Pete Namlook
4Voice III
4Voice II was a classic, can this live up the pedigree? 'I Saw a Satellite' opens with self-explanatory voice samples before a dense collage of electronic layers carry the track to completion at 2.26. 'The Cosmic Pecking Order' starts with more voice samples, Arthur C Clarke being a particular favourite by the sounds of it, before a superb sequence opens and really starts to grab the attention. Dance rhythmics and a fine lead melody complete the picture, producing a hugely enjoyable sound which is thankfully bereft of some of the "deep meaningful heavyness" which can creep into Namlook's work.

'No Evidence' opens with female voice samples which sing the melody, it goes on for a couple of minutes in isolation and does start to get too much but percussion then enters and a better perspective is gained. The track then breaks into a pleasing rhythmic lilt with yet more samples (Armageddon seems to be another favourite) which work very well. Like the previous '4Voice' the synth lines again sound like synths should do - swept and rasping!

'Schmooz' starts with quirky electronic detail the a stabby bass sequence melds the piece together, with spacey pads weaving an excellent back-cloth. A guitar style synth vox then adds further lustre and the result is all rather hypnotic. The piece remains under-stated yet still full of interest, this is a track to savour. 'The Place of Mankind' opens with the same voice sample as track 1, then breaks into symphonic synth pads making you think Jarre has suddenly gatecrashed the album. A massive electronic dance beat then opens up and the music reverts to pure Namlook in explosive form. Arthur C gives us another two-penneth of his opinions but the music simply ploughs on - this track is a real cracker! Things get a little discordant and squelchy in the mid section but the beat soon reappears.

Finally 'The Space Driver' fires up with instant Moog style bass stabs and an offset dance backbeat. Claps and Hi-Hat then appear, it could be a drum machine demo piece, but it does sound great. Synth effects inevitably add further detail, but by-and-large it remains stripped down and squeaky clean, the main change occurring at the 4 minute mark where sequences come more to the fore in fine fashion and a marvellous synth vox sears through the soundstage.

One comment I would make is that some people may find this section a bit too commercial - it's almost EM pop! In fact it's almost too easy to like and it does make you feel slightly guilty that you aren't having to try harder to get into the music. Either way, a fine album - slightly short at 42 mins but still 5 minutes longer than Enya's new offering. (GG)

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