The second one is “Blast Off”, where Pharrell Williams lays his trademark voice to the mix. In total, four out of ten tracks feature guest musicians. “Lost in the Fire” features the voice of The Weeknd, a presence that immediately turns the strict electronic backdrop into a very human, and urban, expo. Many of the tracks are of the classical electronica sphere but at the same time they are elegantly interrupted by clever pop twists, featuring surprising, famous guest artists. The title track, and also album opener, give a credible Kraftwerk pose. On “Hyperion” Gesaffelstein has transformed himself from a techno persona into a club pop hybrid, delivering more actual songs rather than track based tunes. This may be the reason his music is more often labeled techno than industrial or EBM. The image of Gesaffelstein has always been DJ-oriented, with Lévy’s appearance more reminiscent of a fashion designer than an Ebbhead. Französisch-Amerikanische Freundschaft sounds pretty cool, doesn’t it? The first years he released several EP:s and remixes and it wasn’t until 2013 a debut album was presented: “Aleph”, including the neo-EBM-smash “Pursuit”, like a French take on DAF. Around 2010 his cover artworks were very Berlin and gothic and the music was dark, hard-hitting techno with obvious references to some Release artists. The pseudo is said to be a portmanteau of Gesamtkunstwerk and Einstein and when I first got in contact with his work I would never even consider him being anything else than German. Gesaffelstein is the alter ego of French musician, DJ and producer Mike Lévy. Sometimes a shift of genre is simply triggered by a different wardrobe. Musical genres are often hard to define, in particular when it comes to electronic music.
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