Nautilus Underground Visions

Nautilus combines the talents of Ralf Obel, (Sampler, Synthesiser, Sequencer), and Martin Ludwig, (Keyboards, Synthesiser, Sequencer). Beginning with the gentle 'Message of the Earth' the music's warmth envelopes you, evoking peaceful, tranquil meditation. Guest musician Werner Stratz's understated, melodic, Rother-like guitar phrases are backed by lush synth pads and sequencers.

'Express To Nowhere' features a tentative piano refrain, voice samples, and percussion before a fast marimba-like sequence kicks in with sprightly rhythms and provide a frenetic backdrop to some percussive effects and keyboard solos. Probably one of the less convincing tracks on offer on the set. 'Iceland' returns to Berlin School sensibilities with slowly building synth pads sequencers and atmosphere á la Arcanum. As on the first track Stratz's electric guitar is used to good effect before the gentle finale. 'Mysterious Underworld', inspired by Jules Verne's 'Journey To The Centre of the Earth', features some sprightly sequencer work, after a suitably evocative opening, and sustained melodic keyboard phrases and Berlin School trademarks in the first part 'Mushroom Garden', and rockier rhythms, whale sounds, and female Russian voice in the slightly less convincing second part, 'The Big Ocean'. 'On the Beach' continues the aquatic theme a little more convincingly here, set against rock rhythms, and unusually for the album, minimalist melodic interest courtesy of repetitive ambient textures.

'The Source of Life' returns to the faster sequencers, and more accessible melodies and rhythms, spoiled in places, for me, by some rather primitive percussion treatments and annoying voice samples. 'Volcano Ride' is one of the more impressive cuts featuring again, some excellent sequencer work and melodic backdrops. 'Back On Earth' slows the pace a little, but the sequencers are still high in the mix, this time underpinned with a steady incessant beat, and accompanied by effectively understated melodies. Finally, 'Earthdance' starts with a frankly disastrous dance rhythm and funky horn effects. There is even a deeply annoying whistle, oft deployed on dance records, which will either have you reaching for the off button, or a shotgun. Just as you think it can't get worse an annoying voice sample featured on an earlier track reappears again. However, things begin to get better after the four minute mark, as only the better elements of the rhythm track remain behind supporting understated, melancholic keyboard work. Although I found this to be an uneven set, the highpoints outnumber the lows and this will be of interest to fans of melodic Berlin School electronics. (SR)

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