Which would be interesting if you could hear it. There is plenty on Fünf, though, that sounds like just another track from X. That's no bad thing, of course. (And there's an argument to be made that every track was, at the very least, made with the club in mind anyway—whether it be in form or function.) But it underscores the point that this is, to the casual listener, exactly the type of thing that Höppner said in that same interview that he didn't want: A compilation with a bunch of exclusive tracks.
Let me be the first to say, "Whatever." You won't hear many complaining about how Shed's "Boom Room" sounds like a lost track from his EQD moniker or that Cassy's repeating vocal trick works yet again on "Never Give Up on a Moodswing." New tracks from Barker & Baumecker, Substance, Marcel Fengler and Luke Slater won't hurt those that love their techno dark and raw. Höppner, Ben Klock and new resident Ryan Elliott present moody pieces of techno and house that allude sound-wise to the concept but never let it overpower their distinct vision. Only a few tracks sound strange: Dinky's choice to sample someone saying "he danced his pants right off" is hilarious in context but less so without it, Norman Nodge's 115 BPM orchestral-laced wander "Start Up" sounds like nothing he'd ever put his name to otherwise.
For the most part, though, it's business as usual. You understand perhaps why Boris has never released a track before. His strait-laced techno take is competent, but hardly inspiring. Margaret Dygas' "Quintet" would sound wildly experimental if she hadn't already showcased an album's worth of similarly pitched material on How Do You Do? Len Faki can't help but get ridiculously epic in the same way that his Berghain mix did last year. Indeed, it's like any compilation that features 24 tracks from 23 different producers: A mixed bag with a little something for everyone. Some excellent, some good, some average, never uninteresting. Just like a night at the club itself.