Alternative Press

Exclaim

The Wire - July 98

Variant - March 98

Mixmag - March 98

DJ Magazine Feb 98

Digipleasures - no 4
Dutch
Gonzo Circus Jul 98
Flemish
Senzor Oct-Dec 98
Dutch
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Doppler 20:20
Klangfarbenmelodie ADOR 2311 1998 D.O.R.
Studies in Scarlet
5:41
      Wierd Goin' Down 6:47
      Strung Up 6:01
      False Ratio 6:06
      Different Waves for A Paved Beach 4:57
      Throat Song 5:21
      Amen for Orchestra 6:54
      Babu Bubble 8:57
      Where's The Funk? 6:45
      Just Friendly Voices 5:57
      The Avantgardist 8:00
     
     
     
     
Alternative Press 130 May 1999 Dave Segal
Martin Lee-Stephenson masterminds this project and all who've heard his cuts on Law & Auder's two Avantgardism comps and its Eastwestercism collection know that his name guarantees quality. On Klangfarbenmelodie, Doppler 20:20 melds funk, drum & bass and classical minimalism into ingenious hybrids that show their roots, but in drastically altered forms.
"Studies In Scarlet" is a relentless, high-steppin' funk number accentuated with piercing sine waves. "weird Goin' Down" is a subtle, organic-sounding drum & bass track of impressive complexity (like Squarepusher, Lee-Stephenson plays bass). The mesmerizing "False Ratio" sets a Philip Glass-like minimalist motif against a slanted militaristic rhythm. "amen For Orchestra" posits what an early Stecve Reich composition would sound like threaded through a jungle track. "differnet Waves For A Paved Beach" integrates Indonesian gamelan into an intricate latticework of beats (talk about Eastwestercism). East conjugates fortuitiously with West again on "Babu Bubble", which loops a whining sitar snippet over a crackling foundation of exotic beats. "Where's The Funk?" answers its own question, albeit unconventionally (the rhythm's more Tony Williams than Clyde Stubblefield). "Just Friendly Voices" is the funkiest cut here, made all the more striking for its sampled foreign tribal chant. Such idiosyncratic touches, along with Doppler 20:20's nuanced programming and superior playing skills, make for an album of rare depth.
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Exclaim Chris Twomey
This is a very nice breaks-oriented CD from Martin Lee-Stephenson, which was released last March (1998) in the UK but now has North American distribution. Stephenson has appeared under various names and collaborations on the Law & Auder compilations Avantgardism 1 and 2, EastWestercism and Minimalism. This, his second CD, features "The Avantgardist" from Avantgardism 1. He's also remixed Sons Of The Subway, Cranium HF and others. Doppler 20:20's quality listening-type drum & bass and funky breaks tracks will appeal to fans of Spring Heel Jack or Ninja Tune-type producers. "Amen For Orchestra" cleverly combines minimalist patterns with drill-ish effects. And he gets into world fusion with a Gamelan vibe on "Different Waves For A Paved Beach"; Indian sounds on "Babu Bubble"; Afro chants in "Just Friendly Voices"; and Inuit samples amongst the syncopated beats of "Throat Song." Remixes from this CD will be part of D.O.R.'s "The Organic / Electronic" series of twelve-inches.
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The Wire - July 1998 Rob Young
Named after Stockhausen's theory of the synaesthesia of sound and colour, Klangfarbenmelodie notably contains "Amen For Orchestra", a deconstruction of the most famous Jungle breakbeat. Martin Lee-Stephenson, aka Doppler 20:20, may be joshingly cocking snooks at the early electronic pioneeres, but his own music is as fresh sounding as anything else in the pile this month. Where so much UK Electronica can be wearingly dour and wilfully non-committal, his music trample-samples a host of sources and rides on bold beats. "Babu Babble" hijacks an Indian violin and holds it hostage underneath a Photeky break; "strung Up" yokes in some ionospheric orchestral strings; "False Ratio" finds hom programming drum machines the way Jaki Liebezeit plays on "Vitamin C".
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Variant - March 1998 Robert H King
Martin Lee-Stephenson (aka Doppler 20:20) has surpassed the dub induced electro of last years phenomenal "Art Electrique" with his latest offering of symphonic collage experimentation. "Klangfarbenmelodie" is a collection of ethnically tinged smooth grooves, enchanting minimalism and haunting melodics all suffused with Stephensonís unique take on breakbeats and drum 'n' bass. Many club and DJ magazines are bemused with Doppler 20:20's approach and even confused as to what "review section" to file it under, such single mindedness epitomises all that is wrong with this countrys so called "experimental dance scene" in that it misses or is to blinkered to see the bigger picture. 1998 is a very exciting time for electronica / electronic music as the majority of those participating and creating refuse to be grounded in any hampering genre tagging and within the eleven tracks of Klangfarbenmelodie we have a perfect example of this refreshing approach to embrace and cultivate all musical fields. Thus Stephenson shifts with ease from the serene keyboard wash and ecstatic rhythms of "Weird goin' down" to the Gamelan inspired loops of "Different waves for a paved beach". Skip buying the fashion centric club mags for one week and buy this instead you wont regret it.
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Mixmag - March 1998 Toby Manning
MELDING techno, world music, minimalist classical music, and the Krautrock (sic) suggested by the title, Martin Lee-Stephenson's second album is full of interesting ideas, but isn't quite so convincing in its execution. The open-ended motorik drum n' bass of "Weird Goin' Down" and the Tortoise-like atmospheric, xylophone tablas and strings of "Different Waves For A Paved Beach" never quite fulfil their promise. If "Beach" sounds like it should be a track on a Philip Glass record, "Amen For Orchestra", with its child-like key and string figures is definitely a kind of drum n' Glass, and one of the strongest tracks on the album. But most of the tracks here are half-developed, either taking too long to get to the point ("False Ratio") or drifting away from it too soon ("Strung Up";"Babu Bubble", with its scratchy strings and tamboura intro). In between are just too many characterless numbers ("Studies In Scarlet", "Just Friendly Voices").
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DJ Magazine - 14-28 Feb 1998
An eclectric mish mash of sparse drum & bass, electronica and breakbeat ( of a kind ) results in an interesting and at times, quite mesmerising album from this band's second release.
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Digipleasures - no 4 1998 Van Staart (Dutch)
Als stoomtreinen zouden rijden met een triphopbeat als ritmebox en huun stoom zouden afblazen in spoortunnel waarvan de binnenkant zwart ziet van de koolstofspetters, dan zou dat hetzelfde klinken als Studies In Scarlet, het openingsnummer van deze bijzondere CD. Hiermee is meteen de sfeer gezet van de CD. Triphop, drum 'n' base, ambiente achtergroonden, em wierde samples en vervlogen teksten vliegen over en weer. Gitaar, synths, drumcomputers, violen en ook echte drums worden niet geschuwd in dit meersterwerkje. Het meest lijkt de musiek op David Holmes en oop een rustige versie van Photek of Squarepusher, alleen is de muziek veel voller, en wordt er meer nadruk op ambient gelegd dan op het drum 'n' bass-gehalte. En dit komt het album alleen maar ten goede, er is veel meer variatie waardoorhet album tot het laatste moment blijft boeien. Luister bijvoorbeeld naar juweeltjes als False Ratio, Throat Song, Amen For Orchestra en Where's The Funk? Het duurt even een tijdje tot de kwaliteit tot je kale schedeldak, maar als dat eenmaal het geval is ...... oeoeoeoehhh! 8.0
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Gonzo Circus - July/Aug 98 Axel Claeys (Flemish)
Deze twee, al lang aangekondige, releases op het avontuurlijke D.O.R.-label zijn een buitenbeentje in de allesoverheersende dictatuur van de danscultuur. Doppler 20:20 ofte Martin Lee Stephenson mixt een combinatie van drums, bass en keyboards tot een toegankelijke luisterbreakbeat- cocktail. Daarbij bezondigt hij zich niet aan een overdaad ans drums en kiest hij voor goed uitgekiende ritmes. Opvallend is de sterke productie en de uitgesproken functie van de bijgeluiden. Soms opteert hij voor een oosterse invalshoek ('Babba Bubble', 'Throat Song', 'Different Waves For A Paved Beach') dan klinkt het geheel weer iets industrancieler ('Studies In Scarlet') om verlogens (te) zemzoete synths te gebruiken. Maar dat ka het feest niet bederven, terwijl iedereen z'n hardste best doet om zoveel mogelijk op mekaar te lijken creeert Stephenson een eigen geluid. Niet meteen de gemkkelijkste weg maar door die originaliteit groeit 'Klangfarbenmelodie' naarmate het aantal luisterbeurten stijgt.
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Senzor Oct-Dec 98 Jan Willem Broek (Dutch)
Het D.O.R. -label brengt vaak electronische muziek uit, die ver boven de middelmaat uitstijgt. Dit is zeker het geval met de cd 'Klangfarbenmelodie'. Doppler 20:20, ofwel Martin Lee-Stephenson lat op deze tweede cd een breed scala aan geluiden en stijlen horen. Ambient-achtige geluidsweefsels dienen als onderstroom, waarin jungle, drum 'n' bass, trance en klassieke en vele etnische invloeden drijven. In 'Wierd Goin' Down' is op mooie wijze een This Mortal Coil- sample verwerkt. Het geheel doet wel denken aan het Transglobal Underground zijproject Auntie Horror Film. De cd kenmerkt zich door uitgedachte ritmes, origineele samples en combinaties en ie één van de betere in het dance-genre.
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