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Once again he offers a stunningly seductive stream of music written in his very own hand. After three years of extensive touring as a DJ, Phillip Sollmann took the chance to compose his third album under his Efdemin moniker while spending three months in an artist residency in Kyoto, Japan. Living next to the Kamo river, surrounded by temples, shrines and the ever-present blue mountains, he started working in the late summer, facing typhoons and intensive heat, and finished the album in the early mild days of winter. Thus mainly assembled in autumn, his favourite season of year, the ten tracks on "Decay" express the paradoxical relationship between beauty and decay. The production procedure was a dichotomous one. Recording was done in his recently finished new Berlin-Wedding studio, "The Meadow," mostly on analog equipment, while the final production took place in Japan. The result is an album of intriguing rigour and a certain beauty hidden within. It marks a big step towards the deeper side of techno and lets many of his early influences in 90s techno shine through (from early Cologne minimalism, M-plant and Axis to Terrence Dixon) as well as his love for drone music. Although at a first glance it might seem that this album is a somehow more distant and less melodic than the previous output, it provides the full unique range of Efdemin's vocabulary, which he is known and loved for. Decay sounds in certain parts like a of process of correction, revaluation and re-alignment, making room for new thing to come. There is beauty within decay.