Pete Namlook & Jochem Paap PP NMLK

An unusual new album from German ambient forces Pete Namlook and Jochem Paap, the former of which being renowned for his vast body of solo and collaborative work including the Dark Side of the Moog albums with legendary synth musician Klaus Schulze. This new project is another one of his famed limited edition releases and could be best described as a dark and menacing journey into the outer limits of sonic territory. A work that fits perfectly within the realms of kaleidoscopic spatial sound currents and effective sequencing work, all supplied in retro via an assortment of analogue equipment and gadgetry.

The set comprises of four pieces ranging from 7 minutes to well over 20 all of which are similar in structure and tempo. The opus to the set begins with a looped 'stuck record' effect. A bass drone is then added to enhance atmosphere and depth, gradually becoming more prominent as the piece develops. Further cosmic drones are added together with a backdrop of minimalistic chordal structures and the piece manages to retain its dark theme. In minor contrast lighter drones take hold, but the bass drone soon returns to the wall of sound, eventually coming to rest at around the five-minute mark.

An obscure mid to fast bass sequencer pattern opens track 2 and is shortly joined by another higher pitched loop, again becoming more prominent as the track progresses, but ending towards the five minute mark under a slightly panned and delayed mid- range drone. Obscure effects then take hold and it is not long before the bass sequence encountered earlier returns under further washes of obscure drone structures. It is just a minute or so later that once again the bass sequence disappears but this time under high-pitched drones. A bass drone then enters together with an array of new effects. At just under 15 minutes a new and once again strange sequencer line appears taking the piece to its conclusion.

Track 3 begins with a delayed drone section together with otherworldly and out of range effects and textures. A mid tempo and initially prominent bass sequencer pattern takes hold together with the now obligatory undercurrents of unusual panned textures and further spatial soundscapes. Another strange sequencer loop is added to enhance sonic awareness and direction, then its back to the solitary bass sequence which is becoming more obscure over time, eventually coming to rest under further cosmic textures.

Shimmering textures hover over the opening moments of track 4. Another of those 'out there' soundscapes enters, only to be joined shortly afterwards by a slow to mid range bass and analogue percussion sequencer pattern under a wash of further shimmering effects. At around 10 minutes the sequencer top line fades out leaving a trail of the bass loop in tow. A prominent reversed loop effect enters together with new sound textures and dynamics. This fades 4 minutes later and a new loop is introduced which ends shortly afterwards and if possible the piece takes on a more dark and menacing persona. In retrospect the sequencer pattern encountered at the start of the piece returns promptly and effectively but becomes slightly delayed towards its finale. Further washes of special effects, sound currents and textures draw the album to its conclusion.