Pete Namlook & Bill Laswell Psychonavigation 3

Psychonavigation 3 is the latest cd from the Namlook/Laswell camp and having not familiarised myself with the former two releases, this has come as a pleasant surprise and most certainly will to all those who prefer their music in the realms of the analog/cosmic side of things. A decent collection of tracks is to be found here, almost half of which are over 10 minutes.

Indeed this is music that is more pure cosmic/ambient than the previous warm, jazz tinged Moufang release and will favour those who have enjoyed the Definitive Ambient Collection or The Dark side of the Moog releases, the latter of which Bill Laswell has contributed to in the past.

The set starts with 'Telepathy 1' and is one of the longest tracks on the album at over 15 minutes. It has a very light/airy feel to it and the splattering of effects moves it firmly into the cosmic zone. A dark and mildly pulsating drone enters, becoming quite obscure with distinct resonation, but eventually it ends up being a rather effective soundscape. A theme is introduced later over an array of cosmic effects and a brief narrative or sampled voice maintains the overall atmosphere. Soon it's back into drone territory as before and this continues throughout the duration of the piece, which somehow has managed to remain sequence free from the offset.

Track 2 begins with an atmospheric motif and manages to effectively invoke images of a night out under canvas on a clear night, sky watching. Remaining in high register this is quite a simplistic, but nevertheless effective piece that seems like the perfect bridge for the track that is to follow, which incidentally leads the listener into thus far uncharted territory.

'Mind Tranceference Control' begins with a mid tempo bass sequencer. Low spatial drones and effects take hold only to be accompanied later by an assortment of light percussive textures at just under the 4-minute mark. Later in the piece we are treated to more of the abstract narrative/samples that had graced the first track and then it's back with all systems firing off again, complete a more prominent rhythm section and further underlying soundscapes.

A high drone starts things off for track 4, 'Mind Over Energy' but eventually a theme is introduced with some more of those voice samples, which appear to be reversed out. After 2 minutes a rhythm loop enters and a deep bass sound, upon careful listening, creates the theme. Sequencer patterns are added and an analog theme is introduced, creating a decent assemblage for an ancient and modern sound stage. The deep bass, having subsided earlier in the piece returns with force for a short time before entering atmospheric, voice sample territory again. String synths and various other analog noodlings take the track to its finale.

'Vocal PSI' is another of those simplistic tracks comprising only of dark drones which eventually rise to higher obscurity. At just under 3 minutes, this is another of those, quite fitting 'bridging' pieces.

'Telepathy 2' surprisingly sounds more like track 3 than an expected reprisal or continuation of the opus. A bass loop enters but the inclusion of more defined spoken vocal textures, both in female and male form creates its own and unique and somewhat mysterious atmosphere. Then it's back into sequencer territory and it is here that the connection between the aforementioned track can then be heard. A theme takes the piece to its conclusion in another moment of analog bliss.

The album finishes with a voice stating "60 seconds to lights out!" The question is, does it? The sleeve notes state that 'Lights Out' is only 1 minute in length but this is not the case. After the narrative a long section of absolute silence follows before quiet and menacing textures enter. This finale remains abstract and has a very distinct horror movie score feel to it with its metallic orientated stabs. Eventually this track rests around the 7-minute mark.