2350.org - Psychonavigation 2

1. Under Heaven - After hearing the first disc, this is certainly not the first thing I would expect to hear. Conjures an atmosphere not unlike that in "Blue" from Gate/Sol, but in comparison this piece has several more instruments all contributing to the textures of this deep opening track. Some background pads evoke a wide open spaciousness while synth voices and a loose solo follow a moderately introspective theme. After some moments with chimes and other notes that add some texture, that titanium guitar sound from the Dark Side of the Moog series floats into view and then vanishes only to return again later slightly changed. I've learned to love Namlook's displays of melody gracefully sourced from guitars. A pleasant twist of melody from additional keyboards lends to the track a sense of intrigue. Bright synth rays radiate outward, yet something buried far in the back of your mind hints at darker times to come.

2. Blue Shift - Whereas the first piece lies at the lighter end of the spectrum, this one immediately plunges into darkness. The beginning is very similar to track 2 on Rich & Lustmord's murky outing "Stalker," but after a few minutes the elements are stirred up a bit. Deep, ripping bass waves. Movement and motion in the sounds, slow and shifting. Very foreboding, and the occasional faint bleeps of computers place this piece in the not-too-distant future. Overcast synthesis prepares us for aural entropy.

3. The Fate of Energy - Maybe I didn't know it during the first few listens, but this is the track I'd been waiting to hear from Laswell and Namlook. It starts out more orchestral or symphonic in sound, and a brooding guitar invigorates the background melody. This tension is held until about 4 minutes into it, then a rhythm kicks in. The carefully forged guitar sweeps into the periphery, wider and outward. Synths spring to life, all the sudden this track becomes quite active, much more so then those first 2. This part is also quite Moogy, which makes sense, as Laswell joined Klaus and Pete for the Dark Side projects starting with the "Three Pipers..." released only 2 months later. Basslines are laid down, and at 6 minutes some pulses erupt only to disappear soon after. A groovy jam laid down at the interface of darkness and light.

4. The Hell of the Same - We begin with distant clanging through reverb, then metallic droning. I recognize an almost aboriginal quality in these formless voices that reminds me once again of Dark Side of the Moog IV. Alien vocal processes hover, adding that eerie numbers stations feeling, while some more startlingly lucid voice action occurs. More aboriginal gurgling and some Air-ish rainstick FX join in. Now only the most obscure traces of slow melody remain. Very primordial.

5. Infinum - A short disruptive outro... hope you weren't sleeping!

(review by no@h)