He delivers his first cuts for Keinemusik with a natural supremacy just as if he would be doing this for years.
The titletrack is slowly elevating out of a died away machine- room- corner. It’s taking its route, passing a bassline, that’s varnished in deathly funk, culminating in a subtle call to rave.
The following Paneek is essential Floorcraft, a focused groovemonster that he’s fleshing out with delicate accents just as if he was Paul Bocuse and the track a truffle-ragout.
Eifkoenig is drafted that crispy, that with every kickdrum the speakers seem to cough out a trace of graphite. It is a playground in which he lets rhythmpatterns fall apart masterly and in the next second gets them back together just like that. It is his celebration of structure and
complexity that goes as far as the superior agenda of reduction gives way.
Oenske is oscilla ting between Deephouse-followings and Trance-outlines. It is without a doubt the most reflective work within this bunch, but at the same time it’s not meant to be pushed off into an unrecognized set – niche. It is as functional as Paneek is, the only differe nce is, there it is subtlety and here it is the decidedness of a straight and gloomy Techhouse-modification that gets finalized for the peaktime.
Those four tracks might be just the beginning, they are though the ultimate proof, that David actually did his homework. Anytime.