Poly by Efdemin on Ostgut Ton
Efdemin – Poly marks the triumphant return of Phillip Sollmann to the legendary Ostgut Ton after a six-year studio hiatus. Released on the recently revived Berghain-affiliated label, this expansive fifth studio album explores a multidimensional web of sonic references that bridge the gap between academic sound art and the visceral energy of the dancefloor.
Album Tracklist
- Efdemin – Drift
- Efdemin – Poly
- Efdemin – Signal To Noise
- Efdemin – Rauris
- Efdemin – Trophic Cascade
- Efdemin – Aachen
- Efdemin – Microphase
- Efdemin – Radical Hope
- Efdemin – Irrlicht
- Efdemin – Lost Somewhere In The Day
- Efdemin – Below the Surface
A Masterclass in Multiplicity
The title Poly serves as a direct manifesto for the music contained within. Sollmann moves beyond linear techno structures, instead opting for a “polyrhythmic” and “polyphonic” approach that feels both deeply intellectual and physically demanding. As noted in Resident Advisor’s comprehensive review, the album’s strength lies in its ability to balance club utility with complex, multi-layered arrangements that reward home listening. Throughout the 11 tracks, the evolution of a producer who has spent decades refining his craft is on full display, characterized by a certain analog grit and shimmering, crystalline clarity.
Tracks like “Signal to Noise” and “Drift” showcase Efdemin’s ability to layer shimmering hats over stoic, modular-driven pulses. This isn’t just warehouse music; it is a deep-listening excursion designed as much for a high-end sound system at a museum as it is for the peak-time hours at Fabric or Berghain. The use of modular synthesis creates a living, breathing texture that avoids the static nature of digital loops, providing a sense of constant, organic movement.
Sonic Landscapes and Emotional Depth
What sets Poly apart from the standard techno LP is its willingness to embrace the “afterglow.” There is a dreamy, almost vertiginous quality to tracks like “Irrlicht” and “Below the Surface,” where modular textures dissolve into ambient washes before the kick drum reasserts its dominance. The album acts as a culmination of Sollmann’s various identities—moving seamlessly between the roles of DJ, producer, and academic. It is a vital addition to the Ostgut Ton catalog and a reminder of why Efdemin remains a foundational figure in the underground scene.
