Robert Henke, the mind behind Monolake, can often come across clinical and restrained in his productions. That’s no bad thing, but on C G he strikes out with a pair of hard hitters, ready to cause flurries of action on the dancefloor. Inventive productions, driven by irresistibly firm rhythms. 12” on Imbalance Computer Music.
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- C G by Monolake
9/10 Laurie Staff review, 22 January 2016
C G stands for Cray and Glypnir, the tracks that cover sides 1 and 2 respectively. From that, it would appear that Robert Henke is a simple man. A is for Apple, B is for Beats and T is for Techno. Luckily, no one’s that stupid or would ever think that, especially when you remember that he helped make a fledgling version of Ableton Live, one of the biggest music production software suites out there.
Oh, and there’s the beats on here too. A lot of what I’ve heard from Monolake in the past has been relatively soft, slightly minimal IDM-infused cloudy techno stuff, but the tracks on here obliterate such crass expectations. Cray demonstrates what I mean perfectly, with complex, lightly glitchy broken beat techno leading the charge, flying away with subtle variations and stutters keeping the interest very much piqued. The energy is high, and the drum sounds are thick and often hard to place the origins of. Probably recordings of his hard drive bowing under the pressure of such beat tomfoolery. But the madness does not end there, and when Glypnir has entered the sound stage, your ears are pushed to their limits. The main synth line sounds like a tear in the fabric of spacetime, a terrifying warp in reality that flexes around between the left and right speaker. A kick pattern lies subdued under the surface while a choir of electric angels fly over, singing apocalyptic songs. The track takes a breather before falling headlong into a misty ambient kick barrage, tormented all the while by that warped synth.
Stomping and deep.
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