1. Music for Piano with Slow Sweep Pure Wave Oscillators, for piano 2. On the Carpet of Leaves Illuminated by the Moon, for koto 3. Still Lives, for piano (I. Sunlight Diamond; II. Hammock; III. Barbecue Grill; IV. Lamp Shade; V. Two Floor Tiles; VI. Ferns; VII. Bread Knife; VIII. Chopsticks)
1 The Comeback (Madlib); 2 The Payback (Gotta); 3 Face The Sun (Africa); 4 Open (Space); 5 Tape Hiss (Dirty); 6 Sir Bang (Bounce); 7 Third Ear (More); 8 Stax (Strings); 9 Electric Company (Voltage-Watts); 10 Left On Silverlake (Ride); 11 Painted Pictures (Art); 12 Gold Jungle (Tribe); 13 Offbeat (Groove); 14 Pyramids (Change); 15 Eternal Broadcaster (Authentic); 16 Spanish Bells (High Dreams); 17 The Rock (Humps); 18 Box Top (Cardboard Dues); 19 West Zone (Coastin); 20 Filthy (Untouched); 21 Friends (Foes); 22 Toe Fat (Ghettozone); 23 Money Hugger (Gold Diggin); 24 The Comeup (Come Down); 25 Two Timer (The Pimp); 26 Chopstyle (Suey Blast); 27 Black Mozart (Opus II); 28 Understanding (Comprehension); 29 Snake Charmer (Heads Up); 30 Old Age (Youngblood); 31 Fukwitus (The Eights); 32 African Walk (Zamunda); 33 Whutkanido (Can Do It); 34 The Forest (Greens); 35 Outerlimit (Space Ho)
"More than past albums, “Super Suprematism” demands silence and patience. It sounds like [Ivan] Pavlov is taking cues from his one time collaborator Richard Chartier (see 2005’s “Chessmachine”) or label mate Ryoji Ikeda. Pavlov seems to have tired of the simple, metric pulses that dominated his earlier work. Rhythm seems spontaneous and subconscious… It is not consistent enough to say there is a ‘tempo’. The buzzing energy and life found in much of his early work is not here. It could not be played as a noise record. It might piss someone off, but there is no aggression. Where past work would sometimes disorient the mind with chaotic density, this album gently and slowly drags you into an ordered yet truly bizarre world. The transitions and movements of the songs are slower. 2005’s “Post-pop” was already moving in this direction.
One gets the impression that the placement of each sine wave drone, bell and sub bass wash is more perfect than ever. It evokes surfaces and worlds impossibly smooth, clean and polished like the sounds themselves. The drones still possess the familiar warmth that made his piece for Raster Noton’s “20′ to 2000″ series, “Into Memories of S-tone”, so great. “08″ is a perfect example of this.
Certain human emotions have a way of creeping their way into COH, despite it being the purest of avant garde. Anticipation is one. Other albums contain fear, sadness, loneliness, blissful peace, calm. On this album, though, a sensation of emptyness, clearness and stillness, which is not exactly ‘emotion’, seems to be the real point." (quoted from dreary patterns)