What's happening to Matador? Like Sub Pop's recent rash of horrendous '70s rock signings, Matador has stretched out its formerly strict indie rock regimen to include a slew of mediocre hip-hop and electronic artists. Why? In a time when interest in once-futuristic computer effects and repetitive, preprogrammed drum tracks wanes among indie fans, it seems Matador would be doing their best to distance themselves from homogenized minimalists like the Modernist. Granted, some fine recordings have come out of the deal-- the most notable being by previously established Warp Records artists like Boards of Canada and Two Lone Swordsmen. But when these occasional successes are overshadowed an army of Non Phixions, Arsonists, and Nightmares on Wax, what's even the point?

The Modernist serves as an outlet for the sub-standard dance beats of Jörg Burger of the German duo Burger/Ink. But his brand of minimalism is by no means trademark. The warm, digital tones, and sterile hi-hats and bass kicks of Explosion-- incidentally, one of the most misleading album titles of all time-- have been commonplace in electronic music since 1997. Burger makes no attempt to satisfy the obvious need for variety necessary for an album that extends past the 70-minute mark. Instead, he made these 13 tracks literally indistinguishable from one another in a way few artists are capable of. If anything, his ability to bore listeners into submission should be heralded as the second coming of indifference.

Explosion is generic, subdued techno in every sense. Its bland offering of ultra-crisp staccato synth effects and crystalline ProTools-enhanced drum tracks could easily be mistaken for unfinished instrumental outtakes from Everything but the Girl's Temperamental. An echo of Tracey Thorn's silvery, lifeless Sade imitation seems to lurk around every corner, but never materializes. At least that would be something. As it stands, the Modernist's debut is as formulaic as long division and not nearly as much fun.

-Ryan Schreiber