S Olbricht 's "For Perfect Beings" was rapidly becoming house music's "Chinese Democracy", a combination of interminable pressing plant delays (the phonographic industry's response to the unprecedented rise in demand for vinyl: do precisely nothing to the ones that do exist [usually converted cold war missile silos in the most inaccessible parts of Eastern Albania that use equipment that would have looked out of date to Al Jolson and which, when they frequently break down, are expected to be mended with spare parts surreptitiously unscrewed from sewing machines and combine harvesters] that led to a belief it might never see the light of day. Public frothing at the mouth was partially assuaged by the sudden recent release of a 4-track EP ,"ZZM" on Lee Gamble's UIQ imprint, then finally, it was here. What I love about Olbricht is his ability to hone in on the elements he knows elevate his tracks above the norm (an earpython of a melody; a percussive framework that plays subtle tricks with the usual 4/4 setup; a fi that sits squarely between the forced low and the over-polished hi and an indefinable character that forces you listen but not for the arrangement of hard/software involved in a track's creation, but the track itself. It's a difficult recipe to make work (for the 3 Michelin star equivalent, listen to Perfume Advert) but Olbricht has a talent that I find gloriously addictive. Was "For Perfect Beings" worth the wait? You betcha.
Favorite track: Blambestrid.