‘Low Pt. 1’, written in 1996, with its burbling groove and spooky atmospherics, remains under the spell of its own hypnotic presence. ‘On the Balcony’, released on the eponymous EP by Playhouse in 2000, sounds better with every year that passes. None of these tracks sounded like much at the time - there’s very little to a Soylent Green track, but only in the George Clinton sense of ‘funk is what you don’t play.’ It’s not so much about sharp hooks, big stabs, bombastic intros or screamin’ bitches – each track swings around one hypnotic funk. One notion under a groove. There’s magic in the circuits – like the best music of The Hieroglyphic Being or the masterworks of Larry Heard Jamal Moss seeks to evoke, its the poetry of autopoeisis, the beauty of the sounds the machines make on their own. Like Moss or Heard, Flügel has the knack for channelling Jack – you don’t ‘produce’ tracks like this, you make yourself the conduit for the them to produce themselves. They flow through you.
For all that though, ‘La Forza del Destino’ is a disappointing release, or at the very least misleading. If only because I’d looked forward to ‘a Soylent Green album’ so much, the tracks re-packaged (without any re-editing) here have a hard time justifying their existence for anyone who’s heard it all the first time round. On Isolée’s ‘Western Store’ Jörn Elling Wuttke did significant re-editing work, and a number of the tracks like ‘Cité Grande Terre’ benefited from re-mastering. Not only that, but the collection as a whole provided a bridge between the two discrete soundworlds of ‘Rest’ and ‘We are Monster’. ‘La Forza del Destino’ meanwhile is a mere collection, so while each cut is essential and should prove deeply satisfying to fresh ears and those without access to the old vinyl EPs, to anyone who’s ‘heard it all before’ the release has a hard time justifying itself. Farben’s ‘Textar’ suffered similarly – for some inexplicable reason, gathering all Jelinek’s exquisite tracks together on one convenient CD detracted from each moment – the totality destroyed the project’s wholeness somehow. I can’t help but feeling the same thing has happened here. And yet, each track is brilliant.