Marcus Maeder


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It is better to release a short album than a long one that people will get tired of listening to. That's a rule the experimental electronica label Domizil (in some respects a Swiss counterpart to the Austrian Mego) understands and uses regularly to its advantage. Marcus Maeder's Quiconque (Anyone) belongs to that category. It packs eight tracks in a little more than 33 minutes and manages to short-circuit the listener's expectations on many occasions in the course of that half-hour. Maeder's electronic art ranges from the sweet and sour sounds of the academic computer-generated compositions of the early '80s ("Keinglück") all the way to Mego-like glitchy cut-and-paste and foggy processing techniques ("Au Grand Jamais"). What it means is that he can take you from sleek but somewhat cold shimmering atmospheres to digi-punk rawness in the click of a mouse -- and usually at times you don't expect him to, like in the middle of a track. In that regard, "Hupps" is fun-packed. "Prigorod" introduces the first real beat of the album, a clickety pulse over a menacing bass drone. Melody is unheard of, although you don't really feel the need for it. Quiconque is a good album, well paced and satisfying.

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