The A side “Blüten sind dem Grossen Schillerfalter fremd” drives directly towards the dancefloor in a straight line, and doesn’t stop driving for 11 minutes. A dark throbbing bassline carries the track along, giving it a nervous energy, rushing in straight lines towards a number of peaks. Interestingly, Eulberg never lets the track fully climax on any of these peaks, instead holding back and using the build ups as chances to introduce new elements in true minimal style. This restraint creates a satisfying tension, although it may not be to the tastes of those who want a track that has an identifiable start, climax, and finish. As a consequence, this is definitely a track designed for DJ use, but in the hands of the right DJ this will get a dancefloor moving nicely.
The B Side “Der Totenkopfschwärmer im Bienenstock” doesn’t move along the straight lines the A side does, instead starting off with a much more hip shaking bassline. We still begin in fairly dark minimal territory, though, with a jaded male vocalist singing “tell me do you love me, tell me do you hate me” in slightly accented English. The track seems all set to be a dark brooding minimal slow burner when the twist comes. After a few minutes in the track slows down and then absolutely explodes, ripping into a rocking electro bassline that Alter Ego would be proud of as flurries of drums go off and bleeps and lasers fire off all over the place. It’s a fantastically executed “rock out” moment that should have a dancefloor going absolutely nuts.
The tracks on “Eine Kleine Schmetterlings-Hommage” are definitely dancefloor material, and excellent dancefloor material at that. They also see Eulberg expanding his sound, moving in a slightly darker direction. He’s still working within the style that’s roughly called “minimal”, but he’s clearly experimenting and trying new things. It’s a healthy sign for the evolution of both Eulberg and the minimal movement.