>>> igloomag.com [USA]

Matthew Peters has been making music for a long time as a cellist (his cello lines have been used by Leafcutter John and Venetian Snares) and as a classical music producer. Stepping out of the shadows and into the spotlight, he's offering his first solo work with the 12" When I'm 6. Filled out with remixes by Jason Forrest (aka Donna Summer), End, Mothboy, Equivalent and Chaonaut, the record displays Peters' talent in an unspoiled environment as well as providing grist for the remix wheel as each version of the track retains the creeping nostalgia of the original while reshaping and remaking the core mood.

Donna Summer's spliced disco can't escape the underlying melancholy of Peters' original effort, though the shuffling and cut-up beats try real hard to inject some Go-Go juice into the nostalgic melody line. MC Equivalent loops the original into a reversed drone track and adds his rap, the sound of children playing, and a Mark Isham-esque trumpet to make a track that is redolent with the pale despair of the burned-out inner city. While End and Mothboy both apply their recognizable hands to the track (End with jangly percussion and Mothboy with dark sub-sonic rumbles), Chaonaut offers the longest remix with "When I'm Seven," a seven-minute recreation that adds a female Japanese voice that is alternately seductive and processed to a chipmunk chatter.

It's either a testament to the clever selection of remixers, their deft ability to make new things from individual pieces, or a reflection on the depth of possibilities within Peters' original track that the six tracks of the 12" never sound like iterations of the same basic theme. There's a wild variety in Mad e.p.'s "When I'm Six" 12," a heterogeneous mix that says: "We are all the same and yet we are all different."




>>> Slug Magazine [USA]

The Ad Noiseam label is doing what other labels haven't dared. Switching up typical IDM, noise, experimental, electronics and hip-hop while bridging a variety of genres and doing a phenomenal job with artists like Mad EP gives the label the leading edge on dull music trends. Mad EP is the solo work of Matthew Peters, an accomplished cellist and producer of classical music. When I'm 6 has been a project Peters has held onto for several years and serves as an appetizer to the full-length that just came out, Eating Movies. If When I'm 6 wasn't enough to satiate you, Jason Forrest (aka Donna Summer), End, and Mothboy show off their exquisite remix stylings on the debut EP. If you are not yet convinced to pick up the entire Ad Noiseam discography at this point, you should at least consider picking up this gem.




>>> normanrecords.com [UK]

We have a Mad EP remix 12", entitled 'When I'm 6' (which is most weekends for me. Ahem!) Quite eerie is the original, like Sixtoo sneaking out with Emily Strange for a snog in a graveyard somewhere. A genuinely quirky & fascinating hip hop record with wicked guest rapper EquivalANT on 'When I'm Sick' and a well behaved and sympathetic re-working by the usually insane, gibbering Jason Forrest. One of the alt hip hop records of the year, hands down.




>>>www.axesscode.com [France]
[translated]

First ep from mister Mad E.P., cellist and educated musician who carry in his luggage several years of classical music training and works with the Paganini of electronic music, mister Venetian Snares.

From the get go, Mad E.P. hits hard with this EP, which comes before the already review "Eating movies" album. One and only track, industrial trip hop. Collision between a dry dub, precise elcetronica, rap and classical instrumental drones. A thin piano answers a basse from beyond the grave, the whole thing enriched with mean and moving snares. Japanese singing, vibrating deep bass and a "sonic glide" that end up with the birth of an abrasive and frenetic jungle. An ideal track for Murukami Ruy or Yoko Ogawa, a Kirin in their hand.

A track remixed five time, once being by Mothboy, whose album was recently reviewed here. Even though the method is similar, a shameless combination of different genres and moods, Mad E.P. hits very hard with his razor sharp composition. One will notice "When I'm sick": introduction with children voices, rap, jazz saxophone and a nice bass line. Oscillating urban ballad. Walking further a path previously threaded by Tricky with a "pre-millenium tension" sound and his other projects. A bit darker but just as experimental.

First EP, first track. In some cases, a sole, magistral bullet is enough to set up an entire sound. "When I'm 6" is of this calibre.



>>>Black Magazine [German]
[translated]

Here it is, finally. Ad Noiseam crossed the bridge towards hip hop, after wishing to do so for so long. Abstract beats, a lot of jazz, morphed electronics, and good vocals, 'When I'm 6' is an incredible appetizer for the album to come in December. Jazzy piano loops, a funky bass, sharp electronics, crafted electroacoustics, and sampled Japanese voice- all these form the groove with a very "high building at night" feeling. M. Peters has worked for a long time with theatre groups and symphonic orchestras, has produced bands and has seen his cello playing used in albums by Venetian Snares and Leafcutter John. With the detail brought to the electronic background of his music, one can see that the connection with Jason Forrest (also dropping a mix) is clear, as are his links to the experimental hip hop scene. The MC skills of EquivalANT bring him a definite Anticon authenticity. Particularly good are the remixes by End (robotic jazz jamming, very dancey), Mothboy (dark bass from an underwater subwoofer) and Chaonaut (from hip hop to electronica, whose mix is of a quality seldom heard). Wow, Ad Noiseam has found an incredibly good pick. Thank you, Fat Cat, for not releasing Mad EP. Whatever you might think, you shouldn't take your old music tastes into account and just enjoy this music. More than recommended, better is not possible.




>>>Somamag [Germany]
[translated]

Mad EP's debut knows how to write tracks that swing and groove smoothly, between breakbeats, electronic, and hiphop. Well founded jazz influences and vocals make the relaxed atmosphere quite open- and the classical training (Matthew Peters has studied music for a long time and plays cello) also takes a noticeable place in the record. The remixes are coming here..from Donna Summer, Chaonaut, Mothboy, and End. The Chaonaut one distances itself the most from the original, with a "cut up vocals glitch" track and appeals here the most.



>>>Smorgasboard [Switzerland]

Something completely different being very smooth jazzy hip-hop with some occasional electronica comes along with this release from cellist and classical music producer Matthew Peters aka MAD E.P, who spends normally his time with producing the Chicago Symphonic Orchestra radio show and theatre plays in NYC. This is indeed very nice, the beats are simple, but massive and I seriously love these trumpets on when I'm sick by David Young. The various remixes range from such high-class collaborators like Jason Forrest, Equivalent and Mothboy. It's simply a very well produced record where each track is so well knit together it's a real pleasure. This record really convinces me with its vast imagination when it comes to the different sound layers and textures that you will find on the six-track album. What can I say about this bizarre cover? Is that Kevin home alone pouring milk on the street? It surely reflect some kind of abstract thought .. the actual record cover shows a photo of something that looks like a photo album where the pictures and text are put on top. Interesting.