Max Loderbauer ~ Greyland



The Wire - Issue 407
“Loderbauer morphs
and shimmers through different states and rhythms - bleakly serene on "Heliopolis" or throbbing unease on "Undercurrent - and for something so subtle, it sounds pretty mighty.”


The Quietus
“Loderbauer allows the ears to take precedence, rewarding close listening with compositions that flick a time-bending switch in the brain.”

Honest Jon's
“Superb, expert neo-minimalism from the retiring Berliner — veteran of collaborations like Vilod (with Ricardo Villalobos), the Moritz Von Oswald Trio, NSI and Sun Electric — making a rare, treasurable solo foray. Six tracks ranging from oscillatory steppers to eerie hauntings. Beautifully sleeved, too.”

Boomkat
“In the first instance, though, Loderbauer works on generating a swell of wobbly, organically raw and diffused electronics, alternately laced with trickling modular knocks against banks of distortion in Corner, or tilling a stereo-swirled, monotone kraut groove in Undercurrent, whereas the elegantly shifting figures of Heliopolis show off his firm yet genteel grasp of modular electronics. B-side, Loderbauer stealthily ups the ante. With Artus he carves a sequence of insistent, glassy plongs and lush, floating pads disturbed by shards of dissonant glitch, before eking out a scratchy sort of dubtronica somewhere between Bellows and Isan with Who’s That Born, and then slyding off the page with the creamed hyaline tones and languorous subbass waves of Golden Crescent.”

Resident Advisor
“We're very much in Greyland, where the colour palette is narrow and the gestures restrained and cautious. The music's scale has reduced from Transparenz's broader kosmische panoramas into a series of up-close miniatures. But it's as rich as ever—you just have to lean in closer.”

Norman Records
“Really unusual and often quite scary electronics here from Max Loderbauer. Then opening 'Corner' sounds like someone has left a drum machine on whilst an increasing amount of gas escapes from a waste disposal pipe. That's all it does but it ramps up the tension for 'Undercurrent' - a slow burning repetition of some low end synths which fritter and fracture as if whiled around by helicopter blades. Loderbauer here provides six quite disparate examples of how repeating tones can create a sense of quiet. Each track is unique to the previous but listened to as a whole the same atmosphere pervades the entire release. He only uses beats once on the quietly gorgeous 'Who's That Born' and even then they are tiny, but this is a beautiful track of massively understated electronica. Elsewhere he swirls tones around like paint and despite the eerie soundscapes this is a quite wonderfully soothing release.”

Piccadilly Records
“One of 2017's most promising and prolific offerings, Marionette return with their sixth record to date, "Greyland" from Max Loderbauer. Already causing a massive fuss with RA and Wire mag, it's no wonder as this perfectly encapsulates what has already been in Marionette's musical discourse over the course of its short history - shamanic and ritualistic sonic experiments; organic, biotic matter, manipulated or edited by machines; heavy hued moods or tales of witchcraft and sorcery. Across six tracks we see plumes of spellbound dizziness collide with primal, hand-beat rhythms and unfathomable depths of electronic sway. In short, it's another epic and truly immersive trip for this now buy-on-sight label.”

Juno
“Number 6 in the Marionette series feels and sounds like it should be his, following up from colleague and peer Burnt Friedman's number 5 in the series. As the title implies, Greyland is a rich, peculiar world that all-too-often steers towards the darker end of the spectrum, twisting and turning its subtle folds of tribalism with magnetic drone elements. Much like his work with the Von Oswald Trio, things move at a subtle pace here, expanding and contracting beautifully. What a stunner - this comes recommended.”