Pete Namlook & New Composers Russian Spring

This CD is a collaboration between German techno/ambient pioneer Namlook and the 'New Composers'. The 'New Composers' are in fact a group of Russian ambient musicians from St Petersburg. So, an interesting disc in prospect I think. We are presented with 'Russian Spring' Parts I to XIII. The index points are only here to allow us to locate fave parts, this is essentially a continuous suite of music in the true ambient tradition. A Pulsing organ-like tone, bass pulse and simple arpeggios form the backbone of 'Part I'. Occasional percussive 'ticks' and atmospheric accent sounds add colour and detail. The arpeggio begins to twist and turn melodically after a minute or so, reminding me of some of Kraftwerk's early, ambient moments. It's short, accessible and rather beautiful. A promising start.

'Part II' opens with a shimmering drone and bright glissandi. A vocal sample is introduced and manipulated – its topic is, appropriately, Russia! We merge into 'Part III' with abstract sounds, they inter-cut the sample, and include the natural sounds of water and animals. We also get warm pads and meandering, melancholy motifs. The mood is highly evocative; suggesting relaxed but mournful contemplation. Slightly unsettling bass throbs alert us to the next index point, 'Part IV' has arrived. Essentially, it's 'Part III' with the addition of a very fluid bass guitar part. We fade to the sound of water before a luscious organ sound marks the start of 'Part V'. The organ pulses rhythmically, but also creates a very beguiling melody. A steady, but slow bass 'thud' adds more rhythm. The sound of birdsong and a low drone move us into 'Part VI'. Beautifully played guitar adds a different flavour to this ambient brew; again it's tasteful and very accessible. This actually reminded me of John Williams work with Sky! Treated vocal samples and synth effects remind us that we're listening to Namlook on the Fax label however!

'Part VII' begins with synth arpeggios and 'that' organ pad. The organ tone is something of a harmonic motif, but it is a truly stunning sound. A subtle bass guitar part anchors the track whilst the arpeggios multiply in number and move around the stereo field hypnotically. Things become more tranquil for the start of 'Part VIIII', we simply have a sustained pad, simple melody and very low-key beats. 'Part IX' has a celestial feel, with notes shimmering and dying in the atmosphere like shooting stars. A crystalline digital pad rises and falls in time with the notes. A more atmospheric and haunting track you'll go a long way to find I think.

An urgent, sustained organ note and rising synth tone set the melodic template for 'Part X'. This one has an unsettled feel, as if something is building but not arriving – if that makes sense? Eventually we get treated, syncopated guitar playing – very much in the Fripp tradition. Acoutsic piano runs are an unexpected but interesting addition to the track. This is truly an inventive CD. We drop to a single drone for 'Part XI', which gradually rises and intensifies. A spare, piano like melody calls to a distant, analogue synth swell. Treated vocal samples murmur in the distance – we have another haunting track here, full of melancholy emotion. An abstract section, quite cold and sinister arrives after 4 minutes or so – a shame as the preceding 4 minutes was superb and I could have handled much more of it!

'Part XII' is another arpeggio-based track, and again features bass guitar, pulsing organ pad and vocal samples. The closing movement, 'Part XIII', opens in abstract fashion with disembodied effects and an odd 'marching', like rhythm. Odd notes flutter around the mix. And then it's over.