Article
Brady / Driscoll / Gregorius

Albums
3/4 Peace
36
Atrium Carceri
Marvin Ayres
Peter Baumann
Beledo
Tim Brady
Christoph Bruhn
Calder
Csillagköd
Dal Niente / Deerhoof
Rebekah Driscoll
Eighth Blackbird
frostlake
Friedrich Goldmann
John Gregorius
Hammock
Chihei Hatakeyama
Masayuki Imanishi
ICE
Ionophore
braeyden jae
KAI
Kevin Kastning
Martin Kay
Kireyev & Javors
Millimetrik
Jon Mueller
Christine Ott
Piano Interrupted
Noah Preminger
Gavin Prior
Rapoon
Lasse-Marc Riek
Roach & Logan
Bruno Sanfilippo
Cyril Secq / Orla Wren
Sgt. Fuzzy
Kaitlyn Aurelia Smith
Stick Men+ David Cross
Stratosphere
Syncopix
Tetherdown
Charlie Ulyatt
Wieman

Compilation
Facticity

EPs / Cassettes / Mini-Albums / Singles
Glacis
Dibson T. Hoffweiler
Akira Kosemura
Daniel Lippel
Christine Tavolacci

Millimetrik: Fog Dreams
Chez Kito Kat

Though Pascal Asselin (aka Millimetrik) doesn't reside in France, there's still a strong French connection between him and the Chez Kito Kat label. Asselin makes his home in Québec City, Québec, where the electronic beatmaker produces trip-hop, ambient-IDM, house, and dusty instrumentals using a laptop, sampler, and live drums.

When not creating Millimetrik tracks, Asselin drums in the stoner rock outfit Les Indiens (The Indians), which in itself helps account for the punchy bottom end that gives such a strong kick to many a Fog Dreams production. It's Millimetrik, though, that is his major concern, the project having begun in 2000 and obviously still going strong. Asselin cites Boards of Canada and DJ Shadow as two influences, and true enough one encounters the occasional fingerprint of artists such as these on the thirty-nine-minute collection.

Things get off on the good foot right away when a thudding groove kicks “Rêves brumeux autour de Lana Del Rey” into gear, its muscular pulse sweetened with smatterings of ambient ear candy and vocal accents. Following upon that fog dream, Asselin gets by with a little help from his friends, Maude Audet, King Abid, and Frannie Holder the ones stopping by to add vocals to individual tracks.

King Abid's drawling MC turn helps differentiate “Peninsula Mist I” from the other cuts without stinting on the recording's beat-based thrust in the process (the related “Peninsula Mist II” largely strips away the vocal for an exercise in skank-heavy boom-bap); Holder's hushed voice, on the other hand, is a natural fit for the slightly mellower vibe Asselin pursues in the heavily atmospheric title cut. He even works in a nod to house with the breezy swing of the closer “Prélude imaginé,”

May 2016