Another defining feature of his style, as he put it in an RA Exchange, is the balance between the "physical" and "cerebral." Daemmerlicht tips him towards the latter. Swathes of this album pass by with barely a beat at all, much of the percussion sounding like rustles in the undergrowth or distant thunder. When a rhythm does emerge, it has more in common with instrumental hip-hop than the melodic techno of 2014's Iffy album on Innervisions. Brunner seems more concerned with spinning a narrative for the mind's eye, and there are hints of a plot in titles such as "Durch Den Hohlweg" ("Through The Ravine") and "Am Tag Danach" ("The Day After"). There's slow-burning drama in the orchestral strings of "Von Der Kanzel." The elongated drones in tracks like "Der Steinmetz" have a symphonic dimension as well, conjuring images of mists parting to reveal crumbling Gothic castles.
These attempts to instil intrigue do highlight another tension—even contradiction—in his music. Brunner has talked about his desire for "directness" in his productions, yet his alias and album titles like Hinterland and Daemmerlicht—meaning half-light—dwell on the enigmatic or liminal. In practice, the album's sense of mystery is often conveyed in obvious ways: all those sonorous tones, eerie flutes and soft chimes occasionally sound as clichéd as someone telling a ghost story with a torch held under their chin. Though this shift towards classical is a fresh direction for Brunner in some ways, it also sounds much like you'd expect of a neoclassical album by Recondite. Still, it's worth going down into the woods with him—so long as you're not after any big surprises.