Terre Thaemlitz - Oh, No! It's Rubato

This album explores the music of Devo on solo piano.

"Oh, No! It's Rubato" was released by Mille Plateaux in 2001.

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Terre Thaemlitz - Replicas Rubato

This album explores the music of Gary Numan on solo piano.

"Replicas Rubato" was released by Mille Plateaux in 1999.

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Terre Thaemlitz - Die Roboter Rubato

From Allmusic.com : "Electro-acoustician Thaemlitz takes the long road around expectation for his Mille Plateaux debut, opting for a set of solo piano extrapolations of songs by German electro innovators Kraftwerk. Built on a high-clearing deck of post-industrial cultural analysis over the course of its seven-plus pages of liner notes, the music on the disc requires little in the way of explanation; Thaemlitz' sparse, inventive interpretations are pleasing enough on their own. Although the themes of classics such as "The Robots," "Space Lab," and "Computer World" are sometimes so obtusely stated as to elude recognition, Thaemlitz' inspired performances make it hardly a problem."

"Die Roboter Rubato" was released by Mille Plateaux in 1997.

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Terre Thaemlitz + Jane Dowe - Institutional Collaborative

"Institutional Collaborative" was released by Mille Plateaux in 1998.

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Terre Thaemlitz - Tranquilizer

From Allmusic.com : "Though Terre Thaemlitz would go on to create highly conceptual works exploring gender politics and post-structuralist theory, on Tranquilizer he was content to craft lush and appealing chill-out atmospheres. This album is an artifact of the post-rave ambient era typified by groups like the Orb, filled with evocative synth washes mixed with sounds of nature and bits of tribal percussion. It might sound a bit naïve to ears weaned on electronic music made with powerful computer software, but Tranquilizer is not without its charms, and it shows Thaemlitz' deft touch with mood and texture. "Raw Through a Straw" is a simple, understated piece for organ that was featured on a very early Thaemlitz single. "Meditation of the Mountain Oyster" leans toward new age with the gentle sound of surf and gentle hand percussion. "Hovering Glows" is the most interesting track here, with some sections presaging later trends in glitch music, and others verging on Massive Attack-style trip-hop. Thaemlitz' career path is marked by restless experimentation, but Tranquilizer is merely a cozy and pleasant place for a layover."

"Tranquilizer" was released by Instinct Records in 1994.

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Terre Thaemlitz - Soil

From Allmusic.com : "A flowing, shifting, almost timeless statement incorporating equal parts confusion and calm across six tracks of entirely beatless ambient. Thaemlitz' ability to infuse elements of immediacy and physicality into a measured, slowly evolving style traditionally bogged down by either disinterested elitism or faux collectivist spirituality figures him as one of America's most important contemporary composers, and a singular voice in new ambient."

"Soil" was released by Instinct Ambient in 1995.

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Terre Thaemlitz - Love For Sale - Taking Stock In Our Pride

"Love For Sale - Taking Stock In Our Pride" was released by Mille Plateaux in 1999.

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Terre Thaemlitz - Interstices

From Allmusic.com : "New York-based composer Terre Thaemlitz is one of only a handful of significant American artists working in the new ambient vein. He's released the bulk of his material through the Instinct Ambient label, but has also issued tracks (under his own name and as Chugga) on his own Comatonse label and through others. Although Thaemlitz's entre into electronic came in a somewhat traditional fashion -- as a house DJ -- his explorations in electronic abstraction have been anything but, focusing on themes of abjection, alienation, fracture, and contradiction in his music. Thaemlitz's recorded work, collected on albums such as Tranquilizer and Soil, is closer in tone to ambient-leaning industrialists such as B. Lustmord, Carl Stone, and (some) Merzbow, as well as "deep listening" composers such as Pauline Oliveros and Robert Rich. He's also recorded with Bill Laswell, releasing Web in 1995, and done remix work for Interpieces Organization and the Golden Palaminos, among others.

Born in Minnesota and raised in Missouri, Thaemlitz moved to New York in the mid-'80s to pursue art scholarship at Cooper Union. Soon distracted by the growing New York house scene, he began DJing at drag balls and benefits, leading to an Underground Grammy for best DJ in 1991. Although primarly a dancefloor DJ, Thaemlitz's insistence upon integrating house music's more simplistic monotony with challenging, complicated breaks and references earned him an uneasy relationship with club promoters looking for DJs whose only commitment was the 4/4 beat. Retiring from club DJing in the early '90s (although he continues to spin experimental electronic music at art galleries, one-offs, and in other marginal contexts), Thaemlitz began making his own tracks, beginning with house but quickly moving into genre defying fusions of funk, soul, disco, and musique concrete, and eventually settling into experimental ambient. One of his earliest works, "Raw from a Straw," in addition to limited release through his own Comatonse label, appeared on an early ambient compilation on Instinct, and earned him an almost instant reputation. He's since fortified that with a pair of full-length releases remarkably free of many of the cliched conventions of club-drived ambient. He continues to support new talent through Comatonse, and in 1999 returned with Replicas Rubato. Interstices, a thirty-one track release with no song titles, followed a year later."

"Interstices" was released by Mille Plateaux in 2000.

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Terre Thaemlitz - Couture Cosmetique

From Allmusic.com : "Terre Thaemlitz's reputation as one of the most consistently challenging and inventive American ambient composers gets a BIG shot in the arm with his fourth album-length release. Following close after Die Roboter Ruboto's ponderous salon interpretations of Kraftwerk, Couture Cosmetique hazards perhaps Thaemlitz' most unflinching exploration of marginal identities through music to date, combining a queer theoretical thematic (transgendered sexuality, non-essentialist conceptions of identity constitution, etc.) in close parallel with what are becoming compositional signatures (residual properties of electronic sound synthesis, the inversion of harmonic and melodic structural relationships, etc.). Closest probably to his previous Instinct outing, Soil, Couture Cosmetique retains that album's sense of enervated disjoint while upping the "challenging listen, Terre" ante considerably. More than worth the effort."

"Couture Cosmetique" was released by Caipirinha Productions in 1997.

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Terre Thaemlitz - Lovebomb

From Allmusic.com : "After a few similar efforts for Mille Plateaux, the always-challenging Terre Thaemlitz returns with another intellectually charged electro-acoustic album, Lovebomb, that says a lot without saying much. Thaemlitz's preceding recordings for Mille Plateaux, particularly Interstices (2000) and Love for Sale: Taking Stock in Our Pride (1999), brought together abstract ideologies with ambient-glitch soundscapes, and so does Lovebomb, though much more coherently. The central idea here is fairly clear if you peruse the album's absolutely astonishing packaging (totally conceived by Thaemlitz) and take some time to think about what's presented: The underlying message here seems to be that love, perhaps the most celebrated emotion of all, is represented differently from culture to culture, and as paradoxical as it may seem, love is sometimes associated with destruction, which is metaphorically represented here by the notion of a bomb (as in, say, Islamic suicide/homicide bombings circa 2002). Thaemlitz conveys this message partly by delivering an album of dual languages, English and Japanese. Everything here, from the artwork to the liner notes to the recording itself, is represented in both languages. Chances are you'll not be able to comprehend both. If you do, you're in for a wealth of comparison, as that seems to be Thaemlitz's aim here: He wants you to see that love isn't as universal as most people sometimes think it is, as what seems literal in one culture translates differently in another. The notion of metaphor becomes central, at least from one likely vantage point, since the evidenced notions of love here -- the artwork, liner notes, field recordings, and so on -- are simply representations of a universal emotion that is communicated from culture to culture in a far from universal matter. As with most of Thaemlitz's albums for Mille Plateax, the ideas tend to outweigh the music, and here the packaging really steals the show, as it's outright marvelous, to the point where you even forget the music is playing. Furthermore, the timing of this album's release in early 2003, in the wake of the 9/11 disaster and on the eve of the Iraq crisis, seems particularly timely. Thaemlitz has released a lot of albums in his prolific and long-winded career -- some throwaways, some brilliant -- and Lovebomb is up there with the best of them, even if the music isn't too special."

"Lovebomb" was released by Mille PLateaux in 2003.

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Blue Cubism : Transcoded Audio Structures

"Blue Cubism" is a remix project of Kim Cascone's Blue Cube.

Tracklisting :
01. Terre Thaemlitz - Blue Code
02. Koji Marutani & Toru Yamanaka (Dumb Type) - Rain
03. Pita - Bubwraout
04. *0 / Kim Cascone - territory2layer
05. Robert Henke - Bubblex Simplex
06. Kim Cascone - cubeQuadratische / Herniated Mix #1
07. V/Vm - 3 Studies Into The Relationship Of Air And Dust...
08. Tetsu Inoue - Ultra Brite
09. Taylor Deupree - bubblewarp13.66mB
10. Nobukazu Takemura - Child's View Mix
11. Quest - Blue(s) Cube
12. John Hudak - 4.6
13. Bochum Welt - chromeBlue

"Blue Cubism : Transcoded Audio Structures" was released by Digital Narcis in 1999.

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Ohmix

From Allmusic.com : "By 2001, the Quebec city sound art collective Avatar was undergoing important transformations, with two of their founding members -- Jocelyn Robert and Christof Migone -- turning or already turned toward new cities, new people, and new ventures. The intent of this remix project was to recycle the past in order to point to the future. Eight artists were commissioned remixes using the first CDs released on Ohm Éditions (Avatar's label). The music of Robert, Migone, Pierre-André Arcand, the collective projects Radio Folie Culture and Rappel, and precursors Bruit TTV was treated, sampled, and recreated by Ralf Wehowsky, Martin Tétreault, Christian Calon, Terre Thaemlitz, John Oswald, Diane Labrosse, David Kristian, and Alexandre St-Onge. So there are musicians from the Ambiances Magnétiques and Alien8 Recordings stables; from Montreal, Europe, and Japan; and from electro-acoustic and electronica realms, all on the same CD. They approached the subject from different angles, but came to similar conclusions. All pieces belong to the turn-of-the-century avant-garde stylings of digital lowercase or new electro-acoustics."

Tracklisting :

1. Ralf Wehowsky - Gesichte
2. Martin Tétreault - Bloc De Vitesse Brune Avec 2 Trous
3. Christian Calon - Aiguiser L'Ouïe
4. Terre Thaemlitz - Transit(ional Edit)
5. John Oswald - Ohmigone
6. John Oswald - Ridge
7. Diane Labrosse - Curieux Mélange Pour Amateurs Auditifs De La Jeune Radio
8. David Kristian - Ohmite
9. Alexandre St-Onge - I-I

"Ohmix" was released by Avatar / OHM Editions in 2001.

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Terre Thaemlitz - Means From An End

From Discogs.com : "Born in Minnesota and raised in Missouri, Terre Thaemlitz moved to New York in the mid-1980s to pursue art scholarship at Cooper Union. Soon distracted by the growing New York house scene, he began DJing at drag balls and benefits, leading to an Underground Grammy for best DJ in 1991. Although primarily a "dance DJ", Thaemlitz's insistence upon integrating house music's more simplistic patterns with challenging, elaborated structures, earned him an uneasy relationship with club promoters looking for DJs whose only commitment was a monotonous dance formula. Thaemlitz began making his own tracks, beginning with a sort of deepest deep-house but quickly moving into genre defying fusions of funk, soul, disco, and musique concrète, and eventually settling into advanced ambient. One of his earliest works, Raw Through A Straw / Tranquilizer, in addition to limited release through hir own Comatonse Recordings label, appeared on an early ambient compilation on Instinct Records, and earned him an almost instant reputation.

As an ambient producer/artist, Thaemlitz focuses mostly on themes of sexual self-identity, alienation and contradiction in his music. Thaemlitz' recorded work, collected on albums such as Tranquilizer and Soil, is closer in tone to ambient-leaning industrialists such as Lustmord, Carl Stone, and (some) Merzbow, as well as "deep listening" composers such as Pauline Oliveros and Robert Rich although he also proves to be an awesome deep-house and unusual dance music producer at times. He also recorded with Bill Laswell and did remix work for many other artists."

The first seven tracks of "Means From An End" show Thaemlitz' amazing ability at deconstructing jazz.

"Means From An End" was released by Mille Plateaux in 1998.

Get it here : Terre Thamelitz - Means From An End