The Modernist
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Biography
There are two artists using the name: The Modernist:
Jorg Burger’s(1) electronic solo project as well as Nathaniel Spadafora’s(2) solo folk project.
(1) Under a multitude of monikers including Burger Industries, Triola, the Bionaut and the Modernist, Jorg Burger has established himself as one of the figureheads of Cologne’s influential minimalist techno scene. Although his Modernist alter ego suggests a fascination with the present and the contemporary, Burger has (perhaps surprisingly) cited a love for the classic indie pop of 80s UK illuminati such as Aztec Camera, Orange Juice, Scritti Politti and the Smiths alongside his more expected techno-love. More unexpectedly still, on 2003’s Kangmei Burger included a track named after the late T. Rex percussionist, “Mickey Finn”.
Having seemingly reached the same conclusion as peer and colleague Michael Mayer in his assertion that “Everything has been said as far as minimal techno goes . . .”
(as early as 1992, he stated his intent as to make acid house with the spirit of pop), the Modernist’s melodic minimalism is steeped with perfectly poised guitar harmonics and meticulously placed vocals. Despite this fondness for “classic pop”, Burger describes 1988 the year acid house overtook the dance-floors of Europe, as his year zero.
Jorg Burger’s(1) electronic solo project as well as Nathaniel Spadafora’s(2) solo folk project.
(1) Under a multitude of monikers including Burger Industries, Triola, the Bionaut and the Modernist, Jorg Burger has established himself as one of the figureheads of Cologne’s influential minimalist techno scene. Although his Modernist alter ego suggests a fascination with the present and the contemporary, Burger has (perhaps surprisingly) cited a love for the classic indie pop of 80s UK illuminati such as Aztec Camera, Orange Juice, Scritti Politti and the Smiths alongside his more expected techno-love. More unexpectedly still, on 2003’s Kangmei Burger included a track named after the late T. Rex percussionist, “Mickey Finn”.
Having seemingly reached the same conclusion as peer and colleague Michael Mayer in his assertion that “Everything has been said as far as minimal techno goes . . .”
(as early as 1992, he stated his intent as to make acid house with the spirit of pop), the Modernist’s melodic minimalism is steeped with perfectly poised guitar harmonics and meticulously placed vocals. Despite this fondness for “classic pop”, Burger describes 1988 the year acid house overtook the dance-floors of Europe, as his year zero.
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