When exploring the German techno scene it is difficult to miss the cult-like figure of Efdemin. The Berlin based producer has been a talisman for the label Dial, releasing material since 2004. His eponymous first LP on the label gained him great critical acclaim and built up his ever-growing influence. Pantha Du Prince is one of many producers who has acknowledged the inspirational work of Efdemin. This was made clear in the release of XI Versions of Black Noise, which featured a remix of ‘Stick To My Side’ by Efdemin.
Efdemin’s second album, Chicago, took a different direction from his first record and managed to divide opinion. Admittedly, this album is not one for the faint-hearted. Efdemin has taken his minimal tendencies to a new level and with six of the ten tracks above the seven minute mark, it is no wonder some less dedicated listeners struggled. Persistence is the key to this record as it is slow to unfold, much like a great novel.
The record starts off strong with ‘The Revenge of The Giant Cowbell’. In this case, Efdemin crafts a driving minimal beat, fusing organic sounds with electronics and gradually incorporating new sounds in and out. The organ used later on has a haunting quality that is heightened with various childlike improvisations. This haunting quality is a recurring theme that is often underlying much of the beats. For example, in the latter stages of ‘There Will Be Singing’, droning strings keep the listener on edge, and the same technique is used in the beginnings of ‘Wonderland (The Race For Space)’.
The highlights of Chicago are most definitely the tracks that are the least immediate. ‘Night Train’ is possibly the most austere piece on the record. The track winds slowly along gaining new additions and dropping certain elements out. The subtle use of piano is a key aspect, whilst Efdemin’s use of recorded sounds is masterful. ‘Nothing Is Everything’, another album focal point, makes use of electronic beats that are tuned to add melodies. Efdemin again introduces the subtle sounds of a synthesiser and also Eastern style improvisations, that in no way sound out of place. Unlike ‘Night Train’, Efdemin does create a new section to the track for the latter half, which nicely breaks the piece up. Similarly with the song ‘Angels Round Here Don’t Sing’, Efdemin bypasses his minimal tendencies in favour of a drastically different latter half. He drops all but the high-hat from the beat and concentrates on the introduction of field recordings and organ sounds. Much like the other two tracks, this is one to be revisited many times.
To reiterate, persistence and a good ear are the key components for appreciating this record. For those that give it time, an almost epiphany like moment will occur, rewarding the dedicated listener. Despite many reviews, Chicago is an underrated masterpiece, waiting to be opened up by those that choose it.
‘Time’ is from the 2010 Dial compilation.
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