The A-side's entrancing music shows Benjamin Kilchhofer enjoying the new creative direction he pursued last year on another 12-inch for Marionette. Nature seems key to nine-minute opener "Aska," field recordings of birds and other fauna as integral to the track's mood as the percussive and synthetic ripples that foreground them.
By contrast, "Uzala" seems a study in human emotion, a delicate interplay between ritualistic chants, tender organs and twilit synths set to the backdrop of a crackling campfire. In between, Kilchhofer conjures a hypnotic mess on the richly detailed "Russ" and resurrects Francis Bebey's psychedelic sanzas on the smudged "Suckfuell."
Such is the strength of the A-side that it would be easy to gloss over Hainbach's contributions. But there is much to savour in the German composer's B-side tracks. There's the cavernous kosmische of "Heart Of Darkness," whilst "I Be Electric" features a single, strikingly beautiful moment. For the most part the track is an exploration of gloopy tape loops, but he breaks them up around the five-minute mark with a modular synth line that almost blinds you with its incandescence.