Sascha Funke ‎– Lotos Land

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Endless Flight ‎– Endless Flight 79
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2 × Vinyl, LP, Album, Stereo
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in the hollow lotos land to live and lie reclined on the hills like gods together, careless of mankind - Alfred Lord Tennyson

to julienne & oscar, with all my heart

Barcode and Other Identifiers

  • Barcode: 880319854637

Other Versions (1 of 1) View All

Cat# Artist Title  (Format) Label Cat# Country Year
ENDLESS FLIGHT CD 17 Sascha Funke Lotos Land(CD, Album) Endless Flight ENDLESS FLIGHT CD 17 Germany 2017 Sell This Version

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Blurb10

Blurb10

May 25, 2017
edited over 2 years ago

A new album from Sascha Funke is always reason to celebrate. His consistent output of crisp, minimal techno (think a scaled-back Kalkbrenner, or a simplified The Field) has accumulated an adoring fanbase. But how does an electronic artist live up to expectations in these days of oversaturated techno? How does he evolve, yet retain what makes him special? Funke largely succeeds on his latest album, "Lotos Land", which sees his sound evolve/mature without sacrificing what made it special in the first place.
"Pogo Logo" starts the album off on an optimistic, steadily escalating note, its thudding bassline accumulating tribal drumrolls, stretching synths, chirps and twangs - until things swerve into a darker territory halfway through the all-too-brief track. The titular tune happens to be the album's highlight, it's melancholy, twangy disparate synths gradually morphing into a slow, viscous, Blanck Mass-like odyssey. Similarly, Funke seems to have taken cues from Fuck Buttons on "St. Even" and "Amber Light", their distorted guitars and unwinding, swirling layers bringing to mind the duo's grandiose album "Tarot Sport". The artist's evolution from a mere purveyor of techno minimalism to a pioneer is most evident on those tracks. That said, tracks like the bouncy "Shepherd's Rock" and super-glitchy percussion exercise "Twirl" keep things firmly rooted in Funke / "Mango"-era territory.
The album's not without its faults. The 1980's Joy Division throwback "Comala" doesn't really go anywhere, and David Junto's vocals, along with the M83-ish allusions, add little to enhance it. The disco-ish "Purple Hlls" evokes both Superpitcher and Prins Thomas - a pleasant-enough romp through familiar territory; Funke could do this stuff in his sleep. "Im Feiern" evokes late-period Trentemoller, with its gothic undertones and Autarkic's half-assed lyrics/moans (proving, once again, that talented electronic artists should stray away from guest vocalists).
The album doesn't quite "gel"; cohesion was never Funke's strong suite, and there's no coherent "story" told here either - except that of a talented artist still finding his footing in this ever-evolving world of otherworldly tech-house and minimalist 4/4's. It's a tad darker, a tad more experimental, but still 100% Sascha.