Review: Move D - The Silent Orbiter

 

For here 

Am I sitting in a tin can

Far above the world

Planet Earth is blue

And there's nothing I can do...

This month many Fax fans will undoubtedly be absorbing the sounds of The Silent Orbiter, Move D's tribute to collaborator and dear friend Pete Namlook. Released on the fledgling ...txt label, this is certainly a radical, experimental work and one ripe for interesting debate.

To frame this review: for anyone who many not have heard the album yet this is ambient music of the dark and spartan variety. The two alternating sounds that introduce the record could quite easily be those of an astronaut breathing and with little other musical colouring it very quickly becomes clear that this is going to best be enjoyed in a quiet, and perhaps darkened room with little in the way of interruptions. This is, dare I say it, a headphones album, a record that it is possible to climb into for a totally immersive experience - one long and expansive 54 minute track.

 

Following those opening sounds, a monochromatic drone is established and this gently ebbs and flows. As the album cover suggests the soundscape presented evokes an astronaut in complete isolation, looking down on the Earth, the milky bluey white glow of the third stone from the Sun contrasted sharply against the dangerous blackness of the void beyond. Glitchy static-like crackles are like the last gasps of a failing intercom system, accentuating the fact that this is a lonely voyage. The faintest of clanging sounds from somewhere within this orbiter could be the tolling of a bell, very appropriate as a part of what is essentially a requiem. By this point the mood established is dark, solemn, and the music austere. What we have heard suggests that our space traveller is experiencing something as deadly serious as the plight of the crippled Apollo 13.

As a drone continues to pulsate faintly, radio static-like noises occasionally cough, splutter and fizz and metallic clanging sounds are gradually introduced. It is as if a space station is slowly losing altitude, groaning and creaking, as gravity drags it back towards the outer reaches of the atmosphere.

As the piece progresses the various elements of this shadowy, cinematic space odyssey each become more prominent. Fuzzy radio static flutters and pops and sounds like metal being stretched are accompanied by contorted grumbles and moans, not to mention a persistent ominous tone, suggesting cosmic winds or a strong gravitational pull. The merest hints of a much more conventional tune appears but just as quickly it is gone, flying off somewhere into the jet black ether. As pulsing, banging and clanging noises intensify, a sombre and solitary drum seems to pound with a menacing and insistent thud. The static become like a lead instrument, crackling deliciously as this orbiting life raft seems to be spinning out of control. This is like being trapped in a broken washing machine drum, as it tries to spin, gathering a slow but scary momentum. As re-entry starts to seem inevitable can our lone traveller survive?

During the last 12 or so minutes of the recording the thudding drum, and indeed some of the other elements become oddly peaceful. This is like the oars of a boat, as it rows off into the heavens on some final cosmic voyage. In the closing seconds a zapping sound suggests a light switching off, as if a great star has suddenly disappeared from the sky.

 

So, given these descriptions  is listening to The Silent Orbiter actually a pleasurable experience? Although it isn't colourful or melodic this listener would argue that the answer is an emphatic yes. This is largely akin to watching a tense sci-fi film. There is a dark intensity that makes for plenty of drama but also a strange peace in the end.

Amongst all of this let us not forget that this record is a requiem for Pete Namlook and given both its sombre tones and the fact that it vividly presents an escapist sound world to explore I would argue that it more than lives up to its billing on a couple of fronts. That Move D recorded something so out of character...arguably the antithesis of his usual colourful style before Pete Namlook's tragic passing, only to realise the purpose of the piece later on is rather eerie.

This is a brave, experimental record that doesn't really work as a casual experience and may suffer if approached with any preconceptions, either about Move D's music or what an ambient record should be full stop. I guarantee you will have heard nothing like it before and may never again...

Die Welt ist Klang - Disc one review

After what must have been a tremendous amount of work for Dave at Carpe Sonum Records, not to mention all of the artists involved, the physical version of Die Welt ist Klang, a mammoth eight disc tribute to Pete Namlook is almost upon us. Four discs of sounds from Fax alumni - those who recorded for the label and four discs of music by the fans, all housed in beautiful digipak CDs, featuring diagrams/photographs etc. of the synths so beloved to Namlook. These will sit in a sumptuous wooden box with sliding lid. So what does it actually sound like? Well, eight CDs of music is a lot to take on board but here's a review of the first disc. I will add both extra text and images to this post as I review the rest of the CDs and when I receive my copy I will try to post a few images of the packaging as well.

The tribute begins with By a River (for Peter) by Bill Laswell and ex-Parliament/Funkadelic keyboard player Bernie Worrell. On this occasion Worrell is playing the Fender Rhodes electric piano and helping to create some beautiful atmospheres. Ambient with more than a hint of jazz and gradually a gently played fretless bass is also introduced. This could have very comfortably sat on a fusion-era Miles Davis album but I am referring to the reflective, rather than turbulent side of that phase of the jazz master's journey. Perhaps the jazz element pays subtle tribute to Pete's musical background but this is a suitably stunning opener with the Fender Rhodes evoking trickling water.

Speaking of which, David Moufang's Regentropfen (Variation 1) is next. This starts with the sound of dripping water, as piano somnambulistically and almost metronomically sways backwards and forwards between two chords. This becomes quite hypnotic, the sound of water droplets splashing and falling rain abruptly appearing, as if out of nowhere, and disappearing just as quickly - the aural equivalent of sticking pieces of paper together to create a collage. The piano parts also sound as if they have been cut and pasted - a clever and rather unique approach.

The liquid theme continues with Eraldo Bernocchi's She Came Dancing Across the Water. This reminds me a little here and there of Maurice Jarre's beautiful soundtrack for the film Witness. It also wouldn't sound out of place alongside the very best releases from Brian Eno's classic period. Along with the previous offering, this track underscores the fact that this box set is an epic requiem for an absent friend. A very (very) slow lead guitar part is played over a haunting guitar drone....yes: you may not guess it but I am reliably informed that everything on this track comes from treated guitars. Intensely beautiful but also slightly unsettling (a mood that understandably returns time and time again over the course of this box set).

Miss Silencio and Dr. Atmo's Floyd (Pink Mix) is actually a different mix of the track Wolkeweich from their recent collaborative album Hush! What sounds like (but probably isn't) very soft swells of guitar, harp and layers of ethereal sound are joined by keyboards, seemingly played as softly as possible and to listen is like being carried off to the clouds. Possibly the track that the word 'ethereal' was invented for?

Next up, Steve Stoll has chosen to contribute what is probably the most tender moment from his excellent recent analog synth odyssey Praxis. Unless this reviewer is mistaken Part XIII, a lovely theme is extended here and it is great to have a longer version that stretches out a little.

Daniel Pemberton's Opaque 10, one of the tracks from an unreleased album recorded in the late '90s reminds this writer a little of those amazing Cluster and Eno collaborations from the late '70s - no bad thing, of course. Perhaps a little darker than some of that material, this pensive, wistful and suitably sombre piece begs the question: will we ever hear the full work?  On the strength of this track we can only hope so.

Public Transformation by Blaine L. Reininger (who appeared on Sound of Heaven by U V O I I) suggests dust blowing up desert roads with its swells of slow, echoing guitar and plaintive violin, while Saving a Space (for Wherever You Are) by Audio man Daimon Beail and Autistici (David Newman) presents ten minutes plus of drones that underscore the diversity and magic of this compilation. The sound seems to shimmer and this is akin to watching sunrise glowing on a city from the top of a skyscraper.

Universal Cubensis Afterglide by Ishqamatics (Lee Anthony Norris & Matt Hillier) could be described as a slice of weightless, cosmic travel and continues in the tradition of their excellent recent album Spacebound.

Carocell by F.U.S.E. (aka Richie Hawtin) is a recording from the same era as the first couple of From Within albums. Previously included on volume three of the compilation series Blueprints for Modern Technology this piece has largely remained hidden for twenty years. It's great to have it back. The track fades in with multiple, layered sequencer patterns: fast/slow. In the tradition of Hawtin's music this is glacial and yet possesses an unusual beauty. Basically it fits perfectly alongside those Namlook collaborations. Genius.

Subway by Spacetime Continuum (aka Jonah Sharp) presents an outtake from the classic 1993 album Sea Biscuit. Fax fans are probably going to find this icy and slightly menacing sonic portrait, suggesting urban alienation to be essential stuff.

Epic. Absolutely epic and that's only disc one. As mentioned, this post will grow, as I review each disc in the box set so expect more in time...

If you haven't ordered your copy of Die Welt is Klang yet you can do so using the link below and the tracks are available to stream so you can listen before you take the plunge. For the Fax fan: essential and a fitting tribute to the great Pete Namlook.

http://namlooktribute.bandcamp.com/album/die-welt-ist-klang-a-tribute-to-pete-namlook

Review: Pete Namlook & Gabriel Le Mar - Namlook Le Mar (2009) PK 08/187

A meeting between two electronic musicians as adaptable as Pete Namlook and Gabriel Le Mar was always going to be an interesting proposition and collaborations such as this always beg the question: What will the resultant music sound like? On this occasion the answer is a grab bag of different styles.

Acidflow is a slow and steady introduction to the album, Le Mar's machine-precise techno adorned by Namlook's trademark synth leads. The tempo picks up somewhat with Springtimer, the funky, hypnotic electronic elements fitting snugly together and moving as effectively and efficiently as components in a watch. This is club music rendered in slow motion and Namlook's contribution, a clean jazz guitar part shouldn't work but does. Only someone with Namlook's experience and disregard for fads would have attempted such a thing and he takes what would have seemed incongruous on paper and manages to pull it off.

Deepa is one of two expansive drones on this record (the other being Flow) and each of these represent the sub-genre at its finest. This is music that will most likely leave you slack-jawed with awe; perfect for contemplating the mysteries of life and consciousness, the inter-connected web of nature and the true scale and composition of the universe. I could go on. In short these cavernous washes of sound seem custom designed for chewing over those big, profound questions. We may never know who contributed what to this record but my money is on Namlook having being the prime mover with these drones.

In Time is a slow, thoughtful track, once again tapping into the more spiritual side of Namlook's work. Very delicate, rippling sequencer patterns come and go and there are sweeps of electronic sound, while Namlook's beloved Roland V-Synth (so ubiquitous on those Move D collaborations)  is used to slightly distort vocal samples. Listening is like slipping in and out of wakefulness and dreaming.

To these ears Jetzt is the only track on this album that doesn't entirely work in the context. All aboard for clubland with a simple, thumping bassline and words presumably created by programming them into a Speak and Spell (a children's toy) - a clear tip of the hat to Kraftwerk's immaculate Computer World album. It's not that the track is bad. In fact the repetition proves to be trance-inducing and this is funky stuff but it doesn't sound entirely at home on an album that is largely thoughtful and reflective. On the other hand, this is another facet of the work of both collaborators and only serves to broaden the material on a colourful, diverse and highly enjoyable record.

Forthcoming...

Hello Fax lovers. A slightly late Happy New Year to you! Hope all is well wherever you are and that plenty of Fax music is finding its way on to stereos/computers/iPods or whatever you may use to get those sounds flowing in 2014.

First thing's first: Before I go any further time for a quick look at some of the frankly rather tasty music that is coming out on Psychonavigation Records in the first half of this year. In the last few months we have already had Hush!, a great collaborative effort between Dr. Atmo and Miss Silencio. This record veers towards the more melodic, ethereal side of ambient with soundscapes provided by the ex-Fax man and some nice keyboards from Miss Silencio. I'm really pleased to report that Atmo still has it, big time.

This week a copy of the brand new Steve Stoll album Praxis arrived on my doormat. Interestingly this release is dedicated to the works of three female electronic music legends: Daphne Oram, Delia Derbyshire and Laurie Spiegel. 

Now I must confess that I'm no gear expert but with what sounds like predominantly analog soundscapes Praxis had me dreaming of wires big time and reminded me of how nice it would be to splash out ridiculous amounts of cash on an old modular synth. If you enjoy experimental electronic music from the very old school (and I do) I'd imagine you're going to really like this one.

Next up we can look forward to Lorenzo Montana's latest album Leema Hactus, which is due out on 10th February in a limited run of 300 CDR copies. Once again, I can't profess to be an electronic music gear expert but from the clips I've heard it sounds as if on this outing Lorenzo has mixed his trademark style with hints of some much older school sounds. Am I right? We shall see. The teasers are sounding great.

Then in April we have Tales Retold, a remix album of work taken from Mick Chillage's Tales from the Igloo album. I believe that Peter Benisch is remixing one of the tracks and Chillage mixed by Benisch is cause enough for excitement, I think! This will be released in a limited run of 300 CDR copies with a special ejector jewelcase and six page booklet.

Speaking of Peter Benisch, Waiting for Snow seems to be one of the most well-loved Fax albums and not without good reason (a review of this one will hopefully be coming to NMLK soon). Curiously, Benisch never followed this up with further Fax albums but in May Psychonavigation will be releasing his latest effort, Broken Chords as a limited edition of 300 CDR copies. Once again this will come in special ejector jewelcase with a six page booklet.

...and last, but definitely not least another electronic music legend: Oliver Lieb's Inside Voices will be with us in June. Anyone in possession of Music to Films or indeed any of Lieb's myriad other releases will know there is cause for serious excitement with this and it will be released in a limited run of 500 CDRs, once again with an ejector jewelcase.

So, that's a quick round-up of all of the ex-Fax artists with releases coming to Psychonavigation in the first half of 2014. Something to look forward to almost every month until summer.

To pre-order any of these releases see here: http://psychonavigation.com/

So, what next for the NMLK blog? Well, as mentioned there is a very big interview almost ready to post. This is currently waiting to be checked over by the interviewee (as I couldn't hear every word on my dictaphone tape) but he's a busy guy, flying here and there all over the world. Hopefully coming soon, though...

I have also already started work on a review of  the epic eight disc Pete Namlook tribute box set Die Welt ist Klang and this will be posted when I've managed to properly take on board many hours of fantastic music.

If you haven't ordered a physical or digital copy of this you can still do so here:

http://www.carpesonum.com/s01.html

...and finally I'm planning to post more reviews for Fax releases. As 2350.org has already done an excellent job of allowing fans to post reviews of Fax releases up to 2008 my plan is to first focus on the releases from this point onwards (with some exceptions)...

So, all of this to look forward to in 2014. Here's hoping for a great one. More soon....

The Autumn Collection

Greetings, pop pickers! Hope all is well in your worlds. While I wait for the latest interview to come back to me (the interviewee is checking the tape transcription because a handful of words couldn't be discerned from the recording) I thought it might be nice to talk about some of the music I've been enjoying in a big way recently....which brings us to what I call The Autumn Collection - that is some of  the more recent releases from those Autumn of Communion chaps Mick Chillage and Lee Anthony Norris. Now, as most of you will know the last album released on Fax was the stunning Autumn of Communion, a record that was somewhat bucolic but also seemed to drift off into the cosmos. A starry night in the forest, perhaps? Since then we've had Autumn of Communion 2 and most recently on Norris' own ...txt record label Autumn of Communion 3 and also 3.5. I don't know if it's my imagination but each successive collaborative release from the AOC guys seems to float further into space. Number 3 in the series is a beatless affair that charts the deeper reaches of the great black beyond and the extremely limited edition 3.5 takes one of the tracks from their third installment, Rhea, and stretches/treats/remixes it pretty much beyond recognition. One long, cosmic expanse of music, clocking in at 56 minutes. Excellent stuff!

The physical copies of both of the latest AOC records are sold out but you can find digital versions on Bandcamp here:

http://autumnofcommunion.bandcamp.com/album/autumn-of-communion-3

http://autumnofcommunion.bandcamp.com/album/autumn-of-communion-35-rhea-explored

 

 Other albums I've been enjoying recently have included Lee Anthony Norris' collaboration with Porya Hatami, Every Day Feels Like a New Drug: 

http://unknowntonerecords.bandcamp.com/album/every-day-feels-like-a-new-drug

This is a very gentle, pastoral affair and after listening I find myself wanting to dig out my Hans-Joachim Roedelius records, which can only be a great thing.

The Angling Loser, on the other hand, is a sort of concept album, starting with Dawn and working its way through 24 hours until the music arrives at the beginning of another day. All of this paints images of reflective moments by the waters edge and it is a truly lovely effort. The deluxe version comes with a disc of remixes by Stormloop, Porya Hatami, Solipsism, plus others and much praise must also go to Colin Herrick of Time Released Sound for producing some of the most elaborate packaging you're ever likely to see for a CD. See here:

http://timereleasedsound.com/shop/releases/the-angling-loser-deluxe-version/

His packaging for the splendid Winter's Fire by Ashes of Piemonte (another Lee Anthony Norris collaboration, this time with Wil Bolton) was equally amazing:

http://timereleasedsound.com/releases/the-ashes-of-piemonte/

Whilst I'm discussing the Ashes of Piemonte I'm just getting to grips with their second album, a double CD titled Datura Notes. Four very lengthy, lush, drone-based tracks. Dense, yet very chilled out and with plenty of musical detail along the way. A beautifully textured record. The physical releases of both of the Ashes of Piemonte albums are sold out but you can get the digital versions here:

http://theashesofpiemonte.bandcamp.com/

 ...and a couple of days ago the second Ishqamatics (a collaboration between Lee Anthony Norris and Matt Hillier) CD, Spacebound popped through my letterbox on it's travels from Italy. I'm listening to it for the first time right now. Whereas their first record, Earthbound featured some rhythms (albeit subtle, inventive ones) the second installment does exactly what it says on the tin, gently drifting off through the ether to beatless destinations unknown. There are also some recurrent themes here and there, nicely connecting the two records. Basically if you like Autumn of Communion then I'd imagine you're going to go for both of these albums in a big way.

Get your copy of Earthbound here:

http://anodizesound.bandcamp.com/album/earthbound

The physical release of Spacebound is currently sold out but no doubt it will be getting a digital release soon.

Lee Anthony Norris' ...txt is undoubtedly a real label to watch in this post-Fax ambient world and you can keep up-to-date with the releases here: 

http://www.txtrecordings.co.uk/

...plus keep up with the man's myriad projects on various labels here on his tumblr blog:

http://leeanthonynorris.tumblr.com/

Here's a sneak preview of Autumn Star, from the forthcoming  Lee Anthony Norris project Echo Ark (to be released as a Nacht Plank album):

https://soundcloud.com/txt-3/nacht-plank-autumn

Whilst we're talking about exciting labels Carpe Sonum is releasing some absolute gems, post-Fax.

 http://www.carpesonum.com/

With Die Welt ist Klang, a mammoth Pete Namlook tribute box set coming soon we also have Mick Chillage's next CD Saudade to look forward to in the not-too-distant-future. Check out a sound clip here:

 https://soundcloud.com/mick-chillage/saudade-album-teaser

Moving away a little from Autumn of Communion and connected projects Carpe Sonum is also now serving up Thomas P. Heckmann's The Lost Tales Vol. III.

 Order it here:

http://www.carpesonum.com/s03.html

 ...or if, like me, you live in Europe a release is imminent through Kudos Distribution. See here:

http://www.kudosrecords.co.uk/release/SEIZEIII/Thomas_P_Heckmann_The_Lost_Tales_Vol_III.html

So, what next for the NMLK blog? Well, as mentioned previously there is a very exciting interview coming soon and I hope to be getting back to doing some reviews of Fax and new releases soon, even if they will probably be shorter than before. I'm playing around with making a bit of electronic music myself now, so the weekends seem to get eaten up quickly. Anyway: I'll be back again soon. In the meantime enjoy all of the great Fax and related music out there! 

Pete Namlook 1960-2012

One year on. Gone but not forgotten. The music lives on.

A very special interview will be coming soon to NMLK as a tribute to the great man.

Dr. Atmo interviewed

 

Q: Am I right in thinking that you were born in Iran but left in 1978? Was that as a result of political unrest? What do you remember about your early years?

A: Well, my dad brought me out of Iran three weeks before the revolution and went back, in the hope that I could go back after school and university. I was 12 and grew up with friends of his and later by a very nice but conservative family. I remember a country full of lovely people, landscape, culture and great food. It was before our country pushed to the wrong direction. I hope we can see laughing people again in this country.

Q: ...and the next stop was Frankfurt? Is that right? You ended up DJing at a club called XS. Can you describe the scene at the time and how you became a DJ and musician? It seems that there was a massive scene for techno in Germany back then?

A: I grew up in Frankfurt with very talented personalities and their styles, like Mr.Väth, Talla 2XLC, Bijan Blum, DJ Dag, Mark Spoon and many, many more. I met most of them at a young age (15-19), as I worked in a record shop. In the night, I brought them the newest records in the clubs and enjoyed their sets and started to make light (light jockey) for them. Frankfurt was full of creative people and makers and it influenced me a lot for sure, as I started to study architecture, got many jobs to design shops, offices, studios, flats AND clubs like Omen or XS. As I heard that XS want to make a chillout night and I loved downtempo music, I applied for the job and my first nights were totally packed. So they became my own “Atmo nights”.

Q: How and when did you first meet Pete Namlook? Was that at XS? Can you remember the first time you met him and how you decided to record music together?

A: I remember a guy from Boy Records came to XS with company (Pete) and he introduced us. Pete had just moved to Frankfurt and enjoyed my sets for weeks and so we got to know each other better. He told me about his music career and job as software programmer and I told him about my visions for architecture and music. He invited me to his studio and it was my second production (first with PCP). I brought lots of music and samples with me...and Silence was born.

Q: I’m really fascinated by this period when various musicians (yourself obviously included) went from playing techno to branching out and also playing and recording ambient music (this mixture is very much in evidence on the Escape double CD that you recorded with Pete). What do you think the catalysts for this were? Was there something you guys were listening to that influenced the move or was it simply a natural move to making some chilled out music?

A: I never DJ'd  as a techno dance DJ but I love that music for sure. For many artists it was very stylish to have a kind “chillout” version of their dance tracks. For me it was not a new kind of music - it had only a new name that the techno generation was totally in love with. Every rave must had a chillout room and I played in lots of these rooms for hours and hours. ;) I played older stuff like Tangerine Dream into The Orb, perhaps. Or David Sylvian or Can  into Mixmaster Morris or Aphex Twin albums. For me the point was that you can not got the future if you don't know about past. So until today my sets are always a trip from '50s...'60s to present.

Q: I once heard an interview (I think it was with The Chillage Idiots radio show) when Pete described Silence as his big breakthrough at Fax…the record that made people stop and take notice. What do you remember about recording this and the follow up, Silence II?  What was it like working in the studio with Pete? Can you remember how you worked together?

 

A: Well, Silence was his first real full ambient record on his own label. After a few A&R call offs, he decided to start with the own label called Fax. And even for me Silence was the first record with all my passion and with my new artist name on it. Working with Pete was great at first and for sure always with great results. We both were zodiac sign Sagittarius and that couldn't work for long time. So after Escape we decided to work separately. He came in touch with my friends Move D or Mixmaster Morris and was more interested to work with them, as he made ​​me feel very often then. So I started to work with others...

Q: Who provided the mysterious voice on those Silence records…the guy asking the questions with the really deep voice? (-:

A: To be honest, all those mysterious elements came from my music collection, especially that Silence voice.  I bought that tape in a new age meditation shop in Hamburg years before and chilled to that voice many, many times before Silence was born.

Q: On those first two Silence records and the Sad World series there are strong ethno music elements. Did you tend to get those from field recordings or did you ever bring musicians into the studio to provide the sounds?

A: Pete's place was not that big in that time and so we couldn't record live. But by the time of my collaboration with Ramin as Sad World we could record a few musicians and artists around at Ramin's dad's. It was always a great moment when you saw/heard all of those old instruments on new beats. Goosebumps were guaranteed! And it happens again and again, like last time recording for my new band, Atmo and the Lightz.

Q: Do you have any particular memories of working with Ramin on the Sad World records?

A: The biggest moment that I will never forget? His dad performed an old Persian poem on Sad World 2 and we all started to cry by the first play...

Q: You recorded three albums (The Whole Traffic, The Whole Traffic II and A Day in the Park) with Pino and Wildjamin (aka The Basalt Boys). How did you meet those guys and what do you remember about recording with them?

A: Pino is Iranian too and he enjoyed my sets in XS and asked me to listen to their stuff. Benjamin Wild (a famous producer now) and Pino had lots of stuff and I started to rearrange and edit it. At the end we decided to create all of those as new projects and Pete was very interested in all my stuff. So it all went out on Fax, for sure.

Q: Music to Films, the album you recorded with Oliver Lieb, must be one of the most interesting and sought after records in the whole Fax discography. I’d argue that as a soundtrack to Koyaanisqatsi it is more powerful than Philip Glass’ music. It certainly lends a darker atmosphere to the film. How did the idea for that album come about? How did yourself and Oliver Lieb work on it? A great deal of time clearly went into making sure that all of the pieces of music sync up perfectly with the images in the film.

A: Working with Oliver Lieb was great for sure. I designed his studio in the same time that I did the studio design for Pascal Feos too. And my charge was to produce a album with them. ;)) Mixmaster Morris called the Music to Films idea a “one million dollar project” and this made Pete very jealous. I knew that a few licensing requests were not answered for this album. Sad but ...

Q: Do you have a favourite Fax album or favourite Fax albums?

 A: Dreamfish, Silence.

 Q: Which of your records are you most proud of?

A: On Fax: I.F. 1&2 – Intergalactic Federation (Moufang & Atmo). On my own label, Brillianttree, Atmo & the Lightz - Eclectic, where I recorded with 12 musicians, all from different genres. Three years of lovely works and lots of Berlin gigs are the result. Love also the double CD package that I designed too as a 10 inch cover ;)))

 Q: Did you keep in touch with Pete through the years?

A: Not much. The reasons are private and after years I can say partially my fault too for sure. He helped me a lot but he got lot from my side also. He should rest in peace and it was very sad to hear that bad news.

Q: You have a CD coming out in September on Psychonavigation Records with Miss Silencio called Hush! From what I’ve heard it sounds great! What can you tell us about this one?

A: Well, the project with Miss Silencio is more smooth, sensitive and melodic. Not so dark as the all other ambient records. Hush! is a very deep fluffy trip, also with nicely played instruments, like harp or zither and female voices that I love too.

 Q: …and finally how would you pay tribute to the great Pete Namlook in words?

A: I want to thank him for all of the music that we did together and excuse me if something went wrong in the past. Music should be forever and his will be for sure! Rest in peace, Peter... 

Chris W. and all citizens of the Intergalactic Federation would like to pass super-mega large thanks to Dr. Atmo for taking the time to answer these interview questions. Hush! is available to preorder now from Psychonavigation Records:  

http://psychonavigation.com/post/56902363285/psy077-miss-silencio-dr-atmo-hush-artist

...and to keep up with Dr. Atmo's latest musical adventures look no further than the Brillianttree website:   

http://brillianttree.com/