bimbos oscillations" and "invasion of", released on noise museum, now called alice in wonder), and without any track from 2000's "sable". then, three tracks are new, once being remixed by "two ant zen artists" (according to the label's site) signing as "s-a-l" (my guess goes to p-a-l and s.alt). the two cds are well balanced and diverse. starting with the catchy and club-friendly "the council", a track with vocals taken from the "escape from room 7" double lp, the first cd is mostly rhythmic, and sticks to the standards of the genre: hard saturated beats, straightforward rhythms, heavy basses, and noise all over. it is here interesting to notice how regular and coherent cellulo•d mata's sound has stayed throughout the years. i remember reading in an interview that his equipment had stayed the same for all his recording, and you can hear a blatant consequence of this on this first cd, an avalanche of hard pumping tracks who range of sounds is indeed relatively limited. anyway, the beats are well placed and the tracks are what any dj would need to make people dance, between a sonar and a hypnoskull track. the second cd is calmer. with the exception of a few tracks, it stays faithful to the direction given by the very nice first track, a nice mix between soundscapes ˆ la nooza hedz (a collaborative project between cellulo•d mata and his serial partners of ultra milkmaids) and some slow solemn percussions. more laid back, this cd is also more mind numbing, putting you gently to sleep after the dancing on the first disc. more experimental then the previous one, this disc has the same uneasy feeling than the latest cellulo•d mata album ("sable"), with its disturbing marriage of weird tones and effects. this second disc also has one track with vocals (also sung by sheila mata), "the cyborg". although a lot of people i know love cellulo•d mata and are raving about his music, this is a project whose music has never grown on me. i do not know what i am doing wrong, but i was never really seduced by this band, and most of the track don't do much for me. i admit they are well written, and that the least rhythmic one are intelligently written, but i just don't find myself excited. since this was already the case with the past releases from cellulo•d mata that i listened to, i am not surprised by my lack of enthusiasm for "spectrum", even though i really like the two tracks with vocals and some on the second disc ("lost where u're lost" and "terminal"). anyway, people into this band will probably rave about this best of, and i will just say that it doesn't really fit my tastes. (nicolas)

orkus 02/2002
wer gehofft hat, dass das franzšsische einmann-industrieunternehmen celluloid mata nach dem 2000er album sable nun gleich zwei randvolle, neue cds vorlegt, wird jetzt enttŠuscht sein. spectrum enthŠlt praktisch keine neuen tracks, sondern bietet einen querschnitt aus der fŸnfjŠhrigen bandgeschichte. viele der hier versammelten tracks waren bislang nur auf limitiertem vinyl oder cd-alben zu finden, die man mittlerweile nur noch schwer auftreiben kann. so ist spectrum, wie schon der name treffend ausdrŸckt, eine reise durch das ganze stilistische spektrum des projekts, und natŸrlich damit auch ein gefundenes fressen fŸr alle neueren celluloid mata-fans, die sich bisher durch die regale von second-hand-shops wŸhlen mussten. interessant ist, dass die beiden cds jeweils einen anderen musikalischen schwerpunkt setzen. wo die erste cd das rhythmisch-monotone industrial-noise-element tanzbar in den vordergrund stellt, ergeht sich die nummer zwei lieber in schwarzen ambientlandschaften und electronica-artigen click & cut-experimenten. durch die drei unveršffentlichten stŸcke kšnnte es sich selbst fŸr den sammler lohnen. (-)
alexander maciol

electroage
celluloid mata's last release, sable, was one of the best albums of 2000, and revealed the project as a highly intellectual facet of the rhythmic noise genre. with spectrum, matthieu maire has compiled a two-disc set of celluloid mata's compilation appearances, single and vinyl-only tracks, unreleased material and selections from earlier albums, reaching back to 1996 and shows that sable was by no means a fluke. twenty-four tracks over two cds is a lot of material, and all of it staggeringly excellent. celluloid mata's music is always in fluid motion, despite distorted percussion, static bursts and harsh reverberations. beneath the noisy surfaces there is movement and depth often un-paralleled by his peers. honey babe 2 rattles and crashes along, though there is a smooth fluidity coursing below the noise which pulls the ear in and with an eerie subtlety slowly rises to the surface. this strange exchange of sound occurs repeatedly on spectrum. the council features the vocals of sheila mata (also part of the triffid project on vacuum records), and her breathy vocals complement the deep beats laden with crunching distortion and electronic oscillations. a similar sound pervades cyborg colony, a piece full of tenebrous beats and dense processing and textures, where again the buried fluid rhythms draw one below the mechanized surface into a near-opposite world of sound. another defvac soul suggests a dark future world through the sonar-like echoes steadily calling out from under the repetition of hard percussion and sounds suggestive of a military compound alarm. it's this sort of visualisation that celluloid mata can invoke via instrumental music that gives the project a dimension others lack. not only does it sound good, but it looks good. trinity test is an epic track, over ten minutes long, and is essentially a cinematic in sound. from the ambient opening touched by militaristic percussion, through the space-like distorted glitches and malfunctioning electronics to the numbingly harsh conclusion, the piece plays like a dark sci-fi short film. similarly, 100 years of loneliness is a dark ambient piece, where liquid-like sounds slowly ebb and turn in a vast emptiness, where the mind is prodded into going to another place, far away and isolated. sheila mata again provides a voice for the cyborg, an experimental piece of rhythm and precision-driven distortion. even though spectrum isn't a new album in the strict sense, most of the music here will be new to many, particularly in north america, where most of this material was previously unavailable save by pricey imports. with this collection, celluloid mata have given one of the best electronic albums so far this year; intelligent, highly visual and incredibly unique, this is a clear highlight in electronic music this year. celluloid mata is: mathieu maire.

sonic seducer
auch bei den franzšsischen celluloid mata haben sich im laufe der letzten jahre allerhand tracks angesammelt, die dank ausverkaufter tontrŠger nicht mehr ohne weiteres erhŠltlich sind, so da§ eine compilation mit vielen dieser tracks nicht die allerschlechteste idee ist. und da cm immer mehr als nur rhythmischen krach produziert haben, wurde "spectrum" stilistisch Ÿber zwei cds aufgesplittet. auf der ersten cd finden sich erwŠhnte krach-tracks wie "the council" oder "550^print", wobei sich hier bereits zeigt, da§ celluloid mata nicht nur durch die enge verknŸpfung mit den ultra milkmaids mehr als nur Ÿberri§ene beats aufzufahren haben. ihre ganzen fŠhigkeiten kšnnen sie dann auf dem zweiten silberling ausspielen, auf dem es hauptsŠchlich um ihre klangorientierten experimente geht, wobei auch hier gelegentlich beats zum einsatz kommen, jedoch in stark zurŸckgenommener art. fŸr cm-komplettisten also gleicherma§en gute gelegenheit wie fŸr einsteiger, in das werk der fanzosen einzutauchen - ganz zu schweigen davon, da§ groovender electro-industrial selten so sexy klang wie bei "the cyborg". (sascha bertoncin)

neural.it
non si tratta di un greatest hits, ma poco ci manca per questa operazione su doppio cd che riunisce tracce di difficile reperibilitˆ ed altamente rappresentative del progetto francese cellulo•d mata. una mole di lavoro non indifferente impreziosita dalla calda sofferenza della voce di sheila mata presente nell'iniziale 'the council' ed in 'the cyborg'; capaci di trovare le giuste pause nel vortice della struttura circolare dei loro pezzi, i cm puntano tutto sulla distorsione e sulle percussioni metalliche che rimbalzano da un piano all'altro e che in alcuni tratti sono cancellate o volutamente rovinate ('cyborg colony' ed 'exit liquid'). il suono  ripetuto ed analizzato tramite quella che pian piano appare un'oscillazione registrata tramite un apparecchio dalla pile scariche, un evolversi in piccoli movimenti ed un continuo micro bombardamento cerebrale ('tri-fin theatre' e 'level mp') che si fa appena pi orecchiabile coi suoni da sommergibile di 'another defvac soul' o in accenni da proto-scretch hip-hop di 'out of the afternoon...', spingendo il genere sul limite del precipizio. click ed infinite oscillazioni sono alla base del remix di 'scaffold' ad opera dei sáaál (musicisti del circuito ant-zen), per un brano che ha il difficile compito, peraltro ottimamente svolto, di fungere da collante fra il primo ed il secondo dischetto; quest'ultimo abbandona le martellanti ritmiche su cui poggiava l'intera costruzione dei brani e si cala in un limbo celestiale ed allo stesso tempo spaventoso, perfettamente sintetizzato nei dodici minuti di ambient disturbatissimo del 'trinity test'. si cammina nel buoi, al lume di candela, in territori che non prevedono la dimensione temporale tanto risultano dilatati i brani qui presenti. un condizionamento simile a quello indotto dagli album della vacuum (sheila mata  parte del trifid project ed i cm hanno collaborato con gli ultra milkmaids), in tracce che sembrano registrate su fondali marini ('100 years of loneliness') prontamente sconvolte dal ritorno del ritmo in 'h.a.t.e.d.' ed 'everlasting rail'. sfiorando la melodia, i cellulo•d mata hanno dimostrato con quest'album quanto di buono siano riusciti a seminare e, con la conclusiva 'terminal', quanto ancora abbiano da dire; compendio necessario della prima parte di una carriera. (michele casella)

immanence
instead of re-releasing celluloid mata's entire back catalogue ant-zen have opted to compile a 2cd cross-section of tracks spanning their now deleted vinyl and cd output. collecting together tracks from 1996 through to 2002, spectrum also includes 3 previously unreleased bonus tracks. spectrum is split into 2 sets of tracks, the first cd comprising of distorted beat heavy tracks and the second of more melodic soundscape pieces. opening with the alluring yet sinister vocal accompaniment of sheila mata, "the council" features distorted beats over mata's vocals. most of the tracks on this cd are similar in structure, powerful distorted beats looped over crackling percussion and buzzing tones. "faster than sputnik" however changes this structure to utilise immense distorted bass booms and screeching feedback squeals. "tri-fin theatre" also takes a different path by introducing prominent melodies and less distorted beats to create a more hypnotic result. of particular note is the slightly less loop-centred track "another defvac soul" with its pounding distorted dancefloor beats, submarine blips and undulating throb. as the compilation progresses the music becomes less reliant on solely loop-based tracks and becomes more experimental, although this does not represent a progression in celluloid mata's sound as the tracks are not presented chronologically. in contrast, the second cd generally has a mellower atmospheric theme. the almost 12 minute opener "trinity test" is a good example; calm and drifting but still with an element of slow pounding robotic beats and distorted whirs. gentle and more soothing still is "lost where u're lost", inducing a dream-like state of calm while "frau towcmlfe" is more beat based and full of futuristic tension. "everlasting rail" fittingly plays on the rhythm of a hi-speed train and "100 years of loneliness" utilises bubbling alien noises over a flowing textural drone. in somewhat of a departure from the theme of the second cd, "h.a.t.e.d" and "convex" return to the pounding distorted beats of cd1, although "h.a.t.e.d" does have an undeniable catchy quality to it. one of the unreleased 2002 bonus tracks on this album appears on cd2 as "the cyborg"; again featuring the vocals of sheila mata this track is particularly sinister largely through mata's breathless ghostly vocal delivery and the throbbing music. in a return to the mellower tracks seen earlier on cd2, the final 2 tracks - "log boot" and "terminal" (the latter being another unreleased track from 2002) - veer off into intelligent dance music territory with their warm percussive rhythmic loops. spectrum is an interesting compilation providing a varied cross-section of tracks from throughout celluloid mata's career, encompassing a range of styles throughout the journey. of particular note are the tracks that include sheila mata's vocal talents as she has an enchanting yet scary vocal presence that adds a whole new dimension to the music. if 2 cds of back catalogue material weren't enough, celluloid mata have also included 3 bonus unreleased tracks for good measure in the form of "scaffold (s-a-l rmx)", "the cyborg (with sheila mata)" and "terminal". although some tracks are very loop-based this is still a very interesting and wide ranging compilation from ant-zen and one that should have something for everyone from newcomer to long-time fan. (paul lloyd)

medienkonverter
best of-cds haben oft den bitteren beigeschmack von geldmacherei. da ist es schon gut zu wissen, dass "spectrum" keine best of-scheibe ist, oder doch? die meisten der auf dieser doppel-cd enthaltenen tracks sind kaum noch irgendwo zu finden und anstatt die alten alben noch einmal aufzulegen, hat man sich entschlossen, ein auswahl frŸherer arbeiten zu veršffentlichen. "spectrum" ist in diesem sinne also mehr als ein Ÿberblick Ÿber das bisherige treiben der franzšsischen ein-mann-formation cellulo•d mata zu sehen. der sound von cellulo•d mata ist oft verstšrend, erreicht jedoch nie die schmerzgrenze, da man sich hier der perfektion in minimalismus gegenŸber sieht. kein lŠstiges noise-gekrache aber auch kein butterweicher ambient, cellulo•d mata liegt irgendwo in der goldenen mitte. monotone, verzerrte rhythmen bilden die grundlage dieses fast zweistŸndigen werkes, wobei die betonung auf verzerrt liegt, denn die oft spielerische verzerrung von tšnen und rhythmen bildet die hauptgrundlage der mata-welt. einige stŸcke sind aufgrund ihrer tanzbarkeit in die clubs gelangt und werden es wieder tun. andere entfŸhren eher in bizarre sphŠren und eršffnen neue wahrnehmungen. auf der 2 cd lernt man die ruhige seite von cellulo•d mata kennen, die auch in anderen projekten wie z.b. noosa heds hervortritt. hier liegt das augenmerk auf tragenden oder dezenten soundscapes, der rhythmus wird nur noch zur begleiterscheinung, tritt in den hintergrund. šffnet man sich diesem "spectrum", erkennt man schnell, wie weitreichend der musikalische spielraum des herrn mata reicht. (veit)

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