2025 Stock. There’s a certain feral, mischievous wit that has long defined the output of Walter Ulbricht Schallfolien, and "Der Fluss In Der Truhe," the collaborative release from Ditterich von Euler-Donnersperg and Column One, is no exception. Far removed from the polite boundaries of genre, the record unfolds as a cryptic exchange between two of Germany’s most enigmatic sound art congregations.
On Side A, Ditterich von Euler-Donnersperg (aka Uli Rehberg) weaves together fractured field recordings, sudden radio interjections, and declamatory spoken word—a delirious patchwork that evokes the feeling of trespassing through sealed archives. There’s a teasing sense of narrative, constantly subverted—stream-of-consciousness that verges on the uncanny.
Column One, ever the sonic tricksters, take the B-side into even less traversed territory. Glitching tape loops and granular texture are pockmarked by unsettling silences; fleeting melodic fragments rise only to be smothered by dense drones. It’s musique concrète with a subversive streak, as tactile as it is intangible.
"Der Fluss In Der Truhe" feels like an audio palimpsest—layers of meaning, sound, and semiotic play colliding in the dead of night. Confounding, anarchic, and oddly hilarious, it's a record that demands both patience and paranoia—a fitting document from the desolate fringes of the post-industrial avant-garde.
