discogs-review:
jdcapshew - 11-Feb-07 12:19 AM
I was not that familiar with Benjamin Brunn, I bought this CD because of Move D (David Moufang) participation. I'm not sure who did what, but this is a very special recording. The music is percolating, inventive ambient techno - minimal, yet warm and complex. I know David is a perfectionist and I have never heard anything from him less than excellent. But this is one of the great ones, right up there with early DSN, Kunststoff and Namlook/Moufang's "Wagon-Lits". Everything I have heard on the Binemusic(Germany) label is interesting and worth owning, especially this CD. Let's hope there a lot more to come from Brunn/Move D collaboration.
smallfish-review:
Bine have always delivered high quality electronic music on the deeper, slightly more minimalist tip. This natural sound of theirs lends itself to the collaborative work of one of Smallfish's fave producers, David Moufang, along with Benjamin Brunn. Big fans of both artists, actually, and together they've concocted a subtle, mellow and very, very beautiful showcase of how to create truly sublime electronic atmospheres. Each track is filled to brimming with soul and gorgeous sound design and, to be perfectly honest, there's a not a moment on this delicious CD that could be called anything other than wonderful. High praise? Certainly. And there's a good reason for that... it's just plain superb. Highly recommended.
boomkat-review:
Move D (aka David Moufang) and Benjamin Brunn come across like some kind of minimal tag-team on 'Let's Call It A Day' - bringing their individual styles to bear on a collaboration that is neither clinical nor fussy. Meeting at Resource Studio in Heidelberg to record 'Let's Call It A Day', the pairing of Moufang and Brunn exist very much in the spaces between the machine's heartbeats - taking an evident cue from the tracing paper schematic of Raster Noton then feeding it through their own vision of stripped beauty. Ensuring that proceedings don't get mired down amongst insular clicks and edits, 'Let's Call It A Day' very much has it's eye on the overtly animated end of the genre - wherein the crystalline beats and pinprick compositions are bathed in rich chord structures that blur the potentially stark environs to pleasing effect. Allowing the dubby techno heritage to bubble throughout, opening track 'C-Sick' bounces around the speakers with necromantic intent - drawing in wisps of electronics and creased beats to form a whole that is energetic without breaking a sweat. Next up is 'On The Magic Bus', wherein any memories of vomit stained journeys through town on a decrepit double-decker are bleached clean by a crawling web of fidgety resonance and looped beats that install themselves deep within the cranium and refuse to leave. Very much ensuring a human touch is left throughout, Moufang and Brunn's fingerprints are clear to see - as the likes of 'Grains', 'A' and '?' temper the silicon with majestic and sprawling sun-set soundscapes. Detailed, grand and human to the core, 'Let's Call It A Day' proves just how intoxicating binary can be.
westzeit-review:
Ist Move D schon immer so klasse und ich merke's erst jetzt, oder wie? Jedenfalls fällt mir der Herr in letzter Zeit in unterschiedlichen Inkarnationen immer öfter höchst angenehm auf. Hier mit dem gleichfalls hochgeschätzten BB am Nord Modular. Die Musik besteht aus netten, zu loops gefalteten klickerclaps: ein hypnotisches Schweben über zuweilen kunstvoll quietschendem Räderwerk. Warme vor-/nachwinterliche Stimmungen, erzeugt im Februar 06 im beschaulichen Heidelberg. So soll's doch sein. Den beiden war und ist dabei völlig egal, ob sie sich auf oder zwischen die Stühle setzen. Und welche Stühle das überhaupt sind, auch. Es geht um Musik.
Smallville press release for Smallville 08 (honey):
After building up a unique state of the art sound since ages- including records on labels such as Bine, Source, Modern Love, Uzuri, Warp and many others- Move D and Benjamin Brunn come along with a Single on Smallville to tease their forthcoming album “Songs from the Beehive". The Honey EP takes a short trip into the world of two ultraspecial producers. Benjamin Brunn and Move D cut these three pieces from their ultradeep live jams and the result is magical. The deeply kicking “Honey” is already proved by Smallville’s Lawrence: “How crazy can the panorama bar get!". His flatmate Efdemin prefers the “Melons": “Thats the deep shit for life!!". And Golden Pudel Chief Ralf Köster is amazed about his new ambient number one “After the rain". In the end Move D and Benjamin Brunn put together what belongs together looking forward to their big album in 2008.
Reviews:
Resisdent Advisor NET:
“DJs who make a beeline for the Move D section in record shops are usually deep house heads—his recent 12-inches have ranged from bass-driven and bumpin’ (‘Got Thing’ on Philpot) to austere and bumpin’ (‘Quit Quttin’’ on Uzuri) to sampledelic and bumpin' (‘Track 1’ on Workshop). But there are other sides to Move D, many of which show themselves in collaboration. He’s made piles of ambient records with Pete Namlook, he releases jazz records as Conjoint, and this month alone he’s putting out a CD of radio play soundtracks with writer Thomas Meinecke. This latest Move D record is also a collaboration, this time with ambient techno producer Benjamin Brunn. The pair have made one album before (Let’s Call it a Day, BineMusic, 2006), which I have not heard, but judging by this excellent 12-inch it’s going straight on the list. The key to the sound is the label, Smallville, which like fellow Hamburg imprint Dial, is all about crossing deep house signifiers with lush ambient atmospherics. Reported to be culled from a series of live jams, the 12-inch gets the balance right between Move D’s house impulse and Brunn’s liquid notes on the b-side ‘Melons’, one of the more sonically deep tracks of recent times. It’s ten minutes of warm, delicate groove and curling buzzpads that’s so lush and luxuriant it makes the record sound one centimetre thick. Elsewhere there is a beatless ambient piece, ‘After the Rain’, which is also gorgeous but just one minute long, and ‘Honey’, which seems heavily indebted to Minilogue’s recent brand of improvised squiggle funk. I’m not so convinced about the direction of the latter, but ‘Melons’ is worth price of entry alone, hitting a sweet spot that’s both achingly simple and totally necessary at a time when European house music is trumpeting austere emptiness as a virtue. Fill your ears up with this.”
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