Pete Namlook & David Moufang Koolfang 3 (Be Aware)

Koolfang is the collaborative efforts of Pete Namlook and David Moufang and for me having been familiar with the music of the former over the last decade this release heralds a new direction into hitherto personally unexplored territory, mind you I admit to not being familiar with the other Koolfang releases – somehow they managed to pass me by.

Being more used to his ambient/analogue works or indeed the Dark Side of the Moog releases with the legendary Klaus Schulze this album, as the notes suggest is 'dedicated to Neverending Love' and fits within the confines of warm, smooth ambient/urban jazz.

It is important to note that this release contains vocals on three of the six tracks, more aimed towards spoken word as to actual singing, although it does have its occasional melodic moments. The lyrics have a distinct sensual feel and in some respects this could well be classed as mood music… ahem I think we'll leave it there! Right moving on, try to imagine the last release by Mark-Almond (not the Soft Cell guy) 'Nightmusic' in a less ambient and more urban jazz orientation and you will have some idea in which area this music lies.

The album contains 6 tracks all of which are over 7 minutes and in honesty they are actually quite varied and interesting if you can steer yourself away from those 'lovers meet at sunset in cool bar' style lyrics. The instrumental sections however do have some of the recognisable ambient noodlery that can be none other than Namlook.

The first (title) track is indeed a good indication of the music on offer throughout, featuring the sultry vocal both in spoken and occasional harmonic but it trundles along on a bed (no pun intended!) of cool bass, warm synth chords and decent sequencer/rhythmic patterns.

'Don't be a Spooner' is the most ambient orientated track on this set and starts off with a reversed ambient loop and rhythm section. Additional obscure sequencer patterns combine forces in a thus far tuneless affair. Extra light percussive elements take hold and the piece moves through sections of effective transpositions keeping the attention of the listener.

Warm chords and a steady rhythm grace 'Fuerteventura' and its back to vocal territory, although all in spoken form this time. This piece invokes images of a relaxed coastal bar at sundown. As you may have guessed it is easy to loose yourself in this kind of music as it transports you out of the typical hectic working atmosphere of everyday life with great effect. A jazz electric guitar lead only helps to create further serenity within the piece.

The instrumental 'Jeanne' at just over 12 minutes begins in an atmospheric state with its occasional moments of underlying obscurity. Warm synth stabs enter together with an effective sequencer pattern. An interesting bass line and additional sequencer patterns enter over a light percussive section. A moog styled solo creates depth and interest as the piece moves into more stable territory with definitive rhythm loop and additional higher pitched sequence. Oddly enough his track meets its end on an almost neo-orchestral avant-garde level.

Hmmmmm….. 'All the Motions' is the last of the vocal tracks on offer but is not as suggestive as the title. Beginning with a pleasant electric piano motif the vocal section takes off over washes of hybrid effects and steady rhythm loop. Effective and pleasant but at the same time mildly mysterious. Jazz piano textures, although far back in the mix help add atmosphere before the vocal enters harmonic territory, sounding like a more laid back version of David Sylvian. In fact after careful listening this track has elements of the more obscure works of seminal 70's/80's group Japan. It is also the jazziest track on the album.

As if the love affair and warm cool climate of Fuerteventura has finally come to an abrupt end, 'Here Comes the Rain' could be seen as a fitting finale of the return back to reality in a less favourable UK climate. However this instrumental piece manages to capture the best elements of the previous tracks all blended together into a great cauldron of sound, featuring neo-classical undercurrents, initially darker chords and effective bass sequencer patterns. The latter becomes slightly delayed over time but warmer chord elements are added later. A solo lead then enters with occasional vocoder and in retrospect this track wouldn't be out of place on a mid 70's Klaus Schulze album, say Body Love 1 or 2.