January 9, 2026

Strategies Against Algorithms by Schall und Stille

Schall und Stille’s third album is not available online* and is not available for purchase. Served with a big middle finger up to the digital world, its ads, its surveillance and its AI data harvesters, the aptly titled Strategies Against Algorithms is exclusively available offline in exchange for something creative in return – something hopeful listeners have made themselves and sent to Schall und Stille (‘Sound and Silence’ in English). Full details of what, how, why and when can be found here.

Right now I’m dancing about architecture listening to the album and attempting to pen a few words about it…

The album begins with a minimal, slow percussive beat shortly joined by ethereal tones which harmonise with Stephan’s gorgeous vocal. That vocal, as it does for much of the album, tells of the world in which we live, from a state stepped back enough to see the bigger picture.

We are thrust uptempo into the trancy and dancy Trendula, which runs on similar themes. Beautifully produced it sways you left and right, meandering through clear and crisp, sometimes heavy, sometimes soft sounds.

Then comes The Motor Song, accompanied in the album booklet with a couple of Stephan’s photos. The first is a striking image of what appears to be a dilapidated garage door in a night time urban setting with one bright white light above illuminating the forecourt. Around the corner of the garage building is another light. This one glows red as bare twiggy branches in front suggest a cold wintery night. The juxtaposition of the two feels like metaphor for this album – fusing contrasting elements into one coherent and quite beautiful, albeit dark piece.

Referencing well known artists is something I feel torn about when reviewing music. It’s often subjective, and often at a total disconnect with what has been created. But I also feel it can help a reader ascertain what they might expect when they listen to the work themselves. So I am going to say that I get hints of Pink Floyd sprinkled with New Order throughout Strategies Against Algorithms. The Motor Song is no exception, combining sumptuous sequencer with a slow tempo and thoughtful progression to a not-quite epic, not-quite crescendo. Tenter hooks.

Three double pages in the booklet are reserved for God (Everything is Alright) – where religious images and words without a hint of sarcasm (*ahem*) conjure up our blessings to those which make everything alright: To Tik Tok, to Instagram, to hardcore porn, to plastic bags, to streaming, to the stock exchange etc. ad infinitum.

There are a mixture of sentiments personal and collective throughout Strategies Against Algorithms. Stephan describes it as a “loose collection of protest songs about the dark times we are currently sliding into”. It’s powerful. It’s strong. It’s expertly crafted. It is so obviously made with the care and attention that only a real human being could give.

Just Like That is a piano song with a melody so beautiful it tugs on the heart strings.

Embeddings closes with the lyric, ‘have all of me without the pain’, which I interpret as a perfect summation of what AI scrapers do when they take art or information from someone and spew it out with chunks of other stolen material as supposedly art in itself. Failing to realise that real art can only be conjured from something which moves the creator: an emotion or a form of inspiration.

The penultimate song takes a trip-hoppy Walk of perseverance through to the final song, The Artist in The Vineyard. Both of which reflect in different ways upon the emotional struggle artists can face as they create their work with often little or no recognition. They made me reflect that many great artists of the past went by without recognition. Maybe some were lucky enough to get it posthumously. Either way that was before all the of the great distractions and impersonations of our modern world. It is surely harder today than ever before.

I genuinely feel that if you can move one person with your art then you should feel a sense of achievement. This 10-track album has certainly moved me and I’d recommend anyone take the time away from the screens and devices to engage with their creative side and forge something for Stephan so as to receive Strategies Against Algorithms in kind.

While previous Schall und Stille releases have included collaborations and work with other artists, this one has been created exclusively by Stephan – with every instrument played himself.

The concept of making this album only available in return for something creative is genius. Stephan estimated he’d probably receive a tiny handful of creativity and send out 8-12 copies of the album in return. Judging by the response to the concept – a mere 700 odd positive reactions to his Mastodon announcement – I think a few more trips to the Deutsche Post may be in order.

Follow Stephan on Mastodon: @stephan

Visit Schall und Stille’s website.

Visit the Strategies Against Algorithms webpage.

*Okay, perhaps a tiny sneak preview is available online, but that’s all! 👇