Sascha Funke Sascha FunkeMoses
Sascha Funke: I confess that ever since “Mango” (2008) I hadn’t thought about him, but now that “ Moses” is here, his first release in two years of silence, the first thing I feel is something like the arrival of an old friend. It’s not that the Berliner was out of my mind because his music left me indifferent, but because he’s part of the air that I have been breathing in the last couple of years. It’s also true that Funke has kept a low profile and not been very strident, much like his music, which always starts from house or techno and has the subtlest introspection as its destination. On “Moses” this is truer than ever: there’s a lot of free space between rhythms and sounds, room for the bass drum, snare and claps, of a skeleton-like quality that seems to be demodé this decade, to sound even smaller, folded over themselves in a kind of silence vortex – it’s no coincidence that the first cut on side B is called “Headphones”: if you don’t use them you won’t hear it. Although I have to say that Sascha Funke never was that minimal in form, he always looked for the timid turn towards the dazzling melody and in this fantastic microscopic display one has to give props as well to Russian vocalist, DJ and bedroom producer Nina Kraviz, who took Funke to her territory –though he himself also achieves to share a more uptempo space on “Moses (Bonus Version)”. An interesting alliance that seems to advance more towards the ground occupied by Bruno Pronsato than Ellen Allien.