- Gilles "Edward" Aiken's long-standing association with the recently shuttered WHITE label might be over, but he's still at home on Giegling and Oliver Hafenbauer's Die Orakel. Aiken is among a cluster of German artists with ties to labels like Dial, Live At Robert Johnson and LACKREC., whose contributions to Die Orakel have helped cultivate the label's playfully aloof aura. Aiken's last Die Orakel record featured evocative reimaginations of Harmonia and Brian Eno. Aiken's third release on Die Orakel comes with a solemn visual reminder of John Hurt's recent passing and sees Aiken explore different ways to unsettle a dance floor.
Fans of Aiken's 2014 album for Giegling will probably enjoy the title track, another experiment in rewiring krautrock for the 21st century. The interplay between the percussion and the oscillating modulations offers the first glimpse of unease. It feels like Aiken is evading an alien force while shuffling, minimalist percussion gives DJs something to grasp. The thrilling New Beat tool "Dekta" feels made to slam into the mix, but the nervous energy remains. The strident drums will sound satisfying when smacking off the walls of a nightclub, but the other squelching elements might have you glancing over your shoulder. "Etern" is the EP's murkiest track. Among Aiken's oddest productions, it sounds like a Diwali Riddim edit from Demdike Stare and feels right at home on Die Orakel.