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Atlantic Waves 01sep09: Len Faki

ostgutcd08Len Faki exploded into my earspace with his masterful Rainbow Delta / Mekong Delta EP, the fourth release on Ostgut Tonträger and without a doubt the most exciting and perfectly wrought piece of “big” techno that came out in 2007. Both tracks really had something special about them: They were massive and brutal, but the detailing and care in the sound design and the exciting drum programming announced that a distinctive voice had unmistakably arrived, along with the label releasing it.

I’ve been waiting for Faki to follow through with something the equal of that release, but nonetheless I was excited to hear that he was finally being given his shot at compiling a mix for Ostgut—no small task after definitive mixes from Cassy and Marcel Dettmann. What, I wondered, was Faki going to do with such an incomparable platform? Would we witness something as fresh as “Rainbow Delta”? The answer is an unfortunate but emphatic no.

Faki opens with John Beltran’s “Vienna,” which is a bit twee, but kinda nice. The surprise makes you think that Faki’s about to throw a curve ball, but then we move into a sequence of typically “ominous” openers, first Edit Select’s “Bauer,” then Roman Lindau’s “Raumgestaltung.” You’ve had enough bars to adjust your expectations (“okay, mainroom techno, okay…”) when Faki shifts gears—into fourth, straight away, with Chris Leibing and Speedy J’s “Magnet Express.” Faki holds it in fourth and revs it a bit with the next track (good old “The World Is Yours” by Gez Varley), then he really, really gives it the berries. By track nine (JP Montesino’s “Viaje Numero Uno”) everything’s gone absolutely crazy apeshit bonkers. The sirens, when they come—yes, there really are sirens—are so incredibly O.T.T. the effect is emphatically camp.

But by track twelve, the requisite Radio Slave tool “Neverending…,” we’ve already peaked, and now the mix begins to lose intensity and tread water. But when you decide to bang it out before the halfway mark, where do you expect to be able to go from there? Well, if you’re Faki, you begin to move into house, by way of Tony Lionni’s “Found a Place.” It’s a mix exclusive, the disc highlight and sounds outstanding by contrast, but by this stage I’m not sure a nicely sound-designed track carried along by a stereotypical house piano melody is going to be enough to save the mix.

Then it gets bad: Faki drops “The Man with the Red Face,” and suddenly, you’re back in 1999 again. I loved this track the first time round, but in this context the selection seems forced. Desperate. Dated. Then, after seven minutes of honking sax, it gets worse: Faki goes “even further,” with Sydenham and Ferrer’s “Timbuktu,” a track that was already beginning to bruise when it was being caned four years back. This is what is so enigmatic and perplexing about track selection (and exquisite when someone really nails it): Out of a virtually infinite possibility of combinations, you chose this… followed by this?

Berghain 03 has a late ’90s feel about it: The mixing, the programming, the sense of “shifting gears,” hitting peaks, banging it out (to the point of caricature), then ending with some stale, sentimental melodic tracks. The net result is somewhere between Joey Beltram’s The Sound of 2 AM and—for the hard parts in the middle—the “Noche” mix from Sven Väth’s Sound of the Second Season, a compilation which already sounded like a remnant of the 20th century when it was released eight years ago.

Ironically, the mix’s bare-chested obviousness actually makes it deeply puzzling in the final analysis, because in a more fundamental way, it’s really difficult to understand what Faki was thinking when he put together this mix on Ostgut in 2009. The faithful stereotypes are here, the shopworn formulas are intact, but behind them Faki is fumbling, muddling through track after track of high-impact boom boom. Maybe, in the context of the main floor of Berghain at 8 AM on a Sunday morning, all this makes deep, profound sense. But on CD, I just don’t get it. It’s crazy that, in a media landscape in which people produce amazing podcasts day after day, week after week, a published mix this dated is seen as fit to release on what is arguably Europe’s premier techno label. Do you really want to hear this again? Maybe unreconstructed, balls-out, shirts off, muscle Mary main room techno (that gets all weepy toward the end) is your thing. Personally? Heard it before, wasn’t impressed the first time round, don’t care to hear it again. (Peter Chambers, Resident Advisor)

81 Atlantic Waves 01sep09

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Sleeping Dogs Lie 81: Pete Namlook

namlook-Vb. Peter Kuhlmann, Germany. Pete “Namlook” Kuhlmann is comfortably the most prolific and arguably the best of the new wave of ambient house artists to originally emerge in the early 90s. Before his immersion in the world of dance music, he had experimented with the sitar and new age jazz. His early solo EPs were shrouded in mystery, the labels distinguished solely by the contact number FAX +49-69/454064 – which later transpired to be the title of the label, inaugurated in 1992. From his base in Frankfurt, Germany, several collaborations emerged every week on 12-inch vinyl, via a stable of co-conspirators who include Dr. Atmo, Craig Peck, DJ Hubee, DJ Brainwave, DJ Criss, Pascal FEOS and Mixmaster Morris (the latter also recording with Namlook as Dreamfish on the FAXWORLD subsidiary). Releases were colour-coded to differentiate between the types of music – yellow for trance, red for clubhouse, orange for breakbeat, black for hardcore, aquamarine for jazz, green for house and blue for ambient – the most popular genre in terms of sales reaction. Each was also recorded in a cycle of eight – one each with each collaborator, always beginning with DJ Criss (as Deltraxx). Only five or six hundred copies of any given release ever emerged, quickly selling out, before the “cycle” was reissued on a compilation CD. Namlook also found time for the Sequential project. Released in the UK via Rising High Records, this allowed him to work with any of his roster, ironically, out of sequence. As if that were not enough, Namlook also recorded ambient “solo” records as Air, Syn or Silence (with Dr. Atmo). These recordings were symptomatic of the “chill-out” factor that hit European clubs in the early 90s. On several of the tracks it took up to 10 minutes for a distinctive beat or rhythm to appear, with Namlook spending time building the atmospheric, neo-filmic musical soundscapes.

Since 1994 FAX and its various sublabels have concentrated on more widely available CD and MP3 releases, albeit with no slowing down of the prolific output. Namlook has also collaborated with such leading electronic artists as Atom Heart, Tetsu Inoue, Jonah Sharp, David Moufang aka Move D, Richie Hawtin (on the From Within series), Klaus Schulze (on The Dark Side Of The Moog series), and Bill Laswell (on The Dark Side Of The Moog, Psychonavigation and Outland series).

Namlook is now perceived to be one of the leading instigators of the “ethno-trance” movement, combining droning electronica with ethnic instrumentation and samples of natural sound. Rather than riding the ambient bandwagon during the early 90s, his overview of the new music’s place and purpose rings true several years later: “I think it’s very important to enhance the notion of a global ambient movement, and to realise that a lot of music which we didn’t expect to be ambient is in fact very, very ambient. When you examine other cultures you discover that what we recognise as a very new movement is in fact incredibly ancient”.

01 Pete Namlook: “Reality” (1:02:18) from “Namlook V” (1994)

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Sleeping Dogs Lie 80: Pete Namlook, Tetsu Inoue

shades-of-orion-3This review isn’t quite destined to describe a Namlook album out of thousand others, a Namlook project out of dozen diverse, a Namlook trend/style out of several big ones or even the two masks of Namlook himself (N-the soloist, obscure and obsessive, and N-the collaborator, sharing or splitting his way of doing electronic music, but also always leaving a print that belongs to him and him alone). It’s more of a write which tries to emphasize what could be subtle, special or at least substantial in this individual musical record, what’s its creative energy, what’s good beyond what’s bad…at most compared with the previous albums from this definitive project.

Tetsu Inoue and Pete Namlook (wonder why in this order and not backwards?) have a lot in common (even if it’s sometimes incredible), still also have a way of complementing themselves in style and composition. In what’s “just” the third brush of the entire Shades Of Orion project (let’s not mention the others that aged in the same way) the two artists again choose an old-style of electronic craft & sound, but don’t leave it modest in any way. The epic work here can be reduced to “d & d (dark & deep) ambient electronic”, but that still leaves space to talk about the particular attitude Inoue & Namlook adopted when making it. An attitude that, at first, led to a splendid choice of ideas and balaced instrumentality in preparation for the album itself, but, as it didn’t go all the way till the end, the result was left ambivalent. Shades Of Orion 3 is either oriented towards dark surrounds, either slows down to passive, mellow or ordinary effects.

The album kicks in captivatingly, even in a more original spark than usually, though after a while you realize there’s a bit of carelessness in the handle. Betelgeuzian Ritual (the titles are among the annoying kind, but let’s better stick to music) is effectively a sparkful trance, with dissonant notes, mega-bass rhythms and a paste of meditative atmosphere. The strange sounds could express themselves emotions, though their artificiality is the main ingredient. Stranded On Rigel is more productive and full of electronic suaveness. It’s interestingly close to the sound & shine of the older epic Orion Transfer (from Shades Of Orion 2), but the actual and particular approach makes out a light-ambient and electro-modern experience. Melodies and organic sounds persist initially, but in the second part of this “naive masterpiece”, everything regresses towards soft noises and silent waves. So, out of a first “lounging” mood, you end up listening to technical clusters. Inoucent and Serious (again, cheesy titles for a complex work) is good and thrilling, pulsing the same hollow ambient style as before. Even if it’s a mere symbolic impression, the music here is both of a translucid and heavy range, both of a sharp quality and bit old essence.

This cup of modern, ambiguous electro-therapeutic session is toasted for dark, deep meditations. Of a subversive ambient power and a concept of heavy, crispy if empty sound blazes, Shades Of Orion 3, the last of its kind for now, is yet naturally artistic. Three stars awarded for a work that “sins”, in which the two masters have risked some things, but a work that’s succulent enough as well. (Progarchives.com)

01 Pete Namlook and Tetsu Inoue: “Betelgeuzian Ritual” (06:55) from “Shades of Orion 3” (1996)
02 Pete Namlook and Tetsu Inoue: “Stranded on Rigel 3” (38:26) from “Shades of Orion 3” (1996)
03 Pete Namlook and Tetsu Inoue: “Inouecent and Sirius” (25:38) from “Shades of Orion 3” (1996)

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Sleeping Dogs Lie 79: Pete Namlook

Pete Namlook - the definitive ambient collection 2If most artists in contemporary electronica are like islands unto themselves, turning out tracks in relative anonymity, Pete “Namlook” Kuhlmann is a whole continent. A dizzyingly prolific composer who’s steadily built up an entire industry around his Frankfurt-based Fax label, Namlook’s name is inextricably linked with the post-rave resurgence of ambient music, and many of his solo and collaborative recordings with the likes of Mixmaster Morris, Tetsu Inoue, Klaus Schulze, Bill Laswell, Richie Hawtin, Geir Jenssen, Dr. Atmo, Burhan Ocal, Atom Heart, Jonah Sharp, Charles Edwards, and David Moufang, among many others, number among the most lauded and influential in new ambient. Although Namlook got his start releasing quasi-new age (as Romantic Warrior) and hard trance (as Sequential, 4Voice, Escape, Deltraxx, and a host of others), he and his label have become synonymous with new ambient since Fax began exclusively releasing the style shortly after the label formed in 1992. Fax helped give shape to ambient’s new school by allowing the artists to freely experiment while making a living from their music. (Fax’s label structure confers the majority of its profits to its artists.) Countless Fax releases, particularly those dating from 1993 and 1994, are considered classics of contemporary electronic ambient, and while the label has suffered a certain degree of repetition in recent years, Fax remains one of the most important and influential German electronic music labels. Namlook has been criticized for adopting a quality-over-quantity approach ? his label’s release schedule was up to a CD per week for more than a year, and currently produces 24 per year, many of them Namlook’s own ? but he’s succeeded in attracting a devoted, ravenous following that allows him and his label to continue releasing new music. To date Fax has released more than 250 full-length CDs, dozens of 12-inches, and several compilations ? including the sprawling 4-CD Ambient Cookbook, which remains the best introduction to the label ? and has expanded to included four Fax-related labels and two subsidiary labels (Rather Interesting and Headphone, run by Atom Heart and Higher Intelligence Agency’s Bobby Bird, respectively). Fax releases have been licensed for reissue by R&S, Music Man, Rising High, Instinct and Injection. With distributors on three continents and a small universe of Web sites devoted to reviewing, trading, and collecting Fax titles, the label and its proprietor have long since passed the stage of phenomenon and crossed over to institution. Musically, Namlook draws most recognizably on the synthscapes of artists such as Klaus Schulze and Hans Jochim Roedelius, combing the droning electronics of those artists with, depending on the project or collaborator, ethnic instrumentation (tabla, tambouri, oud), environmental samples (rain, voices, arriving and departing trains, wildlife), sweeping electronic treatments (the bubbly undercurrents of Dreamfish or the drifting synthetic landscapes of 2350 Broadway), and minimal acoustic and electronic rhythms (jungle, electro, techno, and trance). His collaborations tend to outdo his solo recordings, although a few of his solo works are among Fax’s finest. Though hard to find, the two volumes of The Definitive Ambient Collection offer a good introduction to Namlook’s early work. Subsequent compilations of more recent material have appeared at somewhat regular intervals; due to the wide variety of styles pursued by various projects, compilations may be the best place to start. (Sean Cooper, All Music Guide)

01 Pete Namlook: “Trip To Polaris” (8:02) from “The Definitive Ambient Collection: Volume 2” (1994)
02 Pete Namlook: “Duane Sky” (5:43) from “The Definitive Ambient Collection: Volume 2” (1994)
03 Pete Namlook: “Garden Of Dreams” (22:24) from “The Definitive Ambient Collection: Volume 2” (1994)
04 Pete Namlook: “Trip To Mars” (5:30) from “The Definitive Ambient Collection: Volume 2” (1994)
05 Pete Namlook: “70’s Beauty” (2:27) from “The Definitive Ambient Collection: Volume 2” (1994)
06 Pete Namlook: “1st Impression” (4:36) from “The Definitive Ambient Collection: Volume 2” (1994)
07 Pete Namlook: “Vibe” (4:35) from “The Definitive Ambient Collection: Volume 2” (1994)
08 Pete Namlook: “Fishology” (9:25) from “The Definitive Ambient Collection: Volume 2” (1994)
09 Pete Namlook: “Trip 8” (4:34) from “The Definitive Ambient Collection: Volume 2” (1994)

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Sleeping Dogs Lie 78: Pete Namlook, Jonah Sharp

perilous-100Alien Community is Pete Namlook of FAX Records, and Jonah Sharp, of Spacetime Continuum (Sea Biscuit). Together they have produced this double CD of space ambient mind-altering synth, weird effects, and beats. Each disc holds a single track and each of these tracks is longer than an hour in duration. Nevertheless, there is enough evolution over the course of each to maintain interest. The discs are also available separately and, given the choice, I would opt for the first, “Interdimensional Communication”. If you like this release, check out the Jonah Sharp/Bill Laswell collaboration Visitation, and Bill Laswell-related ambient dub releases, such as Axiom Ambient: Lost in the Translation. This is the trippiest ambient i’ve ever heard (alongside the aforementioned…)!!!

01 Pete Namlook & Jonah Sharp: “A Long And Perilous Voyage Part 1” (04:59) from “A Long And Perilous Voyage 1-12” (1994)
02 Pete Namlook & Jonah Sharp: “A Long And Perilous Voyage Part 2” (05:00) from “A Long And Perilous Voyage 1-12” (1994)
03 Pete Namlook & Jonah Sharp: “A Long And Perilous Voyage Part 3” (05:00) from “A Long And Perilous Voyage 1-12” (1994)
04 Pete Namlook & Jonah Sharp: “A Long And Perilous Voyage Part 4” (05:00) from “A Long And Perilous Voyage 1-12” (1994)
05 Pete Namlook & Jonah Sharp: “A Long And Perilous Voyage Part 5” (05:00) from “A Long And Perilous Voyage 1-12” (1994)
06 Pete Namlook & Jonah Sharp: “A Long And Perilous Voyage Part 6” (05:00) from “A Long And Perilous Voyage 1-12” (1994)
07 Pete Namlook & Jonah Sharp: “A Long And Perilous Voyage Part 7” (05:00) from “A Long And Perilous Voyage 1-12” (1994)
08 Pete Namlook & Jonah Sharp: “A Long And Perilous Voyage Part 8” (05:00) from “A Long And Perilous Voyage 1-12” (1994)
09 Pete Namlook & Jonah Sharp: “A Long And Perilous Voyage Part 9” (05:00) from “A Long And Perilous Voyage 1-12” (1994)
10 Pete Namlook & Jonah Sharp: “A Long And Perilous Voyage Part 10” (05:00) from “A Long And Perilous Voyage 1-12” (1994)
11 Pete Namlook & Jonah Sharp: “A Long And Perilous Voyage Part 11” (05:00) from “A Long And Perilous Voyage 1-12” (1994)
12 Pete Namlook & Jonah Sharp: “A Long And Perilous Voyage Part 12” (05:40) from “A Long And Perilous Voyage 1-12” (1994)

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Sleeping Dogs Lie 72: Natural Frequencies Aka Andreas Leifeld

A dream creation, produced by synthesiser and sample machine, keyboard, piano, bass, guitar, and percussion instruments, take the listener off into spheres in which time and space are no longer of any relevance. “Tranquillity in Motion” is the name of a further, posthumous work by the composer, sound magician and DJ Andreas Leifeld who died on 1 February 2006.

As if on a wave, calm yet, at the same time, seething in its deepest inside, Leifeld’s tracks glide by – like the throbbing-pulsating “Dreaming” whose keyboard slurs flow lastingly into the human sensory zones, or “Inside” which drifts into fantastic worlds with Indian-Tibetan sound liturgy and meditative seductive forces.

Andreas Leifeld’s sound collages stimulate the senses and cultivate a desire to become fully involved with the sensuous experience worlds of the brilliant sound visionary who, himself, is still able to rouse himself up in the absolute tranquillity. In “Time Wave”, Leifeld allows the electronics to merge into a tirelessly working maelstrom which leads into the deepest depths. The pressure increases gently, embraces the hearing passages and the brain cells tuned to intuitive perception with irresistible force.

Somehow and somewhere, “Tranquillity in Motion” leaves the zones of “normal” perception, opens up new experience worlds and fantastic images for body and mind. The form of worldly music, which creates natural frequencies, does not stop at earthly countries and continents. In whatever worlds Andreas Leifeld may now find himself, in an earthly life his path takes him – at least from a musical point of view – to nirvana. Where time (“Timeless”) brings us closer to nothingness, where, at “zero”, the beginning also creates the end – we are accompanied there by hypnotically attractive melodious sound.

“Tranquillity in Motion” is an electronic album of the highest perfection, produced with conventional instruments, is abstract and yet something for everyone who is prepared for the siren sounds of Andreas Leifeld – a very real (in) comprehensible seduction.

01 Natural Frequencies Aka Andreas Leifeld: “Dreaming” (8:24) from “Tranquility In Motion” (2007)
02 Natural Frequencies Aka Andreas Leifeld: “Inside” (11:03) from “Tranquility In Motion” (2007)
03 Natural Frequencies Aka Andreas Leifeld: “Time Waves” (9:32) from “Tranquility In Motion” (2007)
04 Natural Frequencies Aka Andreas Leifeld: “Taking Shape” (6:48) from “Tranquility In Motion” (2007)
05 Natural Frequencies Aka Andreas Leifeld: “Timeless” (10:03) from “Tranquility In Motion” (2007)
06 Natural Frequencies Aka Andreas Leifeld: “Zero (Pt. 1)” (8:02) from “Tranquility In Motion” (2007)
07 Natural Frequencies Aka Andreas Leifeld: “Zephyr” (8:39) from “Tranquility In Motion” (2007)

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Sleeping Dogs Lie 69: Paul Panhuysen, Stephan Mathieu, si-cut.db

For many years curator of Eindhoven’s exemplary sound art venue Het Apollohuis, Paul Panhuysen trained as a visual artist during the 1950s. In 1968, inspired by Fluxus activities, he formed the experimental music group The Maciunas Ensemble. His multifarious activities since then have often resembled a kind of dada structuralism: reason at work in the absence of a master plan, delineations of pattern in fields of random occurance. He has found music in such varied sources as long string vibrations, the collective warbling of canaries, the noise of dot matrix printers and agitated Mexican jumping beans.?His latest CD documents the audio transposition of a magic square of five, made for installation that also represnted the visual transposition – a floor design – which can be sampled on the cover art. A magic square is an arrangement of numbers within a square grid where the sum of integers in any row, including diagonals, gives the same total. From the orderliness of such Pythagorean numerical regularity Panhuysen has generated an attractive music of sweeping tones, overlapped and interlocking to create a snese of almost animate pulsation acroos the space of 29 minutes and 15 seconds. The sixth century philosopher Boethius suggested that music is number made audible, Panhuysen presents us with an unusually pure embodiment of that idea. His explanatory notes may have a forensic quality, but the sounds he has used are engagingly rich.

The Macintosh iBooks and iMacs at Aquarius are getting old in digital years, and they’re gradually showing their age. So, let’s hope and prey that neither the “sad mac” icon nor the “chimes of death” start to haunt our aged computing system. For those Windows operators out there, these are the Mac equivalent of the “blue screen of death,” calling attention that something quite dreadful has happened to the computer. Such anxiety producing indicators of a malfunctioning computer are the subject matter for this album from German sound artist Stephan Mathieu. Despite the nail-biting angst that such dilemmas can cause, The Sad Mac is a benevolently tranquil recording in which a variety of sounds have been smeared into melancholic ambience, perhaps composed more as a balm of having to deal with those computer problems. Having established himself as one of premier digital composers with the Full Swing album Edits as well as his collaborative Heroin album with Ekkehard Ehlers, Mathieu makes a profound shift in methodology as he eschews the “DSP-Magic” of his earlier albums in favor of a much simpler arrangement with a few digital programs applied as pixelated flourishes upon field recordings and minimalist compositions for violin, pump organ, and harpsichord. Even without all of the pixel pushing from his Max-MSP patches of yonder year, Mathieu still manages to construct beautifully sustained drones, seamlessly combining all of the elements as the flicker, echo, dissolve, blur, and expand with his signature fluidity.

London-based SI-CUT.DB (pronounced ‘Sye Kut Dee Bee’) aka Douglas Benford has had many recorded releases under many guises: mainly as SI-CUT.DB, but also Radial Blend, Phoenix Jig, Pantunes Music & Media Form (via Douglas’s own imprint Suburbs Of Hell), covering electronica/drum n’ bass/ambient, and then into microsound, glitch and dub…as SI-CUT.DB Douglas also runs and plays at the SPRAWL club, based in London, and it’s label SPRAWL IMPRINT. The first SI-CUT.DB release was in 1991, as SIDE>>CUT.DB (with later off-shoots as LOVE>>CUT.DB).

For over 10 years Douglas has also run and DJed at the London-based electronic music Sprawl Club and label with Iris Garrelfs AKA BIt Tonic, which besides its regular spots in Soho and Farringdon, London, have also held specials such as the Interplay series (Spitz), Sprawl Compass, GroundSwell at the ICA, Watermans (SonicRecycler) & Colchester Art Centres, Tate Modern, plus Sprawl events in Brighton and Leeds. Monthly Sprawls currently resides at various venues in central London, and are linked to the Sprawl Resonance FM Small Pieces radio show (in rota with Slow Sound System, HighPoint LowLife & Dfuse).

Aside from appearing on BBC TV’s News 24, SKY TV’s “The Lounge”, KISS FM and other radio stations, Douglas has turned up with his opinions in interviews on internet clubbing and remixes in national newspapers The Independent and Guardian.

01 Paul Panhuysen: “A Magic Square Of 5 To Listen To” (30:51) from “A Magic Square Of 5 To Look At / A Magic Square Of 5 To Listen To” (2004)
02 Stephan Mathieu: “1745” (16:00) from “The Sad Mac Live At Mutek 2002” (2004)
03 si-cut.db: “mirror’d” (17:02) from “term.07” (2003)

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Sleeping Dogs Lie 54: Pete Namlook & Bill Laswell

Pete Namlook (born Peter Kuhlmann , in Frankfurt, Germany) is an ambient and electronic-music producer and composer. In 1992, he founded the German record label FAX +49-69/450464, which he oversees. Inspired by the music of Eberhard Weber, Miles Davis, Antonio Carlos Jobim, Chopin, Wendy Carlos, Tangerine Dream, Klaus Schulze and Pink Floyd, he also composes his own albums.

01 Pete Namlook & Bill Laswell: “Outland” (1994)
02 Pete Namlook & Bill Laswell: “Outland 2” (1996)

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Sleeping Dogs Lie 52: Pete Namlook & Mixmaster Morris

Swim with the music, let the deep sea ambient float out of your speakers and enjoy the waves in your room. Join Pete and Morris at their trip under the ocean following the path of the Dreamfish.

01 Pete Namlook & Mixmaster Morris: “Dreamfish” (1993)
02 Pete Namlook & Mixmaster Morris: “Dreamfish 2” (1994)

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Sleeping Dogs Lie 38: Cluster

Cluster is a German experimental musical group who influenced the development of contemporary popular electronic and ambient music. They have recorded albums in a wide variety of styles ranging from experimental music to progressive rock, all of which had an avant-garde edge. Cluster has been active since 1971, releasing a total of 13 albums. Musician, writer and rock historian Julian Cope places three Cluster albums in his Krautrock Top 50 and “The Wire” places Cluster’s self-titled debut album in their “One Hundred Records That Set The World On Fire”.

After a decade long hiatus Cluster reunited in April, 2007. They were selected to perform on June 15, 2007 at the opening of documenta 12, a major exhibition of modern and contemporary art held every five years in Kassel, Germany. In late 2007 Cluster performed at concerts across Europe and will return to the United States for the first time since their 1996 First Encounter tour in 2008.

Cluster’s musical style has varied greatly over the years, ranging from Kosmische Musik to Experimental Music on early albums, to rhythmic Krautrock or Progressive Rock on Zuckerzeit and After The Heat, to New Age or Ambient Music on many tracks in the middle to late ’70s, to truly avant-garde or industrial on Live In Vienna. Cluster always has an avant-garde edge even on gentle, ambient pieces. Michael Waynick, who reviewed Cluster & Eno for the All Music Guide writes a description that applies to more than the one album: “…too emotionally rich to waste as mere background music, evoking feelings of hesitancy and regret that rescue the music from mere vapid prettiness.”

The diversity of styles on the various Cluster albums, with significant changes in musical direction from one release to the next, makes it difficult to categorize Cluster’s music. The factors which are present on all 13 albums include the use of electronic instrumentation, loops, and the use of unexpected sounds to create a sense of experimentation.

Cluster has been widely influential not only to ambient and electronic music artists, but to techno, electronica and popular music as well. Artists and groups whose music has been influenced by Cluster include Robert Rich, John Foxx (formerly of Ultravox), Alex Paterson of The Orb,Coil, Oval, To Rococo Rot, and Mouse On Mars.

01. Cluster: “Ufer” (from “Curiosum”, Sky, 1981)
02. Cluster & Eno: “Für Luise” (from “Cluster & Eno”, Sky, 1977)
03. Cluster & Eno: “Ho Renomo” (from “Cluster & Eno”, Sky, 1977)
04. Cluster: “Georgel” (from “Cluster II”, Brain, 1972)
05. Cluster: “Live In Der Fabrik” (from “Cluster II”, Brain, 1972)
06. Cluster: “(untitled)”(from “Cluster”, Philips, 1971)
07. Cluster: “Side 2” (from “Sowiesoso”, Sky, 1976)

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Sleeping Dogs Lie 37: Hildegard Westerkamp, Max Richter

Hildegard Westerkamp is famous for her soundwalks — audio recordings documenting a particular place at a particular time of day. Found material — out of which, using studio-based manipulations, she fashions a unique sonic event. Thus, the environment is reshaped, subjectivised, revealed anew. This extraordinary CD contains several examples of her work. Kits Beach Soundwalk begins with a description of what we can already hear: waves lapping in the foreground, bird calls, background city roar. Then Westerkamp demonstrates some of her filtering and equalising techniques. By employing several ellipses, literal description is transformed into one dream narrative affer another, each illustrated with variations on the multiple, random clicking noises made by barnacles. Eventually, the city is allowed to return (in the guise of a flapping, flailing, playful rnonster).

Richter’s pieces are so evocative they warrant the appellation ‘cinematic’ (his CV includes production work for Future Sound of London and Vashti Bunyan, plus scores for film projects like Stanislaw Mucha’s Hope and Darren Almond’s Siberia ). How fitting, then, to discover that Richter’s The Art of Mirrors (issued by downloads-only label Seven Things) is musical accompaniment for never-before-seen films from the Derek Jarman archive (around sixty 8mm film works produced between 1970 and 1983). Interestingly, while Songs From Before is comprised of short compositions threaded into a whole, The Art of Mirrors is a single-movement, 52-minute piece; however, it’s a rather misleading detail—more a matter of CD indexing—since the two works are equally episodic in nature. It’s not an unrelated composition either, as The Art of Mirrors opens with the sparse organ chords of “Song” and gentle vibes of “Harmonium,” and “Sunlight” surfaces too. The longer work is a live recording though there’s little that sonically identifies it as such beyond modest stage noise and the closing applause. One thing that recommends the live presentation is that it builds to a ravishing climax whereas the studio set ends less dramatically with a piano coda (“From the Rue Vilin”). Obviously The Art of Mirrors is less concise than Songs From Before yet still provides a natural companion to it. In a perfect world, the release would be available in a DVD format too so that we might view Jarman’s visuals alongside Richter’s music.

01. Hildegard Westerkamp: “Kits Beach Soundwalk” (from “Transformations”, empreintes DIGITALes, 1996)
02. Max Richter: “The Art of Mirrors” (7hings, 2006)

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Sleeping Dogs Lie 28: Bill Laswell, Terre Thaemlitz, Atom Heart, Tetsu Inoue

“Web” has some of the most abrasive, industrial leaning ambient of either of these composers’ careers. Chains rattle, voices whisper menacingly, and dark, dissonant textures and deep bass drones collide on a trio of extended tracks united by the questionably thematic topic of digital communications technology. Difficult but rewarding.

“Second Nature” is a typical Bill Laswell excursion into the murkiest depths of ambient experimentalism, meaning there’s no danceable beats, no hummable grooves, and virtually no firm melodic ground for listeners to grab hold of. That said, patient listening will be rewarded in due time. This is some seriously crazy, experimental stuff; a bit too subtle for casual listeners, but an interesting ride for those passengers willing to ride it out to the end of the line.

American bassist Bill Laswell (Praxis, Massacre, etc.) is the founder of ‘collision music’ – a collaborative concept that brings together musicians from divergent instrumentations and backgrounds. “City of Light” is about Banaras, a city older than history, tradition, way beyond legends. It is Shiva’s land, founded at the dawn of creation. It is India’s oldest and most fabled city. The Hindus call it Kashi, the luminous…

01. Bill Laswell, Terre Thaemlitz: “Open URL” (from “Web”, Subharmonic, 1995)
02. Bill Laswell, Terre Thaemlitz: “Transfer Complete” (from “Web”, Subharmonic, 1995)
03. Atom Heart, Tetsu Inoue, Bill Laswell: “Green Paste” (from “Second Nature”, Submeta, 1996)
04. Bill Laswell: “Kashi (with Tetsu Inoue)” (from “City Of Light”, Sub Rosa, 1997)
05. Bill Laswell: “Above The Earth (with Lori Carson)” (from “City Of Light”, Sub Rosa, 1997)
06. Bill Laswell: “Nothing” (from “City Of Light”, Sub Rosa, 1997)

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Sleeping Dogs Lie 26: Jet Chamber, NASA – Voyager Recordings, Harold Budd

Jet Chamber is Pete Namlook & Atom Heart.

Possibly one of NASA’s most avant-garde projects ever, “Symphonies of the Planets” is a five-CD set that is now out of print. Put simply, it consists of recordings made by Voyager 1 and Voyager 2 as they passed by the various planets and moons of our solar system. Although sound as we perceive it cannot travel in the vacuum of space, each planet and moon emits its own electromagnetic “signature” that can be picked up by the right instruments, and those emanations can be converted into sound and recorded onto compact discs for your listening enjoyment. Of the five discs in the set, Volume 1 is my personal favorite, but all of them are definitely worth checking out. Each disc is only around 30 minutes long, but those 30 minutes are packed with cosmic ambience that is even more profound when you consider that no human artist composed this. Fans of Dr. Fiorella Terenzi’s similar recordings of space will find this stuff to their liking, although a bit more “dark” and atmospheric than hers.

“Luxa” was Harold Budd’s first solo album since 1991’s “By the Dawn’s Early Light”. The time between solo album was spent recording and collaborating with the likes of Zeitgeist, Andy Partridge, and Hector Zazou. This album also marked a break for Budd from writing for ensembles, as he had throughout the 1990s. One notable difference between this keyboard-focused album and the last one like it (1988’s acclaimed “The White Arcades”) are the brighter tones Budd displays on each instrumental. While tracks such as “Mandan” and “Agnes Martin” are decidedly moodier, many others have a warm, languid feel, possibly due to the influence of the desert around Mesa, Arizona, where this album was recorded. “Luxa” may be not be as inventive as other Budd works, and there are a few familiar fragments floating about, but it still maintains a hypnotic hold on the listener while inspiring cinematic images in the mind’s eye. The veteran composer’s mastery of space and silence still places him far above the legions of New Age imitators who use minimalism as a crutch rather than as a true means of expression.

01. Jet Chamber: “Calm Box” (from “Jet Chamber II”, Fax +49-69/450464, 1996)
02. NASA – Voyager Recordings: “Symphonies of the Planets 01” (from “Symphonies of the Planets”, LaserLight Digital, 1992)
03. Harold Budd: “Nove Alberi” (from “Luxa”, All Saints, 1996)
04. Harold Budd: “Chet” (from “Luxa”, All Saints, 1996)

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Sleeping Dogs Lie 22: dbkaos, ARC, Robert Rich & Ian Boddy, Tetsu Inoue, Hoffmann-Hoock & Wöstheinrich

“Index02” is a bargain label sampler from DiN, featuring contributions from Reuter/Boddy, arc, Sunsonic Experience and dbkaos. All tickled into a continuous 78 minute mix by Ian Boddy, many people will already be privy to the DiN sound thanks to the “Index01” CD dished out with Wire back in 2001. Acting as an aural cousin to that release, “Index02” inhabits a similar paddock of electronica, serving up hot and creamy solitude in a style reminiscent of The Blue Room. Keeping any mixing shenanigans to a bare minimum, Boddy’s unobtrusive segueing allows the individual tracks to shine independently rather than being trussed up on an over-arching structure which requires your full attention. Beatific throughout and cheap as chips, “Index02” is the sound that dust caught in sunlight would make were nature a bit more conducive to electronica.

“Lithosphere” is the second collaborative release between DiN label boss Ian Boddy & American ambient pioneer Robert Rich. Following on from their debut album “Outpost” (2002) the duo once again decided to eschew the false economy of a purely virtual collaboration and convened at Rich’s Californian Soundscape studio to physically work together over an intense period of 10 days. Following Boddy ‘s departure Rich then honed and fine-tuned the arrangements before finalising the mastering of the project. Whereas “Outpost” was sonically ‘out there’ and was perceived by many to have its heart in the realms of space music, “Lithosphere” has a more earthy, organic quality. Once again the album is centered around Rich ‘s signature lap steel guitar voicings and the deep bass rumblings of his analogue MOTM modular system. However Boddy ‘s input is unexpected in its direction with astonishing sound design elements intermingling with delicate keyboard textures using high quality sampled glass & stone percussion instruments together with haunting string & woodwind loops. One of the binding forces for this album was the duo’s decision to utilise an alternate just intonation tuning. This at times gives the harmonies a piquant flavour whereas at others a glistening quality that just adds to the sonic exotica that Boddy & Rich have concocted on “Lithosphere”. Boddy has always pushed the aspect of collaborations within his DiN catalogue and “Lithosphere” shows the true advantage such a philosophy brings to bear musically on the labels output. The album is a true reflection of the two artists combined efforts and could only have been produced with their joint work ethic. “Outpost” is one of the most popular DiN albums. There ‘s every chance that “Lithosphere”could surpass the high standard that its illustrious predecessor has set.

I first came in contact with Inoue on hearing the sublime “Active/Freeze” collaboration with Taylor Deupree on 12k. Since then I have managed to backtrack through his vast collection of releases including collaborations with such scene luminaries as Bill Laswell and Atom Heart. This new record for the DiN label is possibly the most completely realised record I can bring to mind from Inoue, and he displays a masterful grasp of marrying live instrumentation and digital noise. Each track has a certain crystalline property to it, but it avoids the usual trapping of ‘ambient’ music and never breaches that boundary into the dreaded world of ‘New Age’. Musical comparisons would range from Harold Budd and Shuttle 358 to the thick noisy clouds of Tim Hecker.

Taking a hefty chunk of influence from Tangerine Dream and then blending it with 1990s IDM isn’t a direction you’d expect an artist to take, but then Ian Boddy’s been doing this stuff for quite some time now and has built up something of a reputation. Although it occasionally skates rather close to the new age genre, much of “Elemental” has more in common with Manual, Ulrich Schnauss or at times even US retro-synth dudes Zombi. It’s not that I can’t take synth-prog music (I not-so-secretly love it…) but there’s something about the way Boddy seems to rely on playing it safe that makes “Elemental” a little less than breathtaking.

“Conundrum” marks the musical meeting point of Klaus Hoffman-Hoock and Bernhard Wostheinreich, which integrates the experimental noodlings of the former with the electronic processing techniques of the latter. “Conundrum” is a trance-inducing blend of digital ambience and ethereal, often droning instrumentation. The album’s title track makes an outright foray into Eastern sounds, giving the piece a distinctly new age sensibility which runs through much of the rest of the album, albeit in a less pronounced fashion.

01. dbkaos: “Hydrosphere” (from “Index02”, DIN, 2005)
02. ARC: “Silent White Light” (from “Index02”, DIN, 2005)
03. Robert Rich & Ian Boddy: “Glass” (from “Lithosphere”, DIN, 2005)
04. Robert Rich & Ian Boddy: “Subduction” (from “Lithosphere”, DIN, 2005)
05. Robert Rich & Ian Boddy: “Stone” (from “Lithosphere”, DIN, 2005)
06. Tetsu Inoue: “Remote” (from “Yolo”, DIN, 2005)
07. Tetsu Inoue: “Particular Moments” (from “Yolo”, DIN, 2005)
08. Tetsu Inoue: “Flow” (from “Yolo”, DIN, 2005)
09. Ian Boddy: “Never Forever” (from “Boddy Elemental”, DIN, 2006)
10. Ian Boddy: “If All The World Was Blue” (from “Boddy Elemental”, DIN, 2006)
11. Ian Boddy: “Flux” (from “Boddy Elemental”, DIN, 2006)
12. Hoffmann-Hoock & Wöstheinrich: “Conundrum” (from “Conundrum”, DIN, 2007)
13. Hoffmann-Hoock & Wöstheinrich: “Swarmandel” (from “Conundrum”, DIN, 2007)
14. Hoffmann-Hoock & Wöstheinrich: “Moonlit” (from “Conundrum”, DIN, 2007)

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Sleeping Dogs Lie 17: Bill Laswell, Paul Schutze, Pete Namlook, Thomas Köner

I listened to a fair sampling of Laswell-related projects during the mid-1990s (he had waaaay too much product) and this disc was one of the ones I really liked. What we have here is a various artist collection that remains remarkably cohesive on the whole and also offers some stand-out tracks, depending on your cup of tea (a darker one here, to be sure). I was heavily into isolationist sounscapes at the time this was released and most of the artists here contributed something to that ambient sub-genre. Anyway, I lost sight of this CD for some time and stumbled on it again recently and have been enjoying a resurgence of interest in it! It’s a great late-night or early-morning piece to sip your coffee and/or read to.

With Paul Schutze’s Green Evil, we have an 11-minute plus excerpt from his album with the same name (and I believe only one of two tracks here that was featured on other albums). Schutze has a very recognizable sound, and yet – to his credit -plays it ‘very’ minimal here. Pete Namlook’s “Subharmonic Invocation of the Dark Spirits,” nearly 13 minutes of cavernous rumblings through a yawning abyss. A straight-ahead dark ambient piece. Thomas Koner is a well-respected master of cold and sparse ambient. He’s one of those guys who you might initially compare to someENOone else but who has really taken things to a new level and gone his own way with it. His work is typically out-of-print and therefore goes for a premium when you do find it, but here you’ll get a good sample of what he does best on this disk. This track actually has some percussive elements, which are rare for him. Laswell himself provides the longest piece on the set, the 30-minute long “Black Dangers” (despite the title’s name being overly stated, it’s a wonderfully sparse and barren track that remains delightfully consistant for its duration) and plays well with the rest of the CD set. This is a rather solid double CD, “well worth” any ambient fan’s money. If you love the darker domains of ambient, then make room for this disk!

01. Bill Laswell: “Black Dangers” (from “Divination: Distill”, Sub Meta, 1995)
02. Paul Schutze: “Green Evil” (from “Divination: Distill”, Sub Meta, 1995)
03. Pete Namlook: “Subharmonic Invocation Of The Dark Spirits” (from “Divination: Distill”, Sub Meta, 1995)
04. Thomas Köner: “Zone” (from “Divination: Distill”, Sub Meta, 1995)

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Sleeping Dogs Lie 16: William Basinski, Peter Pannke

Finally, the much-discussed and highly sought-after ‘Shortwavemusic’ has made it to cd, almost ten years after its initial release . The album originally appeared back in 1998 on Carsten Nicolai’s Noton label (which as we all know would eventually turn into experimental powerhouse Raster Noton) and was issued as vinyl LP only, so this is in fact the first time the album has appeared on compact disc, not only this but Basinski has kindly bumped the package up with an extra 15 minute track. It’s not like you should need much coaxing to invest in a Basinski record, but seriously this one is worth taking notice of – we are all big fans of his other shortwavemusic exploration ‘The River’ (on Raster Noton) and this epic series of compositions is easily comparable. Using fragments of muzak recorded from the radio, Basinski chopped, re-pitched and looped these familiar elements to procure the haunting waves of sound on the record and then draped them in a gown of shortwave static, humming and hissing in accompaniment. It is almost impossible to comprehend that Basinski was recording this stuff back in 1982, it still sounds so futuristic and prophetic, the delicate and sentimental ghost-like melodies and the sheets of echoing fizzing and buzzing. Basinski manages to make music which is at the same time distinctly referential of the past, or should I say respectful of the past, and uniquely forward-facing, and in such he manages to create music that is defiantly his own. He has hollowed out his own special place in the music scene, garnering fans from the oddest of places (Madonna??) and that’s in some part down to the fact that his music is just so beautiful, sidestepping academic concerns with ease. Anyone who dares suggest that instrumental music, that ‘experimental’ music can’t affect you emotionally just needs to take a listen to this disc; it is a collection of music that seems to suggest the end is near, the end of what exactly is up to you to decide? absolutely breathtaking in every way…

Space is directly involved in Peter Pannke’s alchemical compositions. His Music for Unborn Children uses four tanpuras arranged at opposite angles within a square. In each case, a man faces a woman, with the men playing female (high) instruments and the women playing male (low) instruments. A maximum balance, not only of instruments facing each other, but of performers who do the same things and also take from each other. Sitting at the centre of this mass of sound, the listener gets the impression of being inside the belly of a tanpura, like in a womb, and whilst feeling pleasantly secure in a state of equilibrium and harmony, all he or she wishes is that this state should continue for as long as possible.

01. William Basinski: “Cobalt Pools” (from “Shortwavemusic”, 2062, 2007)
02. William Basinski: “Fringe Area” (from “Shortwavemusic”, 2062, 2007)
03. Peter Pannke: “Teil I” (from “Music For Unborn Children”, Wergo, 1988)
04. Peter Pannke: “Teil II” (from “Music For Unborn Children”, Wergo, 1988)

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Sleeping Dogs Lie 07: Pete Namlook

The first two classic volumes of the Air series are also high-water marks for Namlook. Like the Silence series they show some rich ethnic and neo-classical leanings, and they remain particularly effective examples of how he utilises live acoustic instruments in an electronic framework . The delicate, tinkling cymbals and soft tom-tom beats on “Je suis seule et triste ici” from Air I, for instance, are utterly refreshing because Namlook is able to maintain a deep electronic ambient feel while still expanding the style’s instrumental vocabulary. Air II is deeply psychedelic. An eleven-part “trip” subtitled “Travelling Without Moving”, it takes it’s thematic cue Frank Herbert’s cult sci-fi book Dune as well as the David Lynch film of the same name. Herbert’s story posited a strange universe dependant on a life-extending, mind-altering spice drug. On Air II Namlook subtly draws on the story’s themes to create a beautiful, creepy, intoxicating universe of his own. Again he utilizes acoustic instruments: didgeridoo, sighing woodwinds, flamenco guitar, Mid-Eastern flutes, and swooping vocal textures that rise and fall to striking effect. They’re all integrated seamlessly, proving that despite his dancefloor origins he thrives by exploring outside the rigid structures of electronic beats and sequencing.

01. Pete Namlook: “Wind” (from “Air”, Fax, 1993)
02. Pete Namlook: “1st impression” (from “Air”, Fax, 1993)
03. Pete Namlook: “Je Suis Triste Et Seul Ici” (from “Air”, Fax, 1993)
04. Pete Namlook: “Spiritual Invocation” (from “Air”, Fax, 1993)
05. Pete Namlook: “Mystical Appearance” (from “Air”, Fax, 1993)
06. Pete Namlook: “Lost In Passion” (from “Air”, Fax, 1993)
07. Pete Namlook: “Travelling Without Moving – Trip 1” (from “Air II”, Fax, 1994)
08. Pete Namlook: “Travelling Without Moving – Trip 2” (from “Air II”, Fax, 1994)
09. Pete Namlook: “Travelling Without Moving – Trip 3” (from “Air II”, Fax, 1994)
10. Pete Namlook: “Travelling Without Moving – Trip 4” (from “Air II”, Fax, 1994)
11. Pete Namlook: “Travelling Without Moving – Trip 5” (from “Air II”, Fax, 1994)

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Sleeping Dogs Lie 05: Victor Sol, Niko Heyduck, Atom Heart

Aerial Service Area is an on-again-off-again collaboration involving ambient/electronic composers Victor Sol and Niko Heyduck. The pair have released two full-length albums through Pete Namlook’s Fax label under the name, both of which number among the finest of the already impressive (to say nothing of extensive) Frankfurt-based imprint’s titles. Combining bits of work compiled (both apart and together) over the course of nearly a decade, they are also some of the more enduring examples of minimal experimental electronic music to advance from ambient’s post-rave crop.

Victor Sol is a Barcelona-based producer whose list of credits includes collaborative works with Atom Heart, Charles Gate, and Dandy Jack; Heyduck has also worked with Atom Heart (most notably on +N’s 1996 album, Built, along with Sol and Dandy Jack). The pair began releasing music as Aerial Service Area in 1995, debuting the project with an hour-plus-long collection of deep, beatless ambient. Within a matter of only months, a second CD, 150 G Space Weight, appeared, again featuring a minimal, beatless stride of subtly shifting electronic textures. The project has remained in remission ever since, although a number of other solo and collaborative projects have appeared, including Sol’s solo debut for Rather Interesting, Paranoid. ~ Sean Cooper, All Music Guide

01. Victor Sol, Niko Heyduck: “Another Green Airport” (from “Aerial Service Area”, Fax, 1995)
02. Victor Sol, Niko Heyduck, Atom Heart: “Eternal 8” (from “Aerial Service Area”, Fax, 1995)
03. Victor Sol, Niko Heyduck, Atom Heart: “ETI Encoding” (from “Aerial Service Area”, Fax, 1995)
04. Victor Sol, Niko Heyduck: “Highlow” (from “Aerial Service Area”, Fax, 1995)
05. Victor Sol, Niko Heyduck, Atom Heart: “Liquid Water” (from “Aerial Service Area”, Fax, 1995)

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Sleeping Dogs Lie 03: Thomas Köner

Another in the series of Köner’s self-consciously chilled and mysterious albums created with the use of treated cymbals, Nunatak Gongamur truly pushes the bounds of not merely ambient music, but music in general. Consisting almost entirely of dark drones and bursts, separated into 11 separate untitled tracks but essentially one extended piece, Nunatak Gongamur takes as the source of its inspiration the ill-fated Scott expedition to the South Pole. Celebrated at the time as a glorious defeat in the war of man against nature, later investigation demonstrated Scott to be a charismatic but ultimately flawed leader, blinded in particular by some astoundingly incompetent judgments on his part. One of them, the use of ponies (plant-eating animals sent to a continent where their fodder didn’t grow anywhere), is noted with the cover art. Köner’s composition falls somewhere between a requiem for the loss and waste of the expedition and a haunting, extremely inhuman evocation of the endless snow and ice fields of Antarctica that the core members of the expedition struggled through and died in. The swathes of deep echo and occasional crumbling rhythm create an aura of paranoid fascination, at once weirdly soothing and increasing the nervous tension every chance it gets. When Köner adds variety to the music, the effect can almost be shocking — consider the sudden distorted whines on the third and fifth tracks, which with its slight echo treatment and the rumbling background moans could almost be a disturbing cry for help. Other times, tones barely lurk in the mix, only on the edge of hearing, like being caught in an endless cavern where something curious hides in the dim distance. The killer touch is the use of space throughout the album — silences of various lengths maintaining the air of mysterious threat. ~ Ned Raggett, All Music Guide

01. Thomas Köner: “Without Title” (from “Nunatak / Gongamur”, Barooni, 1990)
02. Thomas Köner: “Without Title” (from “Nunatak / Gongamur”, Barooni, 1990)
03. Thomas Köner: “Without Title” (from “Nunatak / Gongamur”, Barooni, 1990)
04. Thomas Köner: “Without Title” (from “Nunatak / Gongamur”, Barooni, 1990)
05. Thomas Köner: “Without Title” (from “Nunatak / Gongamur”, Barooni, 1990)
06. Thomas Köner: “Without Title” (from “Nunatak / Gongamur”, Barooni, 1990)
07. Thomas Köner: “Without Title” (from “Nunatak / Gongamur”, Barooni, 1990)
08. Thomas Köner: “Andenes” (from “Teimo”, Barooni, 1991)
09. Thomas Köner: “Ilira” (from “Teimo”, Barooni, 1991)
10. Thomas Köner: “Nieve Penitentes 1” (from “Teimo”, Barooni, 1991)
11. Thomas Köner: “Nieve Penitentes 2” (from “Teimo”, Barooni, 1991)
12. Thomas Köner: “Teimo (Schluss)” (from “Teimo”, Barooni, 1991)
13. Thomas Köner: “Teimo” (from “Teimo”, Barooni, 1991)

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