Although relatively unknown in the grand scheme of things, it would be fair to say that Ellen Allien is a pretty big deal in the electronic music scene. While she won’t get name checked by the MySpace kids stumbling over the Justice album, respect from peers, especially within European circles, is second to none. When she’s not running one of the most recognizable techno and minimal labels in Bpitch Contol, playing all over the world, or releasing mix albums, Ellen Fratz finds the time to be a very competent artist in her own right. While 2001’s Stadtkind slipped under most people’s radar, 2003’s Berlinette saw a breakthrough with vast critical acclaim, while last years brilliant Orchestra of Bubbles, a collaboration with Apparat, was enough to convince any doubters of her talent. While I’ve never been a doubter, I’ve always found Ellen Allien’s solo work to be nothing more than solid, good but never brilliant, and SOOLdoes little to change that.
For someone so ingrained in the minimal techno culture that is all over Berlin, Allien has stubbornly veered away from the genre, with electro and IDM being her main staples of choice, stoically refusing to play up to the stereotype of the local scene. This all changes here, as SOOLfollows the hints from live sets and 2007’s 12 inch Go, and sees a re-invention to a more stripped back, downtempo, and ultimately minimal album, while still retaining a distinct character that is missing through many minimal pieces. SOOL is darker than Berlinette and more focused than Thrills, with production work from fellow Berliner AGF, whose credits included Vladislav Delay, adding further authenticity to this barer sound.
We begin SOOL on the U Bahn, pulling away from the shopping centre and TV Tower at Alexanderplatz, looping synths and rhythms over the sound of the metro, cementing Berlin as the album’s rightful home. The album lurches into life with “Caress,” where a methodical bass line is punctuated with whispers and swirls. “Bim” follows on the same path, with subtle layers flowing effortlessly together, a foundation of minimal techno at its best. Subtlety is the key to all great minimal records; they should never be instant, forcing the listener to give the record time and attention before it fully reveals itself. Ellen Allien understands this; SOOLunravels gently with every listen, exposing the deep layers that lie underneath the initial thud and synth. “MM” and “Out” both greatly extol this virtue, shifting and turning with each repeated play, slowly solving a puzzle until finally it clicks and you hear every nuance; from the bubbling melody of the former to the deep throb of the latter.
One of the strongest points of SOOLis that it rarely loses focus, even when upping the tempo, remaining true to the hallmarks of minimalist composition, namely less is more. The repetitive melodies of “Ondu” are reminiscent of Steve Bug, while “Its” offers a rare outing for the 4/4 beat, as random electronic glitches melt together under a haze of industrial, pounding rhythms. When SOOL does lose focus however, it becomes its downside, once again stopping Allien from turning out a brilliant record. The dreamy nature of “Zauber” could have been taken from fantasy computer game, while the chilled out pop vibe of “Frieda” stands out like the proverbial sore thumb, completely disrupting the flow of the album.
On the press release, Ellen Allien describes SOOL as “a phantasm, a creation, which reflects the album’s atmosphere,” and this couldn’t be more apt. It is something that cannot be seen, something that seems to not exist, but soon you’ll undercover something that deserves patience and an attentive mind. Ultimately SOOL is what you decide to make of it, you just have to look closer to be rewarded.
-James Ould