After a string of self-released 12-inches and contributions to the catalogues of Hessle Audio and Leisure System and on Bleep's own Green Series, Objekt’s Berlin-bred techno tropes have now been crafted in to a full-length for left field powerhouse PAN. Having worked as an instrument programmer, the meticulous minimalism of tracks like First Witness and One Fell Swoop are the sound of a producer who painstakingly arranges every single detail into a cohesive body of work. Angular but refreshingly accessible, Flatland is testament to a producer who has made a case for only releasing material when it is - in every sense - complete.
Whether through the impeccable constructions on his own self-titled while label series or the influential Hessle Audio (not to mention our own Bleep imprint), Objekt’s material always manages to find the right balance between rigorous sound design and hulking dance floor appeal. With this in mind, its clear the extended LP format is the perfect stage for Objekt to fully exercise his technical talents and with the backing of Bill Kouligas’ PAN records, Flatland is an incredibly well accomplished debut LP that is a aesthetically experimental yet never sounds overdone. The opening cosmic abyss of ‘Agnes Revenge’ could easily work as a film score, setting us up perfectly for the automated electro scurry of ‘One Fell Swoop’ and ‘Ratchet’. ‘Agnes Apparatus’ is the perfect ambient cleanser, with its huge sweeping synth motifs blowing between sparse bass pulses and clinical details whereas ‘Interlude (Whodunnit?)’ is a surgically engineered slice of computer funk. In all, Flatland is a testament to TJ Hertz’s technical ability yet it's a release that despite all its production wizardry remains grounded for all fans of electronic music.