Ekkehard Ehlers
Adikia

Staubgold

There is a lot to digest in Ekkehard Ehlers’ Adikia and I mean a lot. First off the glitch ambience of his early works is entirely absent. Outside of the one running ProTools, there isn’t a computer present at all, everything is performed on fairly traditional string and wind instruments along with voice and percussion. The tonal palette has more in common with Polweschsel (whose Werner Dafeldecker contributes) or the recent David Sylvian output. In addition to the instrumental shift, the compositional approach is also fairly radical for Ehlers as Adikia presents itself in the form of a single 27-minute piece with subtle, reflective movements. It’s a concentration of elements that have peaked through in his work before, but are here reformed in a way that I can’t imagine many saw coming. Even for a man with a rich history of pushing his audience out of their comfort zone and refusing to rest on his laurels, this is a very bold statement. Fans of electro-acoustic improvisation and modern composition will definitely take more away from it than those looking for a return of Plays-era Elhers, but anyone up for the challenge is sure to find some rewards within Adikia. - Mike Shiflet, Experimedia¬†

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