TJ Hertz probably needn't have used an artist pseudonym for his work, but for whatever reason, he has released music as Objekt for the past few years. Originally somewhat of a prodigal son of the "post-dubstep" movement, he has since developed his sonic scope to reach the extended tendrils of electronic music. His sound is a sort of "hyper-detail," where each minuscule piece of waveform or frequency seems to have been shaped meticulously into dazzling form. This has all really been par for the course for Hertz, but on Cocoon Crush, it has ….
Objekt's Cocoon Crush opens on a lonely riff with a curious sonic character, part pan flute and part mandolin. Though likely electronic, it's clearly meant to suggest the realm of acoustic instrumentation, where the quality of the tone produced depends upon things like fingertips, lips, and breaths. Pizzicato strings, wooden mallets, birdsongs, and gurgling water join, but it's difficult to differentiate between the "real" and the synthetic.
It's probably best to get out of the way: Cocoon Crush isn't necessarily the most inviting of music. Then, TJ Hertz, better known as Objekt, clearly didn't intend for it to be. Having set dancefloors in Berlin alight for a number of years, the DJ and producer has slid increasingly further towards his real interest: challenging those making merrys expectations - and their very thresholds - rather than, well, making them merry.