b. Anders Remmer, 19 January 1964, Denmark. Remmer creates music that’s both psychological and utilitarian in a way that a monitor called ‘E47’ might similarly make reference to a fetishized (Soundelux) mike, as be considered a paean to the street which links Copenhagen and Helsingor in Remmer’s indigenous North Zealand. With laudable focus on details, the Copenhagen-based musician merges precision-tooled coding with acoustic components to generate an primarily unassuming and low crucial music that necessitates (and warrants) repeated has to yield outcomes. Remmer appropriates electronica’s normal palette of clicks, crackles and hiss but subtly deploys these alongside musical instruments such as for example (prepared) classical guitar. Despite the addition of dub in his documenting moniker, Remmer uses the result discriminatingly. On 2003’s PRETTY MUCH Mono, probably the most overt nod to dub was on ‘50 Hz Electric guitar’, a monitor that pulsed with low end sound but merged this impact with pretty electric guitar – tellingly, Dub Tractor’s music also holds track echoes of miserablist 80s electric guitar pop. For Dub Tractor, phrases should be utilized sparingly: on ‘I Don’t Treatment’ (from PRETTY MUCH Mono), the only real lyrics used are those of the name, as well as the sentiment appears to be nonchalant instead of belligerent. On ‘Hum (Component 4)’ (through the same discharge) what are mumbled in order to become more or much less inaudible. Remmer also information as Upcoming3 and Program with Thomas Knak (aka Björk collaborator Opiate) and Jesper Skaaning (aka Acustic).