[Playhouse]

If you figure in Holger Zilske’s release history as Smash TV, Mindlab and Acrid Gain then his debut solo album has been a long time in the incubation chamber. Fifteen years after the German appeared as Acrid Gain on an old hardcore mix (incidentally available on cassette at the time) we receive the long player Holz, which translates in English as timber. Of course we’ve heard a full length from Zilske before under the Smash TV moniker, but that was with then production partner Michael Schmidt and sound wise the two outfits are definitely their own entities. Stylistically, his Mindlab project (also featuring Schmidt), which only released one twelve on the now defunct Salo is the closest link to the recent solo material from the Berlin based producer.

For the past two years Zilske’s productions under his own name have focused on the meeting points between subtle, deftly crafted techno and house. “Mes Yeux,” the first single from the album backed with “Metrodancer” appeared just two weeks before the LP, and as portend that was to come brought exciting news. “Lichterfelde,” the album opener is a purposeful introduction; with its soft, ultra synthetic orchestral stabs and deep bass tone pulses it gives itself plenty of breathing space before gathering momentum and opening up to become a poignant piece of deep clubby techno. Zilske bridges aspects of classic house with modern techno aesthetics on “Roter Rausch,” its simple chord progression weighs in over minimal percussion while a separate melody is mad of a sublime portamento bass line.

Elements of tracks seem to bleed into the next which further enhances the sensation of effortless flow throughout the listening experience of the album. “Druckraum” picks up the portamento bug from “Roter Rausch” in its opening melody, though becomes a mixture of paranoid insistence and big sweeping strings. Though Zilske fills up his tracks with a multitude of intricacies there is also a simple minimalism working underneath them all. “Work” perhaps emphasizes this best; a mainly percussive workout it is nevertheless plumped up with nimble tweaks and turns of melody. On “Golden” we are introduced to Swedish singer Augustus Landelius, who marks a midway point in the album and time for reflection as the honey toned vocalist injects a dream like quality to the proceedings. That done with, Zilske heads back to the club with the robotic charms of “Metrodancer” and the chill, drama infused “Olho Gordo.” Landelius provides further introspection for the closer “To Them To Me,” an atmospheric plunge into digital downbeat. He has a remarkable voice Zilske’s production encapsulates with finesse; in fact it would be great to hear a full length album based purely on their collaborations.

It’s hard to get across in words the ease with which Holz flows. Having had it on constant repeat at home it has caught the attention of all of my flatmates on more than one occasion. One of them told me to scrap this whole review and just fill the space with: “It’s really fucking good, it’s really fucking good…” ad infinitum. Holz then is the product of fifteen years of experience culminating in an album that is indeed, really fucking good.