(Techno, Experimental, Minimal) [12xEP] [24\96] Concept 1 - Concept 1 96:01 - 96:12 (By Richie Hawtin) - 1996, FLAC (tracks), lossless

All musicguide review of Concept 1 96:CD (compilation of Concept tracks):
Over the course of 1996, while taking a break from his work as Plastikman, Richie Hawtin
 released a monthly series of experimental 12" EPs known as the Concept series. Unlike
the acid techno of the Plastikman recordings, the Concept releases explored stark minimalism,
 most of the tracks consisting of little more than percussion. Yet, as minimal as these
 tracks were, Hawtin's mastery of the 909 drum machine and his seemingly endless well
of creativity ensured that every successive entry in the long-running series sounded
 unique and adventurous. However, the releases were limited and even the most
 fanatical listeners struggled to secure every monthly release; furthermore, as Hawtin's
 legacy quickly grew to increasingly international proportions in the late '90, these
releases became incredibly difficult to find. In late 1998 Hawtin thankfully compiled
some of the more noteworthy tracks from the dozen records onto this collection,
Concept 1 96: CD. Comprised of 15 tracks that vary in length, anywhere from
 13 minutes to 30 seconds, the collection showcases precisely how exploratory
 the series was. The same dubby percussion may form the ingredients for every
track, yet you're continually amazed at how Hawtin shapes the same sounds into
staggeringly different tracks, altering the rhythms, tempos, density, and so on --
 essentially endless variations on the same core concept. And to enhance th
e conceptual aspect of the series even further, Hawtin also released a related collection
, Concept 1 96:VR, that features similar-minded producer Thomas Brinkmann
 giving the tracks his own personally stylized variations. Much less accessible than
 his Plastikman recordings, Hawtin's work here is among his most experimental and
 cerebral. He strips away the melodic acid lines and moody ambience, leaving only
 the composition itself; in fact, he even does away with rhythm to a certain extent,
 leaving you only with the most minimal aspects of techno, the sounds and the
 way in which he shapes them.