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█▀ ▓██▀ ARTIST...[ Isolee ▀██▓ ▀█
█ ▓▓██ TITLE....[ Rest-REMASTERED ██▓▓ █
▄ ▓██ LABEL....[ Playhouse (PLAYCD001) ██▓ ▄
▓██▄ GENRE....[ Electronic ▄██▓
▓███ ENCODER..[ LAME.v3.90.3 ███▓
▄██▓███ K/BITS...[ 206 kbps avg ███▓██▄
▓████████ MODE:....[ Joint Stereo ████████▓
▓███▀▀ ▀██ TRACKS...[ 13 ██▀ ▀▀███▓
▓▓██▀ ██▄ █ TIME.....[ 69:13 █ ▄██ ▀██▓▓
▓███ ██▓█ ▓ SIZE.....[ 107.36 MB ▓ █▓██ ███▓
▓▓█ ▄█▓▓█ ▒ SOURCE...[ CD ▒ █▓▓█▄ █▓▓
▓▓██ ▓█▓▒▓ ░ ░ ▓▒▓█▓ ██▓▓
▓▓▓█ ▒░▒▒▒ RIP.DATE.[ 2006-09-11 ▒▒▒░▒ █▓▓▓
▓▓██ ░░░░░ REL.DATE.[ 2006-03-29 ░░░░░ ██▓▓
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▓ ▄ ▀▓▓██ ▀▀▀▀▀▀▀▀▀▀▀▀ ▓█ █ ▓███ ▓█ ▓███ ▓███ ▀▀▀▀▀▀▀▀▀▀▀▀▀ ██▓▓▀ ▄ ▓
▒ ▓█ ▀▓▓██ ██▓▓▀ █▓ ▒
░ ▒▓█ ▓██ absolutely classic first album from isolee ██▓ █▓▒ ░
░ ▒▓█ ▓██ remastered, repackaged and finally available ██▓ █▓▒ ░
░ ▒▓█ ▓██ again! after 6 singles on playhouse (the ██▓ █▓▒ ░
░ ▒▓█ ▓██ massive beau mot plageé being one of them) came ██▓ █▓▒ ░
░ ▒▓█ ▓██ isoleeÆs debut album "rest", way back in the ██▓ █▓▒ ░
░ ▒▓█ ▓██ year 2000 ██▓ █▓▒ ░
░ ▒▓█ ▓██ ██▓ █▓▒ ░
░ ▒▓█ ▓██ "rest", is the long-awaited revolution of ██▓ █▓▒ ░
░ ▒▓█ ▓██ house, techno, electro, well basically every ██▓ █▓▒ ░
░ ▒▓█ ▓██ type of electronic music. 'rest' is one of the ██▓ █▓▒ ░
░ ▒▓█ ▓██ most important, best and succinct albums ██▓ █▓▒ ░
░ ▒▓█ ▓██ currently available, and above all, when you ██▓ █▓▒ ░
░ ▒▓█ ▓██ hear 'rest' you immediately want to know what ██▓ █▓▒ ░
░ ▒▓█ ▓██ it is, in fact, feel an urge to have to know ██▓ █▓▒ ░
░ ▒▓█ ▓██ what it is. etermining what that is, a rest ██▓ █▓▒ ░
░ ▒▓█ ▓██ ██▓ █▓▒ ░
░ ▒▓█ ▓██ the rest of electronic music that remains if ██▓ █▓▒ ░
░ ▒▓█ ▓██ you rest, wait, put things into a state of ██▓ █▓▒ ░
░ ▒▓█ ▓██ suspense in indecisiveness, in which one must ██▓ █▓▒ ░
░ ▒▓█ ▓██ re-decide, re-determine. for those who still ██▓ █▓▒ ░
░ ▒▓█ ▓██ don't know how to think, electronic music, ██▓ █▓▒ ░
░ ▒▓█ ▓██ house and techno mean having a bass drum as the ██▓ █▓▒ ░
░ ▒▓█ ▓██ centre so to speak, as the unquestionable piece ██▓ █▓▒ ░
░ ▒▓█ ▓██ of hardware that gets the dancefloor moving. ██▓ █▓▒ ░
░ ▒▓█ ▓██ this is what isolΘe, aka rajko mⁿller, already ██▓ █▓▒ ░
░ ▒▓█ ▓██ racked his brains with on 'logiciel'. following ██▓ █▓▒ ░
░ ▒▓█ ▓██ some extremely successful 12's, 'beau mot ██▓ █▓▒ ░
░ ▒▓█ ▓██ plage' - one of last year's very few club hits ██▓ █▓▒ ░
░ ▒▓█ ▓██ that were as disorientating as they were ██▓ █▓▒ ░
░ ▒▓█ ▓██ connecting - various remixes and a few secret ██▓ █▓▒ ░
░ ▒▓█ ▓██ singles the bass drum is still the focal issue. ██▓ █▓▒ ░
░ ▒▓█ ▓██ the bass drum, says the first track on his ██▓ █▓▒ ░
░ ▒▓█ ▓██ first album, is a part, an element, a word used ██▓ █▓▒ ░
░ ▒▓█ ▓██ in software languages, one of the many ██▓ █▓▒ ░
░ ▒▓█ ▓██ languages mathematical ensembles we are in the ██▓ █▓▒ ░
░ ▒▓█ ▓██ midst of tend to speak in. distinctly ██▓ █▓▒ ░
░ ▒▓█ ▓██ reminiscent of yesterday's minimalism when ██▓ █▓▒ ░
░ ▒▓█ ▓██ analogue wasn't an opposite nor by any means a ██▓ █▓▒ ░
░ ▒▓█ ▓██ swearword yet, but a kind of battle cry in ██▓ █▓▒ ░
░ ▒▓█ ▓██ which the bass drum and samples began to ██▓ █▓▒ ░
░ ▒▓█ ▓██ circulate. an issue which also redefined ██▓ █▓▒ ░
░ ▒▓█ ▓██ 'logiciel' to make it a basis of contemporary ██▓ █▓▒ ░
░ ▒▓█ ▓██ sound. also distinctly reminiscent of daniel ██▓ █▓▒ ░
░ ▒▓█ ▓██ bell and many others, isolΘe dispenses the bass ██▓ █▓▒ ░
░ ▒▓█ ▓██ drum in its quasi-classical waveform of one ██▓ █▓▒ ░
░ ▒▓█ ▓██ single motion. 'rest' is what you've split up, ██▓ █▓▒ ░
░ ▒▓█ ▓██ a term subject to linguistic complexities, one ██▓ █▓▒ ░
░ ▒▓█ ▓██ which only then offers space to project things, ██▓ █▓▒ ░
░ ▒▓█ ▓██ to create music in such a way as to make tracks ██▓ █▓▒ ░
░ ▒▓█ ▓██ out of it ██▓ █▓▒ ░
░ ▒▓█ ▓██ ██▓ █▓▒ ░
░ ▒▓█ ▓██ a delight to listen to and above all 'nice' is ██▓ █▓▒ ░
░ ▒▓█ ▓██ isolΘe's first album. classically nice, ██▓ █▓▒ ░
░ ▒▓█ ▓██ melodious, harmonious, sound-loving, varied, ██▓ █▓▒ ░
░ ▒▓█ ▓██ but of an unnerving self-assuredness of ██▓ █▓▒ ░
░ ▒▓█ ▓██ unsureness, making isolΘe's music sound ██▓ █▓▒ ░
░ ▒▓█ ▓██ strange, yet nice at the same time, like a ██▓ █▓▒ ░
░ ▒▓█ ▓██ media review expressed in sounds. like a basis ██▓ █▓▒ ░
░ ▒▓█ ▓██ to transport contents, like a vision of horror ██▓ █▓▒ ░
░ ▒▓█ ▓██ or fulfilment, because for isolΘe mediums are ██▓ █▓▒ ░
░ ▒▓█ ▓██ always many different entities communicating ██▓ █▓▒ ░
░ ▒▓█ ▓██ with each other, corresponding formats, ██▓ █▓▒ ░
░ ▒▓█ ▓██ languages, melodies, rhythms, things within a ██▓ █▓▒ ░
░ ▒▓█ ▓██ massive machinery made by the most different ██▓ █▓▒ ░
░ ▒▓█ ▓██ types of machines that can never be amalgamated ██▓ █▓▒ ░
░ ▒▓█ ▓██ into one. mediums, these are structures that ██▓ █▓▒ ░
░ ▒▓█ ▓██ must first be redefined to make any sense of ██▓ █▓▒ ░
░ ▒▓█ ▓██ them. they change, and precisely this is what ██▓ █▓▒ ░
░ ▒▓█ ▓██ music far too seldom preoccupies itself with, ██▓ █▓▒ ░
░ ▒▓█ ▓██ the reason why music like 'rest' sounds so ██▓ █▓▒ ░
░ ▒▓█ ▓██ strange, but yet so right, so unquestionable. ██▓ █▓▒ ░
░ ▒▓█ ▓██ 'demon' defines the space between a mask, ██▓ █▓▒ ░
░ ▒▓█ ▓██ between mankind and danger, between machine and ██▓ █▓▒ ░
░ ▒▓█ ▓██ idea, one that slips under its own guard, one ██▓ █▓▒ ░
░ ▒▓█ ▓██ that runs away with itself, from its own ██▓ █▓▒ ░
░ ▒▓█ ▓██ harmonies, instigates new ones, sets new ██▓ █▓▒ ░
░ ▒▓█ ▓██ subprograms into motion, turns a track into a ██▓ █▓▒ ░
░ ▒▓█ ▓██ conglomerate of communication systems which ██▓ █▓▒ ░
░ ▒▓█ ▓██ constantly interact with one another, a track ██▓ █▓▒ ░
░ ▒▓█ ▓██ that redefines its own connections. a draw, a ██▓ █▓▒ ░
░ ▒▓█ ▓██ match that has no winner nor loser ██▓ █▓▒ ░
░ ▒▓█ ▓██ ██▓ █▓▒ ░
░ ▒▓█ ▓██ 'rest' talks to us in various voices not in ██▓ █▓▒ ░
░ ▒▓█ ▓██ references to sounds, to stories, but as a ██▓ █▓▒ ░
░ ▒▓█ ▓██ reference in itself, as a system of references ██▓ █▓▒ ░
░ ▒▓█ ▓██ that is constantly changing. sometimes also ██▓ █▓▒ ░
░ ▒▓█ ▓██ directly, or so it seems, as a kind of ██▓ █▓▒ ░
░ ▒▓█ ▓██ invitation, like on 'i owe you'. but in its ██▓ █▓▒ ░
░ ▒▓█ ▓██ preliminary definition, 'rest' is a remnant, a ██▓ █▓▒ ░
░ ▒▓█ ▓██ plateau, pause, relaxation, no thank you we're ██▓ █▓▒ ░
░ ▒▓█ ▓██ fine, but we're a residual. only from this ██▓ █▓▒ ░
░ ▒▓█ ▓██ perspective is it comprehensible, and only so ██▓ █▓▒ ░
░ ▒▓█ ▓██ because we listen and understand what we hear. ██▓ █▓▒ ░
░ ▒▓█ ▓██ a position that becomes blurred in front of our ██▓ █▓▒ ░
░ ▒▓█ ▓██ eyes, like a form of concentration in that you ██▓ █▓▒ ░
░ ▒▓█ ▓██ find yourself spinning, always accessible, but ██▓ █▓▒ ░
░ ▒▓█ ▓██ constantly changing domains. 'rest' is a stage ██▓ █▓▒ ░
░ ▒▓█ ▓██ which is being worked on during the match, on ██▓ █▓▒ ░
░ ▒▓█ ▓██ which the match is no longer a place where ██▓ █▓▒ ░
░ ▒▓█ ▓██ players meet and work with rules, but a match ██▓ █▓▒ ░
░ ▒▓█ ▓██ where players revolve the same way as the rules ██▓ █▓▒ ░
░ ▒▓█ ▓██ do. and 'rest' is not de-personalised music, ██▓ █▓▒ ░
░ ▒▓█ ▓██ but music in which people can circulate all the ██▓ █▓▒ ░
░ ▒▓█ ▓██ more, and see who's where and what, shortly ██▓ █▓▒ ░
░ ▒▓█ ▓██ before others can become something else and you ██▓ █▓▒ ░
░ ▒▓█ ▓██ yourself, too. not an experiment which you have ██▓ █▓▒ ░
░ ▒▓█ ▓██ to give in to, but a timeline on which you ██▓ █▓▒ ░
░ ▒▓█ ▓██ function, without being obliged to do so this ██▓ █▓▒ ░
░ ▒▓█ ▓██ way or the other ██▓ █▓▒ ░
░ ▒▓█ ▓██ ██▓ █▓▒ ░
░ ▒▓█ ▓██ isolΘe is familiar with the history of ██▓ █▓▒ ░
░ ▒▓█ ▓██ electronic music, he takes it apart, not to ██▓ █▓▒ ░
░ ▒▓█ ▓██ redefine parts of it, but to allow time that is ██▓ █▓▒ ░
░ ▒▓█ ▓██ music to reappear again, not to sort times in a ██▓ █▓▒ ░
░ ▒▓█ ▓██ kind of hyper-filing-system, as if knowing how ██▓ █▓▒ ░
░ ▒▓█ ▓██ everything should be, but to set files into ██▓ █▓▒ ░
░ ▒▓█ ▓██ motion, a motion that not only makes music ██▓ █▓▒ ░
░ ▒▓█ ▓██ sound new, but one in which one can summarise ██▓ █▓▒ ░
░ ▒▓█ ▓██ everything, because it follows our train of ██▓ █▓▒ ░
░ ▒▓█ ▓██ thought in creating its openings, outlooks, ██▓ █▓▒ ░
░ ▒▓█ ▓██ situations and eccentricities, luckily with us, ██▓ █▓▒ ░
░ ▒▓█ ▓██ with the machines, with software, mediums, ██▓ █▓▒ ░
░ ▒▓█ ▓██ mutations, stories, ideas, people, worlds, ██▓ █▓▒ ░
░ ▒▓█ ▓██ adventures, etc. they're all partners in crime, ██▓ █▓▒ ░
░ ▒▓█ ▓██ 'tout se complique', and everything's in this ██▓ █▓▒ ░
░ ▒▓█ ▓██ place called 'rest' to which complexity ██▓ █▓▒ ░
░ ▒▓█ ▓██ couldn't possibly coin an opposite, the place ██▓ █▓▒ ░
░ ▒▓█ ▓██ where everything's happening, at the right time ██▓ █▓▒ ░
░ ▒▓█ ▓██ ██▓ █▓▒ ░
░ ▒▓█ ▓██ http://www.hmv.co.uk/hmvweb/displayProductDetai ██▓ █▓▒ ░
░ ▒▓█ ▓██ ls.do?ctx=93;-1;-1;-1&sku=499478 ██▓ █▓▒ ░
░ ▒▓█ ▓██ ██▓ █▓▒ ░
░ ▒▓█ ▓██ http://www.boomkat.com/item.cfm?id=19110 ██▓ █▓▒ ░
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░ ▄████ /TEAM MUSiQ ████▄ ░
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▓▓██ ▓█▓▒▓ ░ Nr. TRACKNAME TiME ░ ▓▒▓█▓ ██▓▓
▓▓██ ▒░▒▒▒ ∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙ ▒▒▒░▒ ██▓▓
▓▓██ ░░░░░ 1. | Logiciel | 5:28 ░░░░░ ██▓▓
▓▓██ ░░░░░ 2. | Demon | 5:01 ░░░░░ ██▓▓
▓▓██ ░░░░░ 3. | Keep On Dancin' | 5:47 ░░░░░ ██▓▓
▓▓██ ░░░░░ 4. | Rest | 5:16 ░░░░░ ██▓▓
▓▓██ ░░░░░ 5. | Text | 4:45 ░░░░░ ██▓▓
▓▓██ ░░░░░ 6. | Rest Encore | 3:35 ░░░░░ ██▓▓
▓▓██ ░░░░░ 7. | Music | 5:54 ░░░░░ ██▓▓
▓▓██ ░░░░░ 8. | Beau Mot Plage | 6:46 ░░░░░ ██▓▓
▓▓██ ░░░░░ 9. | Djamel Et Jamshid | 6:02 ░░░░░ ██▓▓
▓▓██ ░░░░░ 10. | Gallus | 6:13 ░░░░░ ██▓▓
▓▓██ ░░░░░ 11. | Alleinunterhalter | 4:09 ░░░░░ ██▓▓
▓▓██ ░░░░░ 12. | Tout Se Complique | 4:12 ░░░░░ ██▓▓
▓▓██ ░░░░░ 13. | I Owe You | 6:05 ░░░░░ ██▓▓
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▓ ██▀ ▓ [ASCii By AyLieN of CHEMiCAL REACTiON] ▓ ▀██ ▓
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