Review Summary: My body isn't listening to me...
Techno music is somewhat unique amongst the amalgamation of other electronic subgenres, mostly due to the fact that a number of techno producers/DJs draw on a lot of jazz and funk influences. Of course, the same could easily be said of house music, but most techno artists opt for a more groove-oriented, cohesive sound. Take German producer Phillip Sollmann, aka Efdemin, for example. Even though he utilizes minimalistic elements, Sollmann always maintains a clear, focused production style in his music. Like his fellow producers, Efdemin always goes for the groove. A steady, everflowing rhythm of various instruments, all backed up by a smooth drum beat. And with his latest full-length, simply entitled
Decay, Efdemin has put together yet another solid work of minimalist techno.
Even though repetition is one of the trademark elements on the softer side of electronic music, Efdemin avoids falling into the trap of monotony. He continuously keeps the music engaging, from the head-bobbing beats and piano intro of “The Meadow” to the brief, calming epilogue of “Ohara”, to the bouncy rhythm and energy displayed in the title track. One component also worth noting is the strange vocal samples littered throughout several of the tracks. These include brief intros (“Some Kind of Up and Down Yes”), weird outros (“Ohara”, “Solaris”), and even an odd interview (also “Some Kind of Up and Down Yes”). Fortunately, these samples don’t break the flow or consistency of the music, and if anything, they help to make it even more intriguing. “Transducer” is a particularly memorable track, with a downtuned vocal sample being repeated throughout the song alongside an almost tribal drum beat, a strong bassline, and interesting synth leads. “Parallaxis” also stands out, with a mysterious keyboard melody and subtle drums carrying Efdemin’s more mellow side into the music. That’s perhaps where
Decay shines brightest. The entire album has a very odd, indistinct feel to it, and even then, Efdemin keeps the groove going. The production is clean and fairly concise, but it still has that minimalistic tone to it. And most of all, Efdemin manages to fully utilize his atmospheric prowess to create a strange, dreamlike soundscape with his music that encompasses some of the best elements of techno music.
However, don’t come into
Decay expecting anything Efdemin hasn’t already at least slightly managed to get into since his self-titled debut back in 2008. If there’s one negative aspect of the album, it’s the fact that Efdemin simply plays the same hand he’s always been using. But even then, everything manages to feel
right, for lack of a better term. Nothing feels out-of-place, awkward, or disjointed, and the rather calm vibe coming from
Decay, along with the lack of drag and redundant moments are what really showcase the best of Efdemin’s ability. Ultimately, even if it is more of the same, there’s plenty of enjoyment to be found from Efdemin’s third effort, and it's a fine introduction for any new electronic fans into his music.
