Earlier this week saw the release of 'Power of Anonymity', the second full length LP by Tech/house Dj-come-producer Steffi Doms, who currently holds residency at Berghain’s' Panorama Bar and is one of the artists featured on their label Ostgut Ton.
A self-proclaimed ‘return to roots’, POW sees Doms make a conscious stylistic shift from Chicago to Detroit, favouring the futuristic pulse of Techno over the deep and soulful House sounds which characterised her first LP, ‘Yours and Mine’. The record is distinctly ‘dance floor friendly’ and engaging, packed with enough tight, consistent grooves and melodic hooks to satisfy even the most discerning tech-head. Despite this, Doms’ strict adherence to the tried and tested patterns of old-school electronica prevent the record from feeling as expansive as it could, and while she works with maximum precision within her chosen sphere, the record never seems to cover any new ground and, at times, feels bound by its formula.
Steffi DJ’s at the most selective and sought after dance music venue in the world and, as you’d expect, the record is slick, consistent and nightclub friendly. The middle section plays out more like a dance mix than anything else. Tracks like ‘Bag of Crystals’ and ‘Hard Hitting Horizon’ are dominated by bass and percussion and are almost rigid in their execution of the archetypal, pulsating vibes which we’d expect from a continental perspective on the classic techno sound. Steffi also has an immaculate awareness of dance floor dynamics and as a result her songs rise and retreat in the most organic way, teasing the listener by drawing them in, then out, then in again, without ever sounding predictable. This is best encapsulated by the title track ‘Power of Anonymity’, which glides along, gradually dipping and rising in a smooth motion that just feels right.
The album also runs in such a way that you’re never left feeling short of substance, probably down to the influences of the record, which she claims are as much rooted in Electro and IDM as they are in House or Techno. Whatever the cause, POW is full of interesting textures. From the dense electro-funk squelch of ‘Pip’ to the immersive synth of ‘Selfhood’, Steffi constantly balances the delicate with the abrasive, and more than often the result is positive. Its only when the music begins to lose direction that these elements become conflicting.
But the distinct and unquestionable direction of POW, combined with the bareness and simplicity of the percussion, means that the overall impression is somewhat passive. It plays out like a mix, and for that reason, only exists along one trajectory. With the exception of ‘Treasure seeking’, which stands apart from the rest of the record as a song in of itself, POW lacks the kind of song-craft which felt more present on her previous release. Obviously this shift was a deliberate one and naturally what follows from dance floor-orientated music is a greater emphasis on flow and consistency, but beyond a few intricacies and resources that studio recording allows, POW doesn’t really offer anything more than a mix or live recording would, despite being created in a studio. Of course It is hard to criticize something that does what it does so well, and there’s no mistaking the strength of POW in this sense, but considering the immeasurable taste and talent of its creator, it’s hard not to think that It could've done more.
Lewis Bassett
