SOGAR "APIKAL.BLEND" (12K1022)

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AMBIENTRANCE (US)
Sogar's Jürgen Heckel stirs assorted fragments of click and drone into his apikal_blend ... the resulting flavors are hard to define, yet quite tantalizing.

When the crispy particles of Isolohr more-or-less coalesce, it's like finding a hidden pattern within a sonic puzzle; the staticy rhythms slur to a close. More radically disjointed, Üi Spalt still manages to evoke serenity... until it begins to crazily spark and squelch. Solang's stipple-beats flicker across undulating glowstreams, like dustmotes dancing in the wind.

Gleaming shards and beams warp and weave through placid-yet-disintegrated Sonst_Wesentlich , followed by the shimmering emissions from Harm_Red's crystalline geyser. Com.3.6 (7:30) initially trickles with insectoid fluids, then begins to drift on warmer organ-like smears accented with textural grit... reaching a strangely dreamy crescendo.

The mind fills in the gaps of twitch-yet-lovely Monohr's fractured rainbow, so the hovering radiance seems almost continual... and always etched with subatomic decorations. Short-running Melogen.Desk (3:14) offers a final taste of metallic sizzles and tonal blurs.

An apikal_blend of topical microsounds from Sogar flirts with your ears, never quite revealing whether it's more music or more noise... of course, sometimes being thusly teased is a delicious experience in itself. So nice! A-

AUTRES DIRECTIONS (FR)
Alors que je m’émerveillais encore à l’écoute de Stengel, disque fabuleux paru chez List, Sogar revient avec ce troisième album Apikal.Blend publié par 12k, à l’instar de son premier Basal. Désormais installé à Paris, ce ressortissant de Nuremberg compose une musique vivante qui s’interdit d’elle-même aux oreilles distraites. Cette même musique qui, par ailleurs, se montre tellement abordable dès lors que l’on décide d’y plonger tout entier. En reviendra-t-on un jour seulement ? Alors que certains besogneux s’évertuent à manipuler des fréquences, sans talent ni même ambition, Jürgen Heckel révèle les sons, et réveille nos sens. Sur des ondulations délicates, grouillantes de textures minimales et croustillantes, Sogar invoque des mélodies fragiles et incertaines. Parfois quelques bleeps plus profonds, parfois quelques tremblements plus poussés. Tout semble l’oeuvre d’un virtuose particulièrement appliqué, capable de transformer la matière et le hasard pour en faire jaillir des harmonies. Concepteur d’espaces sonores. Oui, quelque chose comme ça. Apikal.Blend est comme ses deux prédécesseurs : il est à écouter du premier au dernier morceau, dans l’ordre présenté ; il est à ressentir et à vivre dans sa totalité, selon la volonté de l’artiste. Par là des textures glacières fondent au soleil (comme sur le petit Collin Olan). Par là, au-delà de notes organiques (?) s’érige lentement une mélopée éclatante... Illusions ? Tout objet est sonore dans une telle grande symphonie de lumières. [stéphane]

BAD ALCHEMY (DE)
Eine Wiederbegegnung mit dem in Paris aktiven Nürmberger Jürgen Heckel, der nach seiner '02er List-Veröffentlichung "Stengel" zu dem Label zurückkehrte, bei dem er 2001 mit "Basal" debutiert hatte. Seine gläsemkristalline Designer-Elektronic is so cool wie eine reflektierende Sonnenbrille oder die spiegelnden Wolkenkratzerfassaden, hinter denen sich die Global Players verschanzen. Die Welt ist alles was Screen und Oberfläche ist. Hinter Hochglanz-Clicks + Cuts-Gebitzel summt die Software so 'selkind', 'harm_red', und 'melogen.desk' sich selbst ins 'isolohr,' dass jeder Vogelschiss aufs Yuppie-Jackett einen Kurssturz der Ich-Aktie auslösen muss.

BLACK (DE)
So hört sich das an, wenn das Kühlsystem meines Küleschranks musiziert, Kristallines Summen, vibrierende, leicht gefrorene Flüssigkeiten, die sich durch kklein Kanülen schieben, mikortonales Knistern, melodiöser, supraleitender Ambient. Sogar's Musik hat sich beim dritten Album immer noch nicht verändert. In meiner letzten Rezi habe ich es als "ein geschäftiges Gewusel von auralen Kleinstlebewesen" bezeichnet und diesmal scheint es mir noch umtriebiger zu klingen. Die melancholischen, zarten Melodien, die sich über das chastische Gitternetz aus Software, Gitarre und Studiostörgeräusche legen, sind etwas herausstechend wehmütiger und wärmer geworden, der Mikronoise zufällger, die Musik noch ausgefranster. Trotzdem bleibt er in den Grenzen seiner sich selbst geschaffenen Soundnische. Höchstassoziative Mikromusik, die knisternde Wärme konzentrisch verbreitet und zischeinde Kälte feingliedrig ziseliert.

BLOW UP (IT)
Il "tedesco a Parigi" Jurgen Hecklet riesce a convincere sul terreno minatissimo del glitch elettronico elaborando con notevole acume microstructure digitali dove fa convergere con rara felicita inventiva granuli noise, emozioni chitarristiche e suoni 'trovati.' Dopo l'ottimo esordio 'basal' e l'altrettanto convincente seguito 'Stengel', ecco adesso 'Apikal.Blend', disco che si fa riassunto e summa dei precdenti ma che sposta il discorso ancora in avanti, da un lato aggiungendo maggiori 'dosi' di chitarra e dall' altro costringendo l'anarchica predisposizione del digitale dentro gabbie stringenti e ferme senza comunque snaturame gli aspetti. In pratica, il passaggio dalla 'scoperta' del suono alla sua gestione (poetica). Ricorda il primo, ottimo Pimmon. (7/8) - Stefano Bianchi.

DE:BUG (DE)
Wir erinnern uns: Damalige Videospiele waren oft immer in verschiedene Themenwelten unterteilt. Neben der Feuerhöhle, dem Wolkenberg und dem Wüstensumpf gab es auch immer ein eisige Schneewelt. Das besondere and
diesem Level war meist die Mischung aus zauberhaften Landschaften, verträumter Melancholie und mystischer Einsamkeit, die es von den anderen Welten abhob und zu etwas sehr traumhaft-EigenstSndigem gemacht hat. Sogar aka Jürgen Heckel liefert jetzt endlich für alle Nostalgiker den passenden Soundtrack dazu. Und das klingt keinesfalls veraltet. Denn im Gegensatz zu seiner vorherigen CD weht hier ein noch stärkerer, eisig-frischerer Wind durch die Sträucher und schüttelt den gerade gefallenen Schnee herunter. Dieser macht satte, knarschende Geräusche unter unseren Füßen. Und immer wieder scheint die wärmende Sonne durch die abziehenden Gewitterwolken, dessen unheilsames Grollen noch hörbar ist. Der Schnee beginnt zu schmilzen und tropft unaufhaltsam an funkelnden Eiszapfen herunter. Auch der Gebirgsbach fließt wieder durch das noch vereinzelt vereiste Flussbett, lässt fragile Eisschollen los, die jedoch bei jeglicher Berührung mit einem Klirren zerspringen. 9 wunderschöne Welten gespickt mit Dingen, deren vollstämdige Entdeckung so lange dauern wird, wie die gesamte Erforschung unserer Natur. Was für eine Welt.... . [Andreas Dutz]

D-SIDE (FR)
figure montante de l'ectronica, Sogar le projet du musicien allemand Jurgen Heckel, aujourd'hui localise a Paris, nouse livre avec Apikal.Blend un troisieme album oi il parfait les contours de son oeuvre, en approfondit les nuances et les couleurs. Construit a partir de sons purement numeriques, de guitares et de sons trouvés, la musique de Sogar est sans doute la plus cristalline que puisse nous offrir aujourd'hui l'electronica. Ténue et fragile, elle semble flotter dans l'air comme un flocon de neige sans jamais vouloir se poser, soulever des nuages iridescents de brouillage a traver laquelle elle navigue a vue. Superbement réalisé, aussi inoubliable que translucide, Apikal.Blend es un album d'electronica a chérir, a protéger pour éviter qu'il ne fonde entre nos doigts.

EOIPSO (AT)
German expatriate Juergen Heckel, currently living in Paris, has released his third album as solo artist Sogar. Apikal.Blend is a somewhat esoteric effort, full of multi-layered arrangements and floating sounds that create an almost hypnotizing atmosphere.

Album releases on Taylor Deupree's New York-based label 12k are always highly aestheticized and aimed at the connoisseur. A very strong visual identity is part of 12k's concept, hence the cover artwork follows strict design guidelines: bright colours, modern style, the beauty of minimalism. Their current compact disc releases come in a digipack with a matte surface and are strictly limited to 1000 copies.

Why is that important? Well, simply because Apikal.Blend clearly benefits from its cover artwork. The bright colours and the "modern architecture" motif make a good background for Sogar's medium-to-high-frequency sonic collages. It's impossible to pin down one of Apikal.Blend's tracks to characterize the album. The tracks have abstract titles like "Monohr" or "Selkind", but this does not mean that they resemble anything like conventional songs.

In fact, Apikal.Blend is a constant stream of fluctuating and oscillating sounds, divided by short pauses. Sogar obviously favours hisses and high-frequent noise to build his compositions, which lends a very "clear" quality to the production. Apikal.Blend almost reminded me of Eastern ritual music, with its repetitiveness and mind-expanding character. But, if you listen closely, you will also find a lot of unrest in Sogar's music: while the dominant layer might be a floating sound, a wall of dissonant and bleepy sounds can be heard in the background.

So, summing up the contradictory aspects and the slightly arty approach, I would say that Apikal.Blend is definitely an album for connoisseurs with a pair of really good headphones.

ETHEREAL (FR)
Décidément particulièrement prolifique, Sogar livre, avec Apikal.Blend, son troisième album en un an et demi et revient, pour cette occasion, sur le label new-yorkais 12k (qui profite d’ailleurs de cette sortie pour changer le packaging de ses disques, passant du fin boîtier cristal au digipack cartonné à l’esthétique épurée).

Bien habitués dorénavant à la musique de Jürgen Heckel, on se plonge immédiatement dans ces nappes et sons micro-électroniques, en ayant toutefois l’impression que le musicien allemand s’attache, cette fois-ci, peut-être un peu plus aux textures qu’auparavant. Extrêmement à l’aise dans le développement des sons qu’il utilise, sachant très bien les imbriquer les uns aux autres et leur adjoindre des éléments extérieurs (cliquetis qui semble réalisé « en direct », feedback de guitare), il prouve également, sur ce disque, qu’il sait élargir son champ d’action : par moments, on croit entendre des bribes de mélodies et des sonorités plutôt proches d’une certaine electronica mélodique (Selkind).

Néanmoins, par ailleurs, Sogar continue donc de manier avec brio les éléments minimalistes qui ont forgé sa réussite : petits larsens, drones délicats, glitchs discrets. Aussi bien capable d’agencer ceux-ci en une rythmique précise que de les confiner à un rôle plus abstrait en superposant les plages sonores, il lui arrive pourtant de trop accentuer leur côté métallique et suraigu (Harm-red). Com.3.6 résume ainsi, à lui seul, l’album : un début offert aux glitchs et larsens avant qu’une nappe n’apparaisse, agrémentée d’un son semblable au mécanisme d’une boîte à musique que l’on remonte, pour finir sur un enchevêtrement de plages composites. - François Bousquet

FLYER (JP)
this is paris based german jurgen's 3rd album. he played us beautiful sounds few month ago in japan.
there aren't any big changes from his previous albums but the expression of the static soft melodies are more developed by blending the guitar and the acoustic sound sources which are deeply fragmentated. although he explores the delicate expression of the textures (almost like a glass), his works are "pop" which characterizes his music.

GONZO CIRCUS (BE)
Het 12k label van Taylor Deupree focust zich vooral op micoscopische muziek maar (ex-) gitarist Jürgen Heckel zorgt voor een breder en ijziger klankenpallet op zijn gelimiteerde (duizend stuks) derde album. De te verwachten loops van mengpeneelgeluiden (glitch, bleeps, ruis enzovoort) worden bijgekleurd met ijle keyboards, gecontroleerde feedback en Sogar legt eigen accenten door bijvoorbeeld een gitaar aan te sluiten op zijn laptop. Hoogtepunt 'Com.3.6' evolueert zelfs van een minimaal experiment tot een melodiuze soundtrack. Het kille digipack (veel wit en glas) benadrukt de sfeer van complete onderkoeling in een totaalgeluid dat zich ergens tussen Biosphere en Fennesz in situeert. Deze Duitser mag dan wel naar het Zuiden (Parijs) verkast zijn, maar in zijn hoofd drijven de ijsschotsen van de Noordpool.

GROOVES (US)
In the hyper-abstract world of music without conventional melody or song structure, it's rare to encounter an album as flat-out beautiful as Sogar's Apikal.Blend. The best way to understand this record is to zoom way in: Jurgen Heckel makes atom-smashing music, where particles of sound vibrate in space, collide, and then vanish into a fine mist. There's plenty of glitch and static-smeared feedback throughout (like Fennesz and Keith Whitman, Heckel generates some of his raw material by plugging a guitar into his laptop), but Heckel mixes in an underpinning of shifting drones to induce a vague sense of yearning and wonder.

The layered "Selkind," for example, is like Microstoria in melodic "Endless Summer NAMM" mode fused with the warm keyboard voices of Child's View: a track of touching delicacy. "Monohr" has extended chords that at first seem random beneath the layer of unstable noise, but then unfold and resolve themselves in a manner both logical and sublime. "Harm_Red" is built around a whine that sounds almost exatly like the buzz of cicadas in summer, revealing how manmade algorithms can sometimes overlap with the complexity of nature. As each of the nine pieces flow one into the next, Apikal.Blend takes on the quality of a laptop suite, where a few guiding principals direct the flow of one long work. Challenging and lovely. - Mark Richardson

HAUNTED INK (US)
This is Sogar's (aka Jürgen Heckel's) third disk--his second for Taylor Deupree's wonderful 12k label. How good is Heckel? After my review of the previous Sogar album, Stengel, appeared on this site, none other than noted 12k artist and Line label founder Richard Chartier emailed me, annoyed that I'd heard the disk before he had. I was impressed with Sogar's second album, just as I was impressed with his debut, but neither of those works are quite in league with this new one, which must be hailed as a milestone in the 12k camp, for it manages to do something that, really, only Shuttle358's Optimal.lp and Frame have done before: appeal to those who think 12k music is "too minimal for its own good."

First, let me first explain that I am a huge fan of just about everything released on the 12k label. I think recent releases by Taylor Deupree, Motion, 0/R, and Christopher Willits are sublime works that bristle with life. However, I also know that a lot of people simply find these works boring, filled with too many snaps and crinkles and not enough music. Apikal Blend, I think, is different. Sure, it has snaps and crinkles, but it also has a beat, a rhythm, and an edge to it that grabs at your heart as well as your head. It's the kind of work that will make 12k's detractors reconsider their opinions and make 12k's fans jump for joy.

The individual tracks on all three Sogar albums share one thing in common: a base structure. Tracks begin in chaos--swirling pools of noise that bristle and burble out of silence. Then Heckel gets to work--he pairs down those sounds to their common elements, then separates and regroups those elements into a discernible pattern. In every Sogar track, there is a moment when this separating and regrouping stops and a true song emerges. This song then oozes out in all sorts of directions, but all of these directions seem organized and orchestrated by Heckel's magic computer wand. That is, until the end, when he puts the wand away and frees the songs from their order, allowing them to float free again in a bath of noise. In his first two works, this carving, pruning composition method was designed more for texture than rhythm and melody; the songs were like Zen landscapes, existing for their own sake. The listener, I think, was, if not incidental in this process, at least of secondary importance.

On Apikal Blend, the focus is less on contemplation and more on communication, on connecting with listeners through rhythm and melody. Of course, these songs maintain a decidedly fractured sense of rhythm and melody, one where repetition and mood are either in flux (like the distorted guitar loop on "Isolohr") or moving in new directions (like the frantic buzz saw groove of "üi Spalt" or the amazing if-Tangerine-Dream-and-Autechre-had-a-baby mutation of "Harm_Red"). Despite these fragmentations, the songs are consistent and consistently listenable. If anything, this granular sense of rhythm is simply more interesting than traditional rhythm structures, if only because the beats change and mutate in so many tiny, barely perceptible ways that a listener is continually discovering new beats, no matter how many times he or she might listen to the work.

That, of course, is the very point of granular synthesis--the idea that microscopic control over sound enables the artist to transform a work in ways that were simply not possible using earlier methods. Most of the 12k catalogue is proof of the rich possibilities opened up by various forms of digital signal processing. What makes Sogar's disk stand out is that it is both firmly grounded in this aesthetic and, at the same time, firmly grounded in the basic rules of popular music. The beat might be weird, but it's there; it might be a struggle, but you could dance to it. I'll give it an 8.2, Dick!

HIS VOICE (CZ)
Pokud ve vás sci-fi pøedstava robotù s vlastními emocemi vûdy vyvolávala jen nevìøícny úsmìv a odsouzení kníûky/filmu do kategorie ubohy brak, vìzte, ûe v hudební oblasti se tyto zdánlivì nesluèitelné elementy jiû léta mísí a chystají se zaklepat na dvíøka absolutní vìrohodnosti. Novinka v Norimberku narozeného, avöak v Paøíûi pùsobícího Jürgena Heckela neboli Sogar s názvem Aplikal.Blend toho budiû znamenitym pøíkladem: èistá technologie a pøeci nepopiratelny náladotvorny náboj. V souèasném ambientním dìní sílí tendence opomíjet nejen skuteèné hudební nástroje (a zvuky z nich pocházející), ale i veökery materiál tak øíkajíc pøírodní (samply deötì, vrzání dveøí, lidskych hlasù apod.), a èerpat pouze z digitálního nitra moderního vybavení. Sogar v tomto smyslu není
úplnym puristou - drobnì vyuûívá kytary (i kdyû prakticky nedeöifrovatelné) - své køehké struktury vöak buduje za pomoci nánosù poèítaèového smetí, obrovského spektra celkem milych útrûkù poruch a snad jakési vnitøní hardwareové mluvy v podobì pøeváûnì vysokymi tóny nadlehèovanych interferencí. Dùslednì rozvíjí atributy dneöní abstrakce: zakládá si na nerozluötitelnosti zajiöùované podstatnym podílem nahodilého, nepravidelného vyskytu jednotlivych cihel stavby, mnohavrstvostí a neodkladnym trápením a deformováním stálejöích, hlavní motivy pøináöejících èástic. Posluchaè nedostává pøíleûitost se k èemukoli pøimknout (náznaky rytmù se objevují jen s krátkodobì ve smyèkách opakujícími se celky) a musí ty mírumilovné, do sebe volnì vplouvající, leè dostateènì usmìrnìné shluky zvukù akceptovat v jejich podivné celistvosti. Vysledek pøitom dokáûe byt totoûny s dojmem odnáöenym tøebas z pøímoèarého klavírního kusu, jen tu navíc zùstává bonus ve formì potìöení z ponoru do bohatství a vlastního charakteru pøítomnych pøísad. Kanadská znaèka 12k Taylora Deupreeho obvykle pøedkládá lidskym pohnutkám odcizené minimalistické studie, se Sogar vöak demonstruje sloûitost, v níû Amorovy öípy penetrují neûivé.

KINDAMUSIK (NL)
Als het electronoise geluid van Sogar je luidsprekers uitsijpelt waan je je in een onhergbergzaam ijslandschap. De geluidsgletsjer beweegt zich traag voort op de ijskoude maar toch gevoelige ondergrond van crunches, piepjes, bliepjes en al het geluid wat je maar uit een mengpaneel, gitaar of welk ander electronisch devies kan persen.

Het desolate geluid van Sogar, echte naam Jurgen Heckler, bekruipt langzaam je onderbewustzijn zonder dat je er erg in hebt. De Duitser, wonend in Parijs, heeft een talent voor het scheppen van sfeer met een minimaal geluid. Het album begint met een vlak stukje electronoise, hier is nog weinig structuur in te bespeuren maar Apikal.Blend heeft meer in petto. ´Üi Spalt´ klinkt een stuk rauwer met zijn uitbarstinkjes van noisy ruis. Het zet de toon maar niet de aard van de plaat. Die aard wordt van tijd tot tijd zelfs enigzins speels. Het derde nummer ´Selkind´ laat zelfs een lichte melodijlijn doorschemeren en doet in vergelijking met de eerste twee nummers vriendelijk aan. Het geluid van Sogar komt nog het dichst bij dat van Fennesz in de buurt, Apikal.Blend klinkt echter voller en heeft meer atmosfeer dan een Fennesz album. Draai het volume open en zet de verwarming uit, handschoenen aan, sjaal om en Apikal.Blend in je stereo. Kippenvel.

MARGEN (ES)
...Dos proyectos integrados en el laberintico campo de probabilidades que nos ofrece la musica electronica. El primero de ellos radica en Paris y combina estructuras sonoras creadas por software con guitarra, sobre un fondo de diversas fuentes sonaras acusticas procesadas y filtradas digitalmente. Sogar crea de esta manera ambientes que fluyen con gran sutileza por parajes calmos y sosegados. Musica que transcurre plasidamente por lugares solitarios.

NEURAL (IT)
A pochi mesi dall'uscita di 'Stengel' sulla label francese List, Sogar torna alla carica con il nuovo 'Apikal.Blend'. Stampato in 1000 copie per la 12k di Deupree, il nuovo lavoro muove dalle esasperazioni dei precedenti dischi per creare delle soluzioni più vicine ad una parvenza di musicalità. Si tratta ovviamente di piccoli accenni, ma è proprio questo cambio di rotta a mettere in luce le differenze - ed i progressi - rispetto a 'Stengel'. Originario di Nurenberg in Germania, ora Sogar risiede a Parigi da quasi dieci anni e combina staticità e frammenti uditivi con l&Mac182;elaborazione del suono chitarristico e le mutazioni apportate grazie ad una molteplicità di software. Un buon esempio lo troviamo nell'apertura di 'Isolohr', mentre 'Ui Spalt' ci fa precipitare in un baratro sonoro dentro il quale si formano libere associazioni digitali che mutano nervosamente. 'Selkind' getta un raggio di luce sull'album, creando un'aria di immanente serenità sospinta da una fresca brezza musicale che si raggomitola in una serie di click; questi ultimi organizzano lo spazio ritmico di 'Solang', distribuendo beat minimali ed inframmezzandoli a luccicori cristallini che si alternano delicatamente. Seguendo il flusso musicale si arriva ai ticchettii che scandiscono le complesse intermittenze di 'Harm_Red', seguite dalle immagini in penombra che vengono d'improvviso sommerse da spigolature di luce e da abrasioni metalliche in 'Monhor'. Quest'ultimo è un pezzo che sembra perennemente sul punto di esplodere in una melodia pop, spalancando decine di ipotesi sonore nell'immaginario dell'ascoltatore prima dei fremiti conclusivi di 'Melogen.Desk'. Con 'Apikal.Blend' sembra di poter spiare il mondo interiore di Sogar, certi di poter trovare ancora molte meraviglie nascoste.

<ENGLISH>
A few months after the relase of stengel for the french label List, Sogar is back with his new Apikal.Blend. 1000 printed copies, like it was for Deupree's 12k release, this new work sets off from the exasperation of his previous records to create new solutions closer to a semblance of musicality. They're nothing but small hints, of course, but it's precisely this change of course to make possible to highlight the differences - and the progresses - between this last work and Stengel. Born in Nuremburg, Germany, Sogar has lived in Paris for ten years, and merges immobility and sound fragments with processed guitar sounds and mutations made using several software programs. A good example can be heard in the opening "ioslohr," while "ui spalt" throws us in a sound chasm in which he forms free and nervously mutating digital associations. "selkind" sheds a ray of light on this album, creating a feeling of immanent serenity carried by a fresh musical breeze which curls up in a sequence of clicks; the clicks, again, organize the rhythmic space of "solang", spreading minimal beats and interleaving them with crystal-clear glitters. Following the musical flow, we get to the tickings which stress the complex intermittences of "harm_red," followed by the gloomy images which are suddenly drowned in spots of light and metallic abrasions in "monohr." This piece always feels as if it's about to explode in a pop melody, opening tens of hypoteses in the listener's imagination before the closing shudders of "melogen,desk". With Apikal.Blend Sogar makes us feel like we could peek into his inner world, knowing we could find many other hidden wonders.

SKUG (AT)
Der Vergleich mit Christian Fennesz drängt sich auf, damit wird er leben müssen. Die Rede ist von Jürgen Heckels, geboren in Nürnberg und derzeit in Paris lebend, der dieser Tage seinen dritten Longplayer veröffentlicht hat. »Apikal.Blend« ist sein zweites Album auf 12K, hier wiederum auf dem eigens auf digitalen Minimalismus spezialisierten »Line« - Sublabel untergebracht. Eingespielt mittels Powerbook, Gitarre und allerhand Studiokram, schälen sich in jedem Track immer wieder kleine Melodiebögen aus den zu Beginn etwas chaotisch anmutenden Geräuschlayern, um schlussendlich zu einer kühlen, wunderschönen und vielschichtigen Klangtapete zu gerinnen. Aus subsonischem Wummern, kristallklaren Glitches und vereinzelt auftauchenden, störanfälligen Beatfragmenten formen sich in statischer Entrücktheit neun fragile Klangskulpturen voll subtiler Schönheit. Ein Album wie aus Glas.

TOUCHING EXTREMES (IT)
The third chapter in Sogar's history is another impressive record, following the coordinates of the previous excellent "Stengel". Using software, guitar and studio treatments, Jürgen Henckel leads the listener towards a pasture of mercurial yet green leaves, using skinny frequencies together with colourful washing chords in a delicate, engaging mixture of beauty, always looking for that particular brain spot capable of bringing out the most joyous, melancholic and caressing thoughts. The more I listen to Sogar, the better I think of him; I believe he's one of the best - if not THE best - neo digital minimalist we have today, thanks to his acute and careful (dis)placement of sounds and, I suppose, to a continuing deep desire of making music with serious intents and creative curiosity.

VITAL WEEKLY (NL)
tSogar’s third album, after his previous works on List and his debut on 12K and I must admit his least one, mainly because I don’t see that much progress. Sogar, aka Jurgen Heckel, born in Germany but now living Paris, produces software based music, which moves nicely along in small rhythmical patterns and high pitched melodies. Each of these nine songs is worth hearing, but they are also interchangeable. Sometimes a bit more noisy or harsher (at least in the general realms of this kind of music anyway), but it ticks nicely away. And in that sense, Sogar made already two nice albums of likewise material, so why add a third one? Why not explore the boundaries of this sound, or move in other directions, add more rhythm, or maybe skip rhythm entirely? Now it sounds more like a bunch of Max/Msp plug ins, processing the same sound file. I may sound negative on this, but be assured: it’s a nice album, at least if you don’t hear that much of this kind of music. [Frans de Waard]

YOT (DE)
...Jürgen Heckel alias Sogar läßt es erst gar nicht so weit kkommen und beginnt gleich mit kristallklarem. Geknirpsel, das über Albumlänge diverse Variationen erfährt. Gegenüber seiner letzten CD ist "Apiktal.Blend" ein Stück unterkülter ausgefallen, doch all die heißgeliebten Elemente sind weiterhin da: die Miko-Melodien, die sehnsüchtigen Flächen, der erdende Bass. Sogar ist und bleibt essential Listening im Bereich minimale elektronische Musik.