Phillip Sollmann throws us a curveball at the start of this album: opener Oh, Lovely Appearance Of Death consists of a sort of ambient wash under an a capella rendition of the (predictably cheerful) Funeral Hymn For A Believer sung by visual and performance artist William T Wiley. It’s simple and affecting and certainly not what I was expecting from my last encounter with Efdemin, 2010’s Chicago. (He’s released one record in the meantime, 2014’s Decay, which I didn’t pick up.)
The rest of the album is more conventional dance fare — though thankfully not too conventional. As you might guess from the move from Dial to Ostgut Ton, this is a little less deep-housey and a little more straight techno. It’s also a fair bit more experimental. A pleasingly bouncy beat weaves its way under a rich palette of synth noises which nicely balance melody with abstraction, and there’s a sparing use of some unusual instrumentation, including a “sing-drum” and Konrad Sprenger’s “motor-controlled guitar“. I guess you could characterize it as Berlin minimal seasoned with equal measures of second-generation Detroit and avante-garde invention (perhaps most strikingly in the moment near the end of Black Sun where it suddenly slows to about half speed, which sounds outrageous but somehow works). And the whole thing is done with precision and flair and it works rather brilliantly.
Incidentally, the title is a reference to Francis Bacon’s 17th century utopian sci-fi novel, which also provides the spoken word element of album closer The Sound House.
I bought this from Juno. They call it Techno.