Out Of The Dark takes a little while to really get moving. The funereal wreath that wraps around the opener "Fever" doesn't really take the track anywhere, and "Junglo" and "New World Order" sound faltering and uncertain. But soon things click into focus. Tellingly, it's when he gives constituent elements space to breathe that they really take off: the 2013 re-working of "Siem Reap" is hypnotic, built on a classic techno scaffolding; "Space Desert"'s ever-upward strands of synth take the brilliantly monolithic three-note vamp into astral territory. Most enduringly, "Sadness Descends" is low-flying and stealthy, stitching its melancholy with a percussive undergrowth, all itching, rustling shakers.
Often it's Deutschmann's percussive details that really stick with you—it's no surprise Billie Ray Martin recently described him as "giving good rimshot." A good example of this is the sizzling hi-hats on "Siem Reap 2013," which are at once sensual and seriously disorienting.
The problem with Out Of The Dark is its overall tone. Much like the album's cover art, Deutschmann's productions tend to be lacking in colour. Sometimes this works—epics like "Siem Reap 2013" and "Sadness
Descends" are gloriously monochrome—but the tonal focus can drag on
the ears a little over the long haul.