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1.
Syntax 05:14
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2.
Jump Or Jive 04:32
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3.
Strangers 06:00
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4.
Dramooned 13:49
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5.
Leaving The Line 03:04
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6.
Eastern Transcendental 08:24
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7.
Goat 04:56
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8.
Sweet Milk 03:13
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9.
Log 04:45
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10.
Tri-Bop Deluxe 05:34
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11.
Hoax 03:58
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12.
Appendix 08:04
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about

In my "official discography", HOAX is counted as album Nr. 65; actually it's a collection of originally unrelated tracks which I produced between 2001 and 2005 (most of them, as far as I remember, from 2003 on). For some good reason, I call HOAX my "Drum and Bass" album, and most of it's tracks ome quite close to that genre - although I guess they still would lack "credibility" when checked by a real d&b fan (hence the title, by the way - it is rather "faux" d&b).

Anyway, that variety of electronic dance music quite fascinated me, because I felt in that scene was a lot of creativity and crazyness going on (things I appreciate), although I never took the time to follow it much.

Still, the tracks You'll find on HOAX are all based on those familiar fast drum patterns and jerky bass lines / sequences and nervous, fast changing sounds - and everything is rather far away from the long, slow evolving ambient pieces or space music panoramas which I later became - a little bit - known for (although there are also some melodic, even beautiful moments to be found...).

Apart from drum and bass, the music on this album also owes a lot to cuts'n'clicks and other experimental dance music from the 90ies, from artists like Autechre, Mouse on Mars or Aphex Twin (...in some place I especially seem to hear references to his album "drukqs", although I can't clearly remember if I really had that on my mind when producing this music...). In any case, a lot of those fast digital micro-edits were applied that (probably) seemed avantegarde-ish to me ten or fifteen years ago (I also just liked them because they were weird...).

One thing however I'd like to point out: I never (OK - hardly ever) used samples or drum loops like many d&b artists did; I have produced / programmed all the drums, and other sounds, myself. I mention this because in my early years of music making, a more experienced friend who had started as a local metal musician and later switched to produce dance music once told me that, to do it right, you have to use drum loops / samples (either by a professonal drummer or an expert programmer) - self programmed stuff just won't do.
Well: maybe that's true, and I indeed always found it very hard to come up with great drum grooves. However, I didn't like the idea to use commercial samples or steal from old songs, and made a decision to always generate my own -and if the result was inferior, so be it: at least it was me...
Maybe a silly and naive resolution, but I remaind true to it for the biggest part of my years of music making (only very occasionally, usually when testing something, I have used a commercial drum loop, and even then I transformed it one way or other...).

Except for working with live drummers or percussionists, but that's a different story..

Did I already mention that the second half of "Eastern Transcendental" is a gas..?

And - You need to play this album loud, on a proper system, and in proper mood.

Michael Brückner, May 2016

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released June 6, 2005

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Michael Brückner Mainz, Germany

Born in Heidelberg, Germany, later settled down near Mainz.

Earns a living as a graphical designer.

Ambient and other electronica since 1992.

Accumulated an extended back catalogue (more than 90 albums by end of 2011, number still growing).

Since 2007 offers his music in the internet, via the usual platforms.

Sometimes gets reviews + airplay.

Very rarely plays live.

More is to come... ... more

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