I am more and more fascinated by squaremeter material as of late. one of the reasons being its continuous evolution that makes each album an on-going development of his music ideas. as a listener, I have always enjoyed following the ideas behind the music, especially when they are conveyed as eloquently.
first few efforts in the glitch field (brasilia (that is technically credited to panacea), 14id1610s, sinecore) were mostly a study of the technicalities of the genre, a complex yet tedious rendition of the basic concepts. kopyright liberation was the turning point - everything non-essential has been abandoned, and squaremeter started anew with cold bass-heavy ambient waves punctuated by sparse arrhythmic clicks, that instead of filling the space acquired the outlining, shaping quality creating smooth organic curves pinned down with metallic precision of digital imperfection.
through parsec and now with bitter end, squaremeter continued building on that foundation, gradually adding more layers and smooth rhythmic textures. in a sense his output since kopyright liberation acquires a quality that is most obvious in his live performance - gradual building of intensity, slowly mounting depth and enveloping atmosphere, so that every little change and additional sound acquires an incredible significance.
the bitter end is even more rhythmic, gradually progressing with deep ambient waves, hypnotizing with heavy ambient soundscapes, contrasted by cold minimal skips and pops. technically, the sound is quite simple, but over the course of the album it creates an unforgettable cinematic eerie feel, a strange contrast between almost organic textures and very subtle digital imperfections. the latter, instead of being a naive way of manifesting the uber-futuristic conceptuality (a very obvious point that many are trying to make), became an integral part of the music, arriving to the point when it is almost too "in-tune", too "perfect", losing some of its edge. the dynamics in clicks + cuts style is created by juxtaposition of relaxed and controlled; glitches, digital imperfection create the perceived room for improvement; this is when listener's mind has to do the work to "fill in the gaps" between these intentional "errors," these points in space. squaremeter found a perfect balance, evading both extremities of glitch style. in any case, I can always send you back to fantastic xhm2 project, where squaremeter joins forces with xingu hill for the ultimate triumph of complex, aggressive digital soundscapes and dark atmospheres (I have recently re-discovered this album and yet again fell under its spell).
it would be appropriate to mention that those that got to see squaremeter live (last two big dates were "forms of hands02" and "maschinenfest02") will remember it as one of the most memorable performances - slowly building intense sonic attacks, deep bass waves resonating from the walls, contrasted by precise imperfections of skips and clicks, intensified by the lighting.
squaremeter managed to find a perfect niche between so many genres, creating a distinct sound that blends perfectly dark aesthetics, aggressive minimalism and futuristic attitude. I am quite intrigued by his recent work, anxiously awaiting future material.