Pete Namlook
License to Chill
The album packaging is all very “tongue in cheek” however be sure that musically this is created with “deadly intent”. The 9 part ‘Deadly Mission’ weighs in at a touch over 54 minutes and opens with a superb collage of unintelligible voice samples mixed with gossamer synth pads. Acoustic guitar style synth detail is delicately added and proceeds to take centre stage and overall this is a class opener. Part 2 takes over and hints at resonating rhythm but it’s more a consequence of the atmospherics being given more emphasis, cranked up in the mix, backed by a collage of atmospherics. Part 3 finally releases the rhythm which was subliminally suggested in part 2. it’s a laid back percussive chugger with sporadic bursts of sequential detail. The vast synth layers continue to slowly writhe beneath the newly formed structure creating quite foreboding imagery.

The rhythms subside and part 4 returns to the sampled atmospherics angle.This is classic ambient territory, with lengthy pads and echoing effects before Part 5 explodes onto the scene with shuffling rhythms which are left largely to dominate the opening exchanges. Synth textures then begin to swell in superb fashion, almost swamping the percussion. What happens next will have fans of “weird” in raptures. The pitch bend wheel takes a hammering and rides rough-shod over any musical preconceptions which dare to raise their heads. It’s tough going for a while and Part 6 comes as welcome relief. It’s a short interlude of the, by now, tried and trusted ambient formula before the rhythmic barrage returns, building expertly on a wave of reverse-samples. Part 8 - and yes, the percussive bombardment continues. it must be said it is put together with deceptive expertise, and the bass drum detail is mesmeric. Listen out for the continuous synth drone in the background, and those of a nervous disposition should be wary of the explosive and distorted effects in the latter section. Part 9 continues in the same vein, the rhythms shifting and mutating before a savage synth line signals the end of the road, leaving a loooong gradual fade.

This is one of those love or hate albums. It’s unforgiving nature at times will alienate some, and bewitch others. Perhaps its real guile is that it all sounds so effortless, and there are moments of startling genius to be found here. (GG)

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