#	Samples	Title
Side 1
1.	Preview	"Reanimation Music"
2.	Preview	"War Music, 1st Perspective"
3.	Preview	"Fairytale Music, 1st Perspective"
4.	Preview	"Dance Music, 1st Perspective"
5.	Preview	"Death Music, 1st Perspective"
6.	Preview	"Dance Music, 2nd Perspective"
7.	Preview	"War Music, 2nd Perspective"
8.	Preview	"Festivity Music"
9.	Preview	"Art Music"
10.	Preview	"Diarytale Music, 2nd Perspective"
11.	Preview	"Consolation Music"
12.	Preview	"War Music, 3rd Perspective"
13.	Preview	"Death Music, 2nd Perspective"

'Gebrauchsmusik' is German for 'Utility Music', and Swedish composer and producer Marcus Fjellström's second excursion into post-classical experimentation is exactly that; thirteen tracks with each one written to suit a certain theme. War, art, festivity, sadness, death and resurrection are all interpreted by Fjellström in his unique style, taking a classical framework and distorting, confusing and manipulating it to suit his needs. String sections are crushed into a smokey Lynchian haze while staccato plucking is twisted to give out an almost Autechre-like resonance. While listening to 'Gebrauchsmusik' it can be difficult to hear where the acoustic instruments stop and the electronic manipulation begins, a line which has been approached somewhat gingerly for some time now and rarely managed so effortlessly. The obvious comment on listening to music as unashamedly visual as this is that it sounds like a film score, Fjellström here has gone all the way on 'Gebrauchsmusik', writing music which almost requires to be slotted into a piece of cinema - 'War Music' should be paired with the disturbing images of battle, 'Fairytale Music' should skip and wisp around an enchanted forest and 'Death Music' should be signalling a funeral procession in it's solemn grandeur. Taking influence from John Cage, Morton Feldman and David Lynch's right hand man Angelo Badalamenti, Fjellström has developed a style which manages to transcend the current classical/electronic explosion. It is clear from the offset that the young musician has a deep understanding of what has come before as he blends elements of musique concrete, avant-classical and early electronic experimentations into his compositions. Instead of merely coming across as an homage, this album genuinely acts as a step forward in a crowded genre.