Circular - Moon Pool

Ultimae Records: 2014

Circular was another act that got a bit lost in the Great Ultimae Artist Expansion of the late ‘00s. Already brimming with LPs from new-to-roster names like James Murray, I Awake, and Cell, the duo of Bjarte Andreassen and Jostein Dahl Gjelsvik (thank you, c+p!) made their debut to the label with Substans. It was a good album, but didn’t ignite much buzz when surrounded by much other high-class Ultimae music. I think the problem was part of its PR, quick to name-drop Circular’s musical influence as a selling point. Hey, having some sonic similarity to The Future Sound Of London’s not a bad thing, but when FSOL’s already releasing music of their own that same year (the Environments series, remember?), why not go to the source?

Even then, claiming Circular has much in common with ambient ethno-techno of the ‘90s is a hard sell within the current psy-chill scene. There’s been remarkable growth and evolution in the loosely tied genre, some of which Ultimae itself was instrumental in. Taking on an old-school leaning act may not sound all that appealing to folks eager for the cutting edge of chill-out stylee. This had to be on Circular’s mind in the half-decade since Substans: how to sound current while retaining the classic vibe they enjoy so much. I mean, the Ultimae Mixdown™ can only get you so far.

Thus we come to Moon Pool, and by George, Jove, and Jolly The Green Giant, I think Andreassen and Gjelsvik figured it out. Opener Lunokhod (named after the ‘70s Soviet Lunar rover missions) feels like an encapsulation of all the classy things one may find in ethno-chill, new and old. There’s Balearic samples (chants, acoustic guitars, the sea washing ashore), expansive pads enveloping you in an ethereal embrace, chirpy backing synths providing subtle rhythmic build before revealing thick, dubby beats in the back-half, and just being utterly lush on the ears. Not much else on Moon Pool quite packs in that much of a perfect blend, but considering Lunokhod’s the longest track here (thirteen-plus minutes), it’s not surprising it comes off like a centerpiece of this album, point man status notwithstanding.

While Lunokhod may be the highlight out of the moon gate, the rest of the album more than holds its own. There’s pure ambient bliss-outs (Selenic Light, Meteorites), mildly uptempo acid-chill (Ashlands, 3 Moons, the latter of which wouldn’t sound out of place on a Solar Fields LP either), a touch of the world-beat (Synchronous), and your obligatory darker Aes Dana collaboration (Imbrium). Tying it all together is a loose theme built around, well, Luna, giving this album a strong sense of journey from start to finish, no track deemed a pass, much less stand alone (beside Lunokhod at least).

Circular may not have been a sexy purchase when they first joined Ultimae, yet I see no reason to skip out on Moon Pool here. It’s as class an Ultimae LP as anything from the main players of the label.

Various - Greenosophy: Collected By Mizoo

Ultimae Records: 2012

What's Greenosophy's theme, exactly? The Fahrenheit Project series was straightforward enough, a showcase of Ultimae's roster and like-minded artists. Oxycanta had a 'sonic healing' thing going for it, and Ambrosia was a big, fat Greek party. Greenosophy, however, comes off little more than a compilation with a title that only exists because the other ones were either retired or in limbo. Heck, even the promo blurb isn't helpful in distinguishing this one. Regardez:

“Collected by our Swiss activist dj Cyril Miserez aka Mizoo, [ Greenosophy ] is a vibrant musical journey composed of eleven unique,hypnotic chapters. From deep ambient to lush progressive grooves, [ Greenosophy ] offers fresh chlorophyll visions, leafy rhythms and luxuriant melodies. Mizoo believes that music can develop a sense of empathy between people, philosophical reflections on our thoughts and acts; a point of view and a way of life he develops in this compilation.”

In other words, Mr. Mizoo made a mixtape.

Okay, that's not accurate. Greenosophy does have a small amount of uniqueness to it in how the music's arranged. It's rather like a DJ set in terms of musical flow, working a slow build, hitting a brisk prog-psy peak in the middle, and then ebbing away into chilled ambience. Makes sense, since Greenosophy was also the name of outdoor parties in Switzerland. And if Ambrosia was mostly a Greek showcase, this compilation’s all about the European melting pot.

There’s also a decent mix between Ultimae regulars and outside contributors too. Solar Fields shows up with Cobalt 2.0, and as Greenosophy came out the same year as Mr. Birgersson’s prog-psy album Random Friday, you bet this tune’s got ‘peak time in the psy tent’ all over it. Speaking of such settings, Cell’s Idea Spiral, an older ‘compilation-only’ tune, is presented to us in a lengthy live ‘edit’, nearly twelve minutes of mounting rhythms and evolving melodies growing upon each other. Miktek’s also here again with Flying Dots, marking his second straight compilation spot with Ultimae at that point. I think the label was growing fond of the Greek chap.

Plenty more musical avenues are explored on Greenosophy. Rildrim’s Tear-Blind Eye is all eerie atmosphere and paranoid bleeps – almost dark sci-fi ambient, with alien computers piercing the bleak black beyond. Getting into proper ambient techno territory with the touch o’ heavy dub is Liquid Stranger’s Minimum, while Ajja’s Nubian Sandstone takes the same aesthetic into prog-psy’s realm. James Murray, another Ultimae semi-regular, sets us on a meditative tribal-ambient path that TUU would nod approvingly for, and Cygna finishes things off with an almost New Agey soundscape of Broken Dream Of A Little Snail. D’aw, how perfectly twee.

Now that I think about it, Greenosophy’s remarkably diverse – guess that’s where I got that mixtape vibe from. I can’t say it’s an essential CD for chill-out collectors, but as with anything Ultimae, you won’t be disappointed should you spring for a copy.

(PS: I promise never to c+p PR blurbs again - reeks of laziness, it does)

Various - Ambrosia: Selected By Fishimself

Ultimae Records: 2011

The possibility always existed it could happen, that Ultimae would somehow discover yet another A-Plus producer out there, or one of their regulars would find some untapped well of enthralling innovation. At this late stage though, having consumed about all there is in the label's back catalogue, I'd settled into the comfortable notion of Ultimae no longer stunning me with surprising excellence, remaining content with the continuous class they put out. Then along comes Ambrosia, and I'm floored yet again. How. Do. They. Do. It?

First things first: what exactly is Ambrosia, beyond the mythological reference? The year is 2011, and Ultimae had one of their biggest annuals ever: new albums from premier acts Aes Dana, Carbon Based Lifeforms (two, in fact!), and shortly Solar Fields, plus putting a proper capper on their long dormant Fahrenheit Project series. So the Ultimae faithful were more than sated by this point, and with Fahrenheit Project ending on a high, there wasn’t much need for a totally new compilation series, especially one featuring relative unknowns like One Arc Degree, Sygnals, Memphidos, Max Million and Miktek. And who even is this Fishimself anyway? Harris Papadimitriou, eh. Must be Greek. In fact, these other names sound Greek too. Wait a minute... Amborsia... ‘food of the Gods’. Oh, now I get it; this is a showcase of Greek producers with similar stylee to the Ultimae camp. *audience slow-claps Dumb-Ass Sykonee*

Only two of Ultimae’s regulars show up for Ambrosia. Aes Dana gives us another of his ‘industrial minimal trance’ tunes in Distant Industries, while Asura’s V.A.N.T.A. hints at what Enigma would have sounded like had Cretu started during the ambient-glitch era – and even that tune’s got something of a Grecian tone to it. Not sure if including Miktek as part of the ‘Ultimae regular’ banner is apt with this CD, since this was Mr. Aikaterinis’ debut on the label, though he definitely became a staple of their compilations ever after. He even gets two tracks on here, Light Trails and Ominous Ride, both in his now-familiar sombre style of spacious grey synth pads and soft downbeat rhythms. Guess Fishimself figured Miktek was due for breakout status among the chill-out promoters, if only given the chance.

None of this surprised me going into Ambrosia though, since I’m well familiar with these names already. Nay, what threw me for a loop were the other tracks, and how they helped add a fresh dynamic to the Ultimae soundscape. These are, without a doubt, some of the heaviest rhythms I’ve heard from this label. Opener Sub Strata from Max Million & Gusk alone has an omnipresent bassline grumbling throughout; meanwhile One Arc Degree’s Distant Industries almost dips into proper jungle territory by its end. The remainder tracks aren’t as rhythmically unique as those, but retain enough distinct grit between them they aren’t lost in the typical Ultimae soup.

Ambrosia’s a great little Greek producer showcase. Ultimae should do more compilations like this for other countries. How about Turkey?

Solar Fields - Movements (Original TC Review)

Ultimae Records: 2009

(2014 Update:
I went on a bit about ratings systems and the curves by which music gets graded upon, my attempt at justifying why I scored Movements a 'mere' 8/10 for TranceCritic. Of course, my lack of ratings here renders such thoughts moot, and was honestly not worth the words spent typing it up anyway. While some readers may be curious why critics rate things the way they do, there's no ironclad rule behind it, most just going with gut feelings at the time they have to write their review up. If anything, it adds pointless content as a writer is distracted and even forced into validating why they settled on that particular score, and not something a smidge higher or lower. These days, I find it better just talking about the music at hand, how it came to be, and its lasting influences. The relative quality of a release should come through within the words themselves, no fallback on a hard rating required.

That said, I definitely under-rated Movements. Truth is I was still treading the shores of Ultimae's catalog, and having already been blown away by their output, I subconsciously thought they'd always hit the amazing highs that initially lured me in. Turns out they're human after all, but hey, I've yet to encounter anything from them that's 'just okay' either. This one, though, definitely comes with high recommendation, even half-a-decade on.)


IN BRIEF: Caravan of emotions.

The trouble with being so consistently good at what you do is that the level of expectation only ever goes up. Musicians in particular are held to this impossible barometer, which is frankly ridiculous - creativity can ebb just as much any athlete’s skill, though if one’s passion remains strong, that at least comes through in music. Still, such lofty expectations placed by fans on musicians and their record labels can be detrimental in the long run.

This really wasn’t the fault of Ultimae Records. When a record label seems to only go from strength to strength for half a decade, it will eventually hit that plateau of expectation, after which anything that doesn’t meet them seems inferior to which came before. Make no mistake, 2008 was still a strong year for Ultimae, just… not as impressive as the years prior.

Perhaps it was merely a brief lull for them, as they seemed more intent on promoting fresher talent like Hol Baumann and James Murray that year. For 2009, however, all the label’s big guns have stepped up: Aes Dana, H.U.V.A. Network, and, of course, Solar Fields (Magnus Birgersson), with word on the chill streets now being Ultimae is back in full force. Does this Solar Fields album -Movements- confirm this?

Well, the album is good - there was almost no doubt it wouldn’t be. Yet, compared to prior releases on Ultimae, Movements doesn’t quite reach the same peak. In fact, aside from a few instances, we’re treading familiar paths. Solar Fields paths, Ultimae paths, heck even downtempo paths. This is not a bad thing, just an apparent thing, and drags the score slightly down. After all, music does not exist in a vacuum; it’s continuously graded on a quality curve, and Ultimae artists have been held to an incredibly high curve, of which Movements doesn’t always hit.

More than that, however, is the flow of this album is somewhat… off. Most good albums follow a build-peak-valley-build-climax formula, but Movements is more like climax-valley-climax-valley-climax; in other words, the highs are incredibly high, such that whatever transpires in the interim comes off less compelling. Opener Sol is wonderful - simply beautiful to hear and easily one of the best songs I’ve heard start an album this year - but follow-up Circles Of Motion sounds like an extended ambient interlude. It’s nice enough but a major downturn coming off of Sol, as there’s nothing in the song to match it soon after. Going into mellow territory is fine, just perhaps not in such an abrupt way.

When I say there are numerous climaxes to Movements, I’m not kidding around. On my initial plays, I thought the album was coming to an end no less than three times. Sky Trees, Das Bungalow, and The Road To Nothingness are all riveting songs, any of which being the sort of production most would save for their big finale; yet, here’s Birgersson giving us three of them. It was disconcerting to hear Sky Trees the first couple times, as it felt way too soon for the finish of an album. Das Bungalow, on the other hand, seemed more logically placed, though still early considering Birgersson uses the full 80 minutes of the CD. And even Road To Nothingness was strong enough to fool me into thinking it was the final track, when lo-and-behold, there was still another to follow. Granted, once you’ve listened to Movements a few times over, you’ll get used to having these peaks spread out, but be prepared to be thrown off-guard for a little while.

There are other assorted sonic goodies scattered about too. Breeze makes for a tranquil finale-proper, easing us out with gentle meditative tones. The Stones Are Not Too Busy, as the cutesy title suggests, is a lightweight romp the more cynical lot of you out there will probably figure a bit overly twee. If so, the moody ambient soundscapes provided by the likes of Dust or Patterns should be more up your alley. As for the rest, well, I’ll let you discover them for yourself. No sense in me spoiling everything, right?

After all, my job here is to let you know whether Movements comes recommended or not. Short answer is yes, definitely. However, the long answer is if you are expecting Solar Fields to have provided yet another all-time Ultimae classic, your results may vary. The label has released better, of that there is no doubt. I’m not even sure if Movements is the best starting point for the uninitiated since Birgersson’s project has plenty more to offer than chill-out bliss; not to mention this is but a sliver of what you can expect of Ultimae. Beyond that though, you’ll find this album a welcome companion to your chill archives.

Cell - Hanging Masses

Ultimae Records: 2009

Of all Ultimae’s second-tier acts, Alexandre Scheffer’s project Cell has undoubtedly intrigued me the most. A regular contributor to the Fahrenheit Project, I think he earned Ace Track status on every single volume he had music on; heck, even on Part 5, where I stated the whole damn CD as ace, his Blue Embers was a highlight among highlights. Yet here we are, nearly half a decade since Cell dropped his first proper LP on Ultimae, and only now am I listening to Hanging Masses. If Mr. Scheffer’s music is as exceptional as I’ve claimed before, why’s it taken me so long to finally pick this up? Eh, likely for fear of disappointment, though given the track record of pretty much anyone releasing music on Ultimae, that should be the last concern.

More likely, he doesn’t release material at the same clip other Ultimae regulars have, so on the occasion I’ve splurged, it was easier buying the Pack deals rather than picking individual CDs. Sadly, Cell has no Pack option, but then he barely has any solo material on the label to begin with. In fact, his first album, Phonic Peace, came out in 2005, on the forgotten psy-chill label Indica Music, with several more tracks appearing on various downtempo labels – oddly almost all of the psy variety, given his music’s not terribly psy to begin with. Bottom line is scouring for every Cell tune out there isn’t easy, a slow deliberate process. Much like the music he makes, come to think of it. Oh hi, segueway!

I’ve mentioned Cell does ambient techno much like Carbon Based Lifeforms before, but he’s also restrained in his approach. For instance, after a bit of noodly drone and astral-chatter, opener Calling develops into subtle bleepy music accentuated with occasional haunting harmonizing pads. It doesn’t sound too removed from CBL’s early work, but whereas that duo would make such pad work a prominent, evolving feature, Cell keeps it understated. Yet, at no point does Calling feel lacking of melodic content either, everything in its right place with no need for grandiose moments. Really, when Mr. Scheffer presents us with music similar in arrangement but epic in scope with the titular cut, it almost comes off as overselling, so effective he is at spacey minimalism.

Hanging Masses is thus another difficult album to detail due to its relatively sparse tone. There are lovely synth harmonies in tracks like Second Shape, Part 2 and Universal Sunrise (ooh, I sense Solar Fields influence in there), quiet introspective delicacy with Vapor, and even mildly up-tempo moments with Risky Nap Under Blue Tree and the Aes Dana collaboration Switch Off. Overall though, my best description is as above: if you’re familiar with Carbon Based Lifeforms, you’re familiar with Cell. Don’t let that lead you to think Hanging Masses is some, erm, carbon-clone. While sharing similar aesthetics, Cell explores the subtle side of ambient techno, abstraction without ever diving deep into IDM’s wankier tendencies. Good music for those weaned on Namlook.

Miktek - Elsewhere

Ultimae Records: 2013

Despite pushing talent other than their core roster in the late ‘00s, it wasn’t long before Ultimae fell back on its usual standbys. To be fair, crafting albums of the nuanced richness the label supports does take time, made more so by the glacial rate anything gets released on the label. That another fallow period of fresh faces would follow isn’t too surprising, but we may be on the verge of another wave of releases from ‘second-tier acts’. Live albums from Circular and Hol Baumann came out last year, while I Awake just released another single. Two other artists, whom had prior material out on other labels, also joined the Ultimae roster, Lars Leonhard and Miktek. Both appeared on last year’s Oxycanta III compilation (holy cow, it took over half a decade to for a follow-up!), and while the former got a digi-EP release, Miktek got the full album treatment, making it the only such proper LP to come out on the label last year (Solar Fields’ Origin #2 and Aes Dana’s Aftermath 2.0 were more b-side collections). Glacial indeed, and so’s the music on this album. My God, that was a long paragraph.

Right, Miktek. This was the word I heard pitched down in some old tech-house record. No, wait, was it in a Frankie Bones techno single? Actually, I think it’s a shortened name-variation of the man behind the project, one Mihalis Aikaterinis as known on Greece passports. He’s released a number of ambient and IDM tunes on Greek experimental netlabel 33 Recordings, and self-released a pair of albums too; so some time in the trenches before joining up with Ultimae. He definitely offers a different style of downtempo for the label, though it may not be immediately apparent.

While they’ve dabbled in the realm of ambient techno, drone, and glitch, Ultimae, erm, ultimately remains a part of the psy-chill scene. The music on Elsewhere is quite removed from that, however. There’s more of a laptop, melancholy shoegaze tone throughout, and having track titles like Magnificent Desolation, Song Of The Burning Mountain, and False Dawn certainly help sell the mood. Gee, Ultimae, why so down of a sudden? There’s been somber moments in the past, no doubt, but Elsewhere gets downright lonesome at times.

Most interestingly, that trademark panoramic production is relatively absent here. While many of the backing synths sound full, they’re also distant, like gazing upon landscapes just obscured by fog. The rhythms, mostly on a gentle ambient dub bent, are incredibly simplistic, lacking thick texture that’s common in many Ultimae releases. Yet given Miktek’s style, Elsewhere wouldn’t work with the traditional Ultimae Mixdown™, a stripped aesthetic crucial in creating feelings of melancholic detachment.

Similar albums conjure specific emotional responses and memories; see my review of Vector Lovers’ iPhonica for examples. Miktek’s music is broader, more like a canvas than specific imagery, which does fit the Ultimae manifesto. Go figure the label felt it was missing the bleak side of such soundscapes, but here we are.

I Awake - The Core

Ultimae Records: 2008

For much of Ultimae's history, the debut of any act on their label isn't that artist's first solo release. Some have had Ultimae compilation duty prior, while others offered music on other labels. Thomas Huttenlocher's one of the few exceptions, dropping his first single Birth on Ultimae in 2007, then following that up with a full-length titled The Core the year after. Unless Lord Discogs is being dishonest with me, he had no other material out before then. The bio write-up mentions he was a part of a Swedish ambient collective called Ghostfriend, but the Lord draws even blanker on such a name than Mr. Huttenlocher. What I’m getting at here is, if this I Awake material truly was his debut, then damn dawg, I gotta applaud him in getting the Ultimae blessing (re: the Ultimae Mixdown™) right out the gate. Not many chill acts are so lucky, so this I Awake material must be something special to grab the label’s attention thus.

Well, I don’t know about that, but The Core did come out when Ultimae was in the process of releasing albums from artists outside their main roster - one can enjoy the Solar Fields and Aes Dana stylee for so long before asking if the label has any other chill on offer. With I Awake, we get the old-school, Planet Dog “technorganic” sound. Hoo, remember that term, anyone? It wasn’t any sort of ambient dub or world beat that’d come before, oh no; rather, a fusion of the two, with a psychedelic twist. Okay, it’s essentially psy-dub in its primordial form, but it was a distinct sound that fell by the wayside when Simon Posford’s work as Shpongle informed everyone that that was how psy-dub was to be done thereafter (what is Posford, the Hawtin of psy?).

So The Core features ample use of nature samples, worldly beats, organic instrumentation, and dubby soundscapes, but with modern production chops. You find full-bodied bass sequences in New Time Nomads, Neveritized, and Leaving The Known, occasional glitch rhythms spicing things up throughout, and nary a cliché use of ethnic vocals. All of which is naturally mastered with the trademark Ultimae panoramic touch. In a funny way, I feel this robs Huttenlocher of his distinctiveness among the roster. Instead of having a fresh, unique sound hanging with the big boys, he gets mushed into the soup along with everyone else. And sadly, as I Awake doesn’t carry nearly the same pedigree as Carbon Based Lifeforms or Asura (etc, etc.), The Core becomes lost among all the top-tiered acts.

This is another rich album of chill-out music from the label, of that there is no doubt. With track durations of reasonable length, few noodly bits crop up, and moods run the gamut from bright and exotic (Leaving The Known, Inferno) to dark and mysterious (Reflecting Impulses, Reclaim). I Awake may not carry the recognition of Ultimae’s all-stars, but he must be doing something right if the label got dibs on his debut.

Connect.Ohm - 9980

Ultimae Records: 2012

A curious one, this. Connect.Ohm is a collaboration between Alexandre Scheffer and Hidetoshi Koizumi. They more commonly go by Cell and Hybrid Leisureland, respectively, and aren’t exactly Ultimae regulars. They’ve certainly contributed many tracks to various compilations, and have also released an album or two through the label, but they are by no means exclusive in the same way Solar Fields and Carbon Based Lifeforms are. Still, they must have curried enough good will with Mr. Villuis for him to indulge them with a collaborative LP on his label. There wasn’t even any pre-release single or exclusive compilation cut leading up to 9980, at least nothing I’m aware of officially. Maybe a sneak-peak podcast, but I wouldn’t know of it; I don’t do podcasting.

For those not in the know, Cell tends to explore ambient techno along the lines of CBL, whereas Hybrid Leisureland is what you’d get if Harold Budd was from Japan, and with more pads than pianos. Not sure if I’d go so far as to say something cliché like this is a match made in heaven (…wait), but minimalistic ambient-scapes can work with anything, and Scheffer and Koizumi liked each other’s mojo enough to merge their styles.

The result is about what you’d expect from such a pairing: low key, subtle, spacious, and occasional rhythms that are barely a pulse, although the opener Evolution 1:1 settles into a typical ambient dub groove. Mmm, feel those restrained bass drops as you float on grey clouds. It’s also about as upbeat as 9980 gets, though subsequent ‘rhythmic’ tracks work their own unique pace too. Titular cut 9908 indulges in glitch, while Mol comes off like Solar Fields with its charming melodies and gentle harmonies. Fossil gets deeper into dub rhythms, and Take Off goes a tad tribal. Mind, the rhythmic differences between these tunes are marginal, but when dealing with such minimalism, it’s all I’ve to work with.

Still, this is an ambient album through and through. With tracks an average of seven-to-nine minutes in length, you bet we have some noodly bits going on, not to mention good ol’ ‘laptop drone’. Second track Snow Park sure takes its sweet time developing, three minutes passing before even a hint of rhythm or melody emerge. And even when it does, it’s but a faint whisper of piano and bleepy backings. What keeps you engaged are those harmonizing pads, gradually building upon each other. Yet whereas most producers opt for a rapturous climax, Snow Park gently ebbs away, a brief bit of extra piano the closest we get to a proper peak. Other ambient pieces like Gentle Perception and Time To Time By Time work in similar fashion.

By the end of final, planetarium track Winter Sorrows, however, the common criticism of nearly all ambient albums of this nature also rears its head with 9980: music amounting to little more than pleasant fluff. True, but with a good pair of headphones, is it ever exquisite, pleasant fluff.

Asura - Life² (Original TC Review)

Ultimae Records: 2007

(2014 Update:
This was my first exposure to Ulitmae, and does this review ever show it. That is, I knew absolutely nothing about the label, so barely bring them up at all; plenty of research into Asura, however. Interestingly enough, even from the start, I was bemoaning the lack of journalistic coverage these guys were getting, though perhaps in a more confrontational way than I do now. Not much else to add to this review, though like much of my old stuff, a little wordy in places.

'Tis funny, my covering of Life² was practically by random chance. I was in the process of giving my old TranceCritic writing partner, Jack Moss, a rather ineffectual pep-talk, as he was going through review writer's doldrums, dissatisfied with new material to cover in 2007. I urged him to take a chance on something unknown, perhaps discovering gold in the process. As an example, I fired up Juno Records and, browsing through their new releases, clicked the first cover which caught my eye, which happened to be this. "There," I told him, "why not review this CD? Looks interesting." He wasn't convinced at the time, but the samples piqued my curiosity further, so I went about getting it for myself to review instead. Ultimae has gone on to be a favorite label for both of us, though it was likely an eventuality regardless of that first arbitrary exposure.)


IN BRIEF: Don’t you dare miss this one.

I think I’m going to go right ahead and straight-off declare this album a front-runner for Criminally Overlooked Releases In 2007. It seems unavoidable, really. Already there are factors limiting its success, despite the music contained being exquisite: tiny French label few are aware of; paltry promotional power; general lack of awareness for the name Asura; a form of music folks tend to be afraid to take a chance on these days due to the overabundance of downtempo bilge souring tastes for it.

Well, that’s not entirely accurate. The psy scene has unofficially adopted Asura into their ranks, despite the fact the man behind the project, Charles Farewell, has never really claimed to be a part of it. And although he’s produced some music that easily fits into the psy chill category, Asura covers a far broader sonic canvas than mere trippy synthy soundscapes.

I’m getting ahead of myself, aren’t I? Let me backtrack a bit.

Although the brainchild of Mr. Farewell, there have been a few other names tied to the project over the years. However, on this third album, Farewell has gone at it solo, and raised the question if he’d be able to handle the marriage of organic and synthetic instrumentation that had become the group’s recognized style. Titled Life², the album makes for an incredibly strong argument in his favor.

Opener Golgotha will have you wondering if you even have an electronic album on. Thunderous percussion, somber symphonic swells, ethereal woodwinds, and haunting chants all combine to create something out of an epic biblical soundtrack; without the heavy-handiness such epics are often victim of, mind. It’s a gripping piece of music though, grabbing your attention right out of the gate.

Back To Light brings the synths and sequencers into focus, with many organic sounds wrapped around them. What may strike you as a bit odd, though, is just how plastic the beats sound. Considering the richly textures of everything else, it’s a bizarre contrast, yet fits within the context of the music just the same. The song itself? Lovely; stirring; exhilarating, especially in the second half where the rhythms turn breakbeat rather than steady... I could ramble on a number of adjectives, but I’d end up using them all up way too soon in this review, and this is only the second track.

Diversity is also the name of the game when it comes to Asura. Recalling the old synth composers of the ‘70s at their best, Galaxies Part One makes use of cascading soundscapes and pulsing melodies as soft gentle rhythms and chants float in the background. The second part, meanwhile, has a more modern take on this style, with urgency in its melodies, moodier synths, and grumbling dubby beats carrying it along. And unlike many ambient pieces, there’s never a sense of aimless meandering; it’s a meticulous path the way Farewell has written his music. Even The Prophecy, which even at seven plus minutes in length comes off more like an interlude in the album’s flow, has more going for it than a mere somber sonic doodle.

Of course, Farewell wouldn’t be known to the psy community unless he dabbled in that style too. Celestial Tendencies, Butterfly FX, and the title track pick up the pace, dipping into more proggy territory. There’s chunky acid burbling in the background, various synthy pads, electronic effects, tasteful vocal samples, and ethnic instruments sprinkled in for good measure to keep you constantly grounded. And while these tracks aren’t quite as evocative as the slower songs, they nonetheless manage to stir the soul with just as much finesse while providing something heavier to groove on.

There’s a couple more on here I could talk about too, but I’ll leave it up to you to find out how they sound - why should I spoil the surprise, after all (I will say the final track is a perfect capper) ? However, of important mention is how Life² is a complete package as an album. Everything flows seamlessly together, creating a gripping listening experience beginning to end. Typically, disparate tempo changes between songs can throw a wrench into things on other albums, but it works perfectly fine here, coming off like chapters rather than separate individual parts.

And all this probably doesn’t mean a lick to all but the most adventurous anyway. Well, maybe the psy scene will be more boned up on this release, but the rest of you. Yes, YOU! The one that doesn’t believe it, that Life² couldn’t possibly be as great as I say it is. Where is, after all, the love from the major players in this industry? Why hasn’t there been a glowing exposé in the magazines? How come there isn’t a ton of buzz online in all the trendy forums?

Honestly, I haven’t a clue why, but this isn’t an uncommon occurrence. Many fine albums slip through the cracks, often rediscovered by hunters of great music in later years. If this is to be Asura’s fate, so be it. In the meantime, those who have found Life² in their players shall have their ears richly rewarded.

Aes Dana - Leylines

Ultimae Records: 2009

Vincent Villuis has put together one of the best ambient and downtempo labels I've come across, and thus I have a great amount of respect for him; yet I struggle to get into his Aes Dana material. It’s not a matter of quality, as his music checks off all the things I enjoy of this genre (lush soundscapes, clever instrumentation, captivating atmosphere, the Ultimae Mixdown™). Unfortunately, Mr. Villuis has done such an impeccable job of gathering talent to Ultimae, he’s often overshadowed by them. Solar Fields, Asura, Carbon Based Lifeforms, holy cow, what a roster! Even his collaborative work with Solar Fields as H.U.V.A. Network is beyond stellar.

So why the problem with Aes Dana? I suppose it boils down to the minimalistic nature of his music. Villuis doesn’t often evoke the same uplifting emotional response his label chums do, perhaps a result of his industrial background. While not cold or uninviting as most industrialists go, there is a noticeable trend of it throughout the Aes Dana project, a nod to the dark ambient tone that scene embraces.

I haven’t heard every album under this banner (dang it, Ultimae, we need another round of re-issues), so I don’t know whether Leylines is the darkest Aes Dana album. Damn though, for an Ultimae LP, it’s dark. Oxyd oozes sinister strings and glitchy percussion as a thudding heart beats in the background, all of which complimented with gentle, disconcerting bells. Heights features disembodied voices and haunting orchestral arrangements, as though echoing off cathedral halls. And Signs is about as dark and ethereal as dark ambient gets. Even the uptempo cut Lysistrata has trademarks of industrial, utilizing a bassline that wouldn’t sound out of place on an EBM record. If Delerium had continued making music of this sort rather than seeking the bankable New Age market instead, I’ve little doubt they’d be producing what’s found on Leylines.

On the other hand, a number of Ultimae tropes do crop up. Tracks like Bam, Blossom, and Inter check off many requisite psy-dub sounds amongst the droning synths. Meanwhile, the whole middle section, including Lysistrata, is made up of that distinct slow-trance style the label practically made their staple, often coupled with moody synths and world-beat effects. Hey, I love this stuff, but I won’t deny it all sounding similar in bunches, a subtle, sonic soup one can easily pass by without much care. If you’ve heard enough Ultimae, you’ll recognize many of the sounds and arrangements Villuis creates here. And as he does prefer the minimalistic route in his music, the lack of strong melodic hooks leaves Leylines lagging behind the label’s best albums.

Not the highest recommendation for Aes Dana’s fourth, then, though only if you’ve yet to take the Ultimae plunge (I say again, what on Earth are you waiting for!?). Leylines is an enjoyable album on its own merits, a suitable musical companion for introspective times and places. A necessary addition to one’s chill-out collection, however, it is not.

Solar Fields - Leaving Home

Ultimae Records: 2005/2008

It’s hard to imagine a guy like Solar Fields having a ‘forgotten album’, but that’s honestly what Leaving Home comes off like. There's a transitional feeling to his third LP on Ultimae, an attempt to move on from the psy dub that made Blue Moon Station such a standout, but not quite reaching the musical diversity and epic scope later albums offered. One of Mr. Birgersson's enduring strengths is his willingness to try something different every time he releases an album, but I don't think he quite knew where he wanted to go next on Leaving Home, resulting in something of a hodgepodge CD.

Case in point: the track list, or rather the track 'demarcation'. The first half of this album is indexed in such a bizarre manner, I have to imagine ol' Magnus deliberately aiming for avant-garde. First tune Home is barely a tune at all, serving more as soundscape lead-in for summery chill-out second cut Time Slide. Fair enough, many albums start this way, but the two blends so seamlessly together, you'd think it was the same track. Insum does more to stand out as something distinct, though noodles about for nearly half the track before establishing a proper melodic theme (a lovely bit of lazy ambient techno featuring strumming strings and sweeping synths ...standard Ultimae at this point, if I'm honest). Couldn't the first half just been an independently indexed interlude?

Following that, we get Star Fruit, Magnetosphere (Star Fruit Part 2), and Stereo Hypnosis (Magnetosphere Part 2). Oh cool, a running theme between three tracks, this should be- what, it's over already? Yep, three individual 'tracks', running a total time less than Insum. What was the point of that? Sure, the drum programming grows more complicated with each track (Star Fruit Part 3 almost enters braindance territory), but couldn't this have been one single track instead? The first two parts are simply too short to have much interest as stand-alones.

Following that, we’re treated to three tracks breaking the ten-minute mark – heck, Monogram breaks the fifteen-minute mark, mostly noodly ambient techno but fine for that sort of thing. The first of this bunch though, Air Song, has three totally different ideas during its run-time, yet isn’t split up like the Star-Fruit-Magnetosphere-Hypnosis sequence that preceded it. It doesn’t ruin the listening experience, mind you – I doubt Solar Fields could release a bad album if he tried – but boy does it make for a wonky looking tracklist.

Right, I haven’t been detailing much of the music itself, mainly because there isn’t much to talk about. Leaving Home has a soft atmosphere running through, chill even for typical Solar Fields chill (and if you aren’t familiar with his sound yet, what are you waiting for!?). Fortunately, it ends strong, with Times Are Good coming off like a Pete Namlook tribute, and the titular final cut featuring a great climax of wordly sounds, synths, and trip-hop breaks. It can be something of an ambient-soup slog to get there though.

Carbon Based Lifeforms - Hydroponic Garden

Ultimae Records: 2003/2011

I could go on and on about how brilliant Carbon Based Lifeforms’ Hydroponic Garden sounds, to which those who know will nod in agreement, and those who’ve instead discounted my praise of Ultimae Records shall remain in the dark. It's a given fact at this point that little of what I say here will convince the doubtful, but trust me, if you’ve yet to drink of the Ultimae cup, it shall remain your loss for it is quite delish'.

No, screw that. Selling Carbon Based Lifeforms should be easy, especially to old schoolers as the act’s sound harkens back to ambient techno of the early to mid-'90s: simple, laid back rhythms, haunting synths, samples of dialogue and nature, and TB-303. Hell, even the album's title and tracks sound scientific and futuristic, like something you might have found on Beyond, Recycle Or Die, Apollo, or Fax+. If you're one of those folks yearning for more of a vintage ambient techno sound untethered from the modern obsession with laptop noodling and glitch (*cough*), Hydroponic Garden really is a no-brainer, especially with the lush Ultimae Mixdown included in the deal.

Alright, I'm getting ahead of myself. Who even are Carbon Based Lifeforms, and what sort of particulars can we find on their proper debut album? The act itself is a Scandinavian duo comprised of Johannes Hedberg (sounds like a hockey player) and Daniel Sergestad (or is that Ringström?), who’s also the chap behind Sync24 (how’d you miss that tidbit of info, 2012 Sykonee?). They’d released prior material on MP3.com and CDr, though went mostly unnoticed. Their luck considerably changed when they got to showcase their talents on the Fahrenheit Project series from Ultimae, stealing the spotlight on the third edition with the track MOS 6581. Hot anticipation followed, and within a year came Hydroponic Garden.

Whether the album met expectations, I haven’t a clue, as that was a decade ago now (scant reviews of it are positive though). Even if for some absurd reason it didn’t, Hydroponic Garden’s held up perfectly fine as an entry into the ambient techno canon. There’s pulsing dub numbers like the opener Central Plains, the titular track, and Silent Running, blissy acid with Tensor, Neurotransmitter, and Comsat, and lovely, spacey ambient passages on Exosphere, Refraction 1.33, and Artificial Island. The two highlights, of course, are a revamped version of MOS 6581 – the lovely synth melodies are given extra weight and space – and Epicentre (First Movement), essentially an ambient version of the same tune found on Fahrenheit Project: Part 4.

I guess the only fault to be had with Hydroponic Garden is that similar versions of The Big Two can be found elsewhere, somewhat diluting whatever special quality they have within the album itself. That, along with a small drag in the middle, are the only quibbles I have, but whatever. I’m preaching to the choir, aren’t I. If not, this is a worthy addition to any ambient techno collection, so get on it, folks.

Various - Fahrenheit Project - Part Seven

Ultimae Records: 2011

Who knows at this point whether Part 6 of Fahrenheit Project was intended to end the compilation series, or circumstances simply made it thus, but for whatever the reason it appeared that would be the final entry. Considering the highs it'd achieved, it also would have concluded on quite a limp note. No, better to do things proper-like and give the series a send-off it deserves. Well, one theory for Fahrenheit Project’s resurrection, after half a decade of sitting fallow.

First off, the cover art itself is something of a tribute to Ultimae of old. It retains the letter-box design (which’d been retired the same year), plus includes the circular graphic that graced many of the original covers before they were redone with new artwork (Part 3, which never received an update, also has it). And lo, Asura finally returns to the series. Oddly, most of the Ultimae regulars are absent: no Cell, no Carbon Based Lifeforms, and Aes Dana only provides his usual track arrangement. True, the latter two had albums forthcoming the same year, but it's a shame not to see them in any musical capacity.

That said, a few familiar names to the Ultimae legacy do crop up. The duo Circular had released their fourth album on the label, and Scann-Tec appeared on Part 6. Hol Baumann gets a credit as well, though it’s care of a remix on Final by a relatively unknown Max Million. A number of other established and fresh-faced acts round out the rest, including that AstroPilot dude again (I told you he was prolific!).

And the music? Chill, of course, though by this point Ultimae’s bread-and-butter was mellow prog psy and blissed ambient techno, and that’s the general vibe going on here. Heck, AstroPilot’s Memories Maze is incredibly brisk, almost breezing along at a proper trance pace. Meanwhile, Asura’s Millenium 3 does something I thought I’d never hear from this label: side-chaining. It’s not even subtle, that distinct pulsing-throb of pad work around the kicks front-and-center throughout the track. After hearing the technique abused by electro house producers and Markus Schulz disciples, I want to hate this track by default. As it plays through, however, I find myself enjoying it, sucked into Asura’s groovin’ little number. Of course, the reason for this is obvious: those other producers are shit, and Asura’s not.

All-in-all, Fahrenheit Project, Part 7 is a welcome addition to the series’ history. Though not quite reaching the highs of Parts 4 and 5, it easily stands on even ground with the early editions. If this does end up being the final entry, I can’t think of a better way of going out than with Solar Field’s OnFlow. It’s such an uplifting tune, forcing a silly grin upon your face as you reach over to the closest person to give them a big, sloppy hug; yet, a touch of melancholy permeates the mood as it fades out at the end. Sending Fahrenheit Project to the heavens, it seems.

Various - Fahrenheit Project - Part Six

Ultimae Records: 2006/2008

What else could Ultimae do? Half a decade after emerging from the hinterlands of psy chill obscurity, the label was riding an astounding wave of musical success. Their tactic of interspersing albums from their roster with the Fahrenheit Project series probably could have been milked to this day, but that's boring. Nay, by the time Part 6 of this series came, changes were afoot, and perhaps sadly, this would be the last of the Fahrenheit Projects for some time.

Such changes included: launching new compilation-mix series such as Oxycanta and Albedo; heavier emphasis on artist albums; and, most crucially, signing more talent to Ultimae. For a label known for an almost glacial rate of releasing material, such a jump in activity was going to show a little initial strain. Those new series didn't last long, as the increased LP output – almost all which were ace – overshadowed many of them. Why bother, said the fans, with the compilations when much of the best material was on the albums? Fahrenheit Project succeeded because it was as much a sneak preview of such albums as it was a roster showcase, so it was in Ultimae's favour to offer their best material for the series. With names like Solar Fields, H.U.V.A. Network, and Carbon Based Lifeforms practically selling themselves to the faithful now, the Fahrenheit format was no longer required.

So it's in this transitional period we find Part 6. Again, regular Ultimae acts all show up, with a few outside contributors sprinkled about. Still, a notable difference rears its head compared the last few entries, in that there's a lack of CBL. Sync24 does offer one track, mind, but as the duo was working on their sophomore effort, it's possible they didn't have time for Fahrenheit this time out. Maybe Ultimae should have called in Asura? No, wait, he was working on a new album too.

At only nine tracks, this is the shortest of the series, and to be blunt, it isn’t anywhere near as good as the prior two. Granted, those were lofty peaks, but one can’t help but be disappointed they couldn’t maintain at a plateau instead of take a stumble. As with Part 3, the lack of diversity hurts, most of the artists sticking to tried-and-tested psy chill tropes. The production remains top notch of course, but track flow is serviceable at best, everything melding into the same psy-glitch-ambient-downtempo soup Ultimae’s known for.

One of the few surprising developments, however, comes midway, and care of Solar Fields. Instead of offering his typical brand of chill-out, he dives headfirst into the realms of prog psy on Levitate. He’d dabbled in the vicinity of that sound before, but always in a ‘slow trance’ fashion. This tune, though, is incredibly brisk, especially for Fahrenheit Project. It must have garnered him a good response, as his following album, Earthshine, was loaded with the stuff, such that even fans of regular ol’ trance took notice.

And then Ultimae’s exposure truly took off.

Various - Fahrenheit Project - Part Five

Ultimae Records: 2005/2008

Five editions of Fahrenheit Project deep, it's safe to say Ultimae had found a formula that worked. Fresh material from their regular roster, a few contributions from outside sources, and an excellent mix of mellow trance, ambient techno, and cinematic chill keeping the music varied and interesting. Oh, and release it after a fallow year, a handy tactic in building anticipation for the next entry in the series.

By 2005, however, the need to take it a step further must have been on their minds. Mostly fuelled by the popularity of Israeli full-on and Swedish prog psy, the psy scene was enjoying a resurgence of interest, and those into the downtempo side of things were cluing into the label's potential. The buzz generated by their early material had grown into a steady murmur now, but Ultimae had long been a cut above their musical peers, so it's not like they had to up the ante. Besides, Fahrenheit, Part 4 was such a good compilation, I doubt anyone expected them to top that one. Could they even top it?

They fucking smashed it.

For one thing, Ultimae noticed psy's changing trends, and capably found a footing within the realms of prog psy. Not that the label was adverse in dabbling with an upbeat tempo, but it was mostly a sort of 'slow trance' style they were comfortable with. Here, Aes Dana's Purple and Solar Field's Water Silence could easily find DJ set duty with any of the Iboga or Spiral Trax offerings of that year (though probably better suited early in such a set). Wedged among those two are the returning Jaïa and Aural Planet, each providing a different tone of psy dub, keeping variety high and class.

At the other end of the spectrum (and CD) lurks the other Ultimae regulars in Carbon Based Lifeforms (including two solo outings from CBL member Sync24), and Hol Baumann. The former’s sound often skewed in ambient techno’s favor, but even that was seeing changes with the trendy emergence of minimal, drone, and glitch by the mid-‘00s. Following suit, they along with Hol explore such music to great effect. Heck, Baumann’s Final could have made for an excellent capper with strong drum programming and guitar strums complementing the glitch, but Sync24’s suitably named ‘Epilogue Edit’ of Wake takes us out in fine fashion.

And then there’s the middle section! Holy cow, it’s the best string of music I’ve heard out of all these Fahrenheit Projects, no small feat considering how strong the track arrangement usually is. Processing Lights from H.U.V.A. Network is a lush piece of ethereal chill, then Cell somehow outdoes that with his own haunting Blue Embers. Joining them is prog psy vet Marius Katz, bringing a touch of actual ambient techno funk to the proceedings, and sounding not a touch out of place in the process. How he do that!?

Okay, that’s enough enthusiastic rambling from me. If you can only get one Fahrenheit Project, Part 5’s the one. Trust.

Various - Fahrenheit Project - Part Four

Ultimae Records: 2003/2007

Even as a label known for infrequent releases, releasing a mere two in 2002 is a small amount for Ultimae. Did a busy tour schedule not allow for it? Financial strains? Albums sat on for perfectionist’s sake? Perhaps that last one, as sophomore efforts from Solar Fields and Aes Dana, plus a (proper) full-length debut of Carbon Based Lifeforms were all released in 2003. Oh yeah, and the fourth installment of the Fahrenheit Project series came out too.

Come to think of it, I wonder if the young Ultimae was having finance troubles too, on account this (and the second limited Aes Dana album) initially came out as a CDr. Like most of their early material, it was reissued with new artwork, and perhaps due to the odd fashion it was first released, Fahrenheit, Part 4 had the honors of being the first receiving such treatment in ’07.

Which makes sense, as Fahrenheit 4 is easily the best of the series yet! If Fahrenheit, Part 2 found Ultimae with some swagger of confidence in their sound, this one has them in a full-on strut (no, not full-on psy …although that was growing popular too). Whereas Part 3 noodled about too much with an over-exposure of but a few producers, this one comes off focused and driven, unique music from the Ultimae mainstays rubbing shoulders with new and established talent from abroad.

Of the non-Ultimae contributors, it’s an interesting mix. Mostly on a psy dub tip, Ochi Brothers and Aural Planet were well established by 2003, and their music reflects the spectrum of organic and synthetic sound the genre could run; newcomer Puff Dragon meets them somewhere in the middle with his Chinese Radio. Also returning to the series is Vibrasphere, who, along with Spiral Trax, were quickly establishing themselves as a force to reckon with in the scene. Say, sounds like another label at the time, doesn’t it?

And speaking of Ultimae, the regulars all come correct this time in standing out from one another. Solar Fields’ Union Light finds him dabbling in space synth, while Aes Dana returns to his industrial roots with a cold bit of ethereal techno in Memory Shell. After their strong Ultimae debut, Carbon Based Lifeforms’ don’t lose a step, Epicentre (Second Movement) working a similar looping, building melody as they did with MOS 6581 while adding more instrumentation and a didgeridoo. Awesome! Not to be outdone, Cell combines the best elements of Aes Dana and CBL in the form of Audio Deepest Night, a cold yet lovely slice of bleak ambient techno; the ol’ ‘winter canvas’ sound. Also returning is Hol Baumann, closing Part 4 with another fresh take on the psy dub template. Still no Asura, though. Where’s he been, anyway?

Still, by 2003 the buzz surrounding Ultimae was growing, and I can easily see Fahrenheit Project, Part 4 converting many a curious listener back then. A decade on now, I’ve no doubt this compilation would have the same effect. It’s that damn good.

Various - Fahrenheit Project - Part Three

Ultimae Records: 2002/2008

Let’s get something out in the open: Ultimae ain’t perfect. They’re very good at what they do, great even, but sometimes they slip. For instance, you know the little incense stick included with your orders? Well, they sent Lavender Bliss in one of mine, and dammit, I was countin’ on Summer Rain. Fail!

Okay, I’m being silly there, but yes, not everything they release is gold. Though I’ve never come across an Ultimae CD that’s anything less than bronze, when a label maintains such a high level of quality, even ‘just okay’ can be disappointing. Credit due where it’s deserved though, as their first year of operation saw a string of strong releases in the first two Fahrenheit Projects, plus the debuts of Asura and Solar Fields. To kick off the following year, they released Part 3 of their flagship series, and it’s… well, not as good as the first two.

The trouble lies with one of the few critiques one could find in Ultimae as a whole: their roster has a tendency to sound all alike, indistinguishable from each other. To be fair, this is a complaint one can make for nearly any smallish label, in that cultivating talent with shared musical aesthetics is standard business practice. The first two Fahrenheits got around this potential hiccup by bringing in established acts to spice up the musical variety. Now that Ultimae had gathered a respectable roster of their own, however, they gave their homegrown talent most of the spotlight for Fahrenheit 3. It unfortunately renders much of the CD down to a pleasant-but-mushy gloop of psy-chill music indistinguishable one artist from the next. Even after playing it just now - maybe the third or fourth time since I got the whole Fahrenheit package - I still have trouble remembering much of significance.

As if to drive the point home, the first track that always sticks in my mind comes from one of the non-Ultimae posse, Nabab by Toirés (who’d also cropped up on Fahrenheit 1). It’s a fairly standard bit of Indian-flavoured world beat, but oh such a respite from everything else. Mystical Sun also contributes with Blue Magnetic Ocean, a tune that’s far more uptempo for the chap’s style.

Another thing of note with this compilation is the debuts of Carbon Based Lifeforms and Ultimae ‘supergroup’ H.U.V.A. Network. CBL actually had an MP3.com release a couple years prior, but with a proper label behind them now, the duo makes good on their opportunity with a lovely slice of ambient techno in MOS 6581, plus a chill-out closer with Metrosat 4. As for the Aes Dana/Solar Fields collab’, it’s suitably cinematic given the players involved, but one suspects they’re capable of better.

That, along with another solo outing from Aes Dana, plus two more from Solar Fields, is likely why so much of Fahrenheit 3 sounds interchangeable. It’s not a deal breaker, but if ranking the series, Part 3 takes up the rear. Oh well, one of them had to.

Various - Fahrenheit Project - Part Two

Ultimae Records: 2001/2008

Striking while the opportunity was hot, Ultimae completed their transformation from Infinium and released Fahrenheit Project, Part 2 the same year as the first, using the tried and tested method of exposing your new label by flooding the market. Nah, that's not it. The first volume was such a success that it attracted high-profile talent eager to contribute to the project, and Ultimae was happy to oblige, even if a quick turnaround was odd. No, wait, that's probably not it either. Maybe a combination of both?

Whatever. The second in the Fahrenheit series is unique amongst the others, in that it features artists that are quite recognizable even without the Ultimae association. Nuclear Ramjet had a minor hit with Deep Blue that year, while Vibrasphere and Khetzal would turn out highly regarded careers within the psy trance scene in the ensuing decade. Oh, and ambient luminary Robert Rich contributed a new track, which is nothing short than a coup for a fledgling ambient label like Ultimae was. Rich’s music career traces back to the scene’s earliest years of the ‘80s, and though he never quite reached the same status as Roach, Braheny, or Stearns, he still carved out an important niche within space music’s history. So yeah, Rich... Ultimae... good stuff. So good, in fact, that the tune he provided, Somnium, bookends the whole compilation, first as an intro, then in its full version to close out in dark, mysterious droning fashion.

And the rest of the music? Pretty darn good, I’d say. The above artists all turn out typically psy leaning downbeat tunes, while Chi-A.D. returns with an even better psy dub jam with When The Effect Came. Another regular contributor to these early Fahrenheit compilations was Mystical Sun, who’s meditative blend of ambience and world beat provided a nice contrast to the CDs’ upbeat moments, offers a typically calm track with Waters Of Life.

As for the Ultimae regulars, their productions find them on much stronger footing than the last outing, their music hinting at newfound confident swagger. Solar Fields opens Fahrenheit 2 with Electric Fluid, mixing psy and ambient techno to great effect. Elsewhere, Aes Dana’s Summerland shows off the ‘slow trance’ sound that would become another of Ultimae’s trademarks, and Bénarès from Hol Baumann gets into funky world beat, which wouldn’t sound too out of place on that Elemental Chill: Earth compilation. Cell, another frequent Ultimae contributor, also debuts here, his Keun Yung showing that classic ambient techno was far from dead even at the turn of the century. Shame there’s no Asura on this one, but after two tracks on Fahrenheit 1, a step back for the other Ultimae artists to shine is fine.

Not much else to say about Fahrenheit Project, Part 2. I wouldn’t go so far as to say it’s a better CD than the first, as it’s missing a truly knock-out track like Asura’s They Will Come, but overall it’s a slicker package. Going from strength to strength: the Ultimae manifesto.

Various - Fahrenheit Project - Part One

Ultimae Records: 2001/2008

Damn it, Ultimae, stop being so classy. Purchasing your material is already a worthy investment, but you offer bulk packages too? How can any fan of the label resist gathering up all that back catalog? So yeah, snagging up the entire Fahrenheit Project set was a no-brainers for yours truly, which means ya’ll better settle in, folks, as we’re in for a long one here. But first, some backstory.

In the beginning, Ultimae wasn’t Ultimae; it was Infinium. This is why CDs carry an “inre” for catalog numbers. It was little more than a promo-copy outlet, but they did manage a couple proper releases before the change, including the first Fahrenheit volume, a series primarily highlighting exclusive music from their roster. Fast-forward some years later, and Ultimae's done pretty well for itself. May as well reissue those early CDs with new artwork and updated sonics, which is what we get here.

Actually, I'm just assuming Fahrenheit 1 was given a fresh mixdown, as the production quality is on par with later material. Few releases sounded this good back at the turn of the century, much less a start-up label within the psy scene. To be fair, Ultimae has never been strictly a 'psy chill' label, dipping their toes into ambient techno, space music, glitch, dub, and so on. Still, the label’s primary link is to panoramic psychedelics, and their earliest work doesn't hide this fact.

Almost every Ultimae regular make contributions to Fahrenheit 1, some of whom had yet to even release solo work of their own. Asura already had an album out by this point (through Infinium), and gets two tracks here, the second of which, They Will Come, is a blinder of a tune. Label co-honcho Aes Dana offers an early work called Skyclad, a brooding bit of dark downbeat befitting of someone with an industrial background. Hol Baumann, an occasional Ultimae chap who’d finally make a solo album all the way in 2008, shows up with some ambient techno in Another. There's also some dude calling himself Solar Fields here, with a track titled Outlined Surfaces, an unremarkable mish-mash of psychedelic chill that doesn’t lead to much. Still, I think he'll do alright for himself in the coming decade.

Rounding the compilation out are several established acts from the psy and ambient camps. Craig Padilla’s Beyond Beta harkens to the sort of calm padwork one might find on a Steven Roach label, Chi-A.D. goes proper psy dub on our ears with Slide, Distortion Orchestra’s Fire Maiden sounds like a long lost +Fax tune, and… what’s this? An old licensed track from True Frequencies to close out? I thought Fahrenheit Project was all about fresh material?

Ah well, Ultimae was still new (technically not even in existence yet!), so a little feeling-out process is expected. Considering how unknown many of the names involved were at the time, this first edition of a flagship series is as solid a starting point the label could have hoped for.

Sync24 - Comfortable Void

Ultimae Records: 2012

Yes, I can finally talk about something new! How ironic, then, that it’s a collection of music that’s rather old-school in design. Or maybe not, as there’s a lot of ‘retro-revival’ going on in electronic music now, like a deliberate counter to combat the recent influx of starry-eyed festival ravers gorging themselves on the latest brostep horror. But that’s a musing for another time.

Comfortable Void is interesting in how it contrasts with the music Sync24 shares a record label with. Ultimae remains one of the best-kept secrets for connoisseurs of downtempo and chill. Though names like Solar Fields and Asura are frequently dropped when talk of ‘best chill-out musics’ occurs on web forums dedicated to the psychedelic aspects of culture, you seldom see them or any label mates crop up in major publications - whether this isn’t a problem or a travesty probably depends on how ‘underground’ you like to keep music. For those who’ve discovered Ultimae though, they’ve been rewarded time and time again with “panoramic music.”

This album, however, doesn’t completely fall under that umbrella, nor Ultimae’s recent dabbling into the glitchier side of downtempo either. At its most basic, this is an ambient techno album as made in the 90s; most of the sounds - burbles of acid, subtle looping synth melodies, detached dialog - could have appeared on any number of Namlook records. Even the arrangements are old-school, sparse so things are just where they need to be but not minimal for minimal’s sake. Glitch effects are few, which is a welcome change of pace when so many producers seem adamant in filling their tracks with pointless fluff. About the only thing that makes this album obviously a product of the here-and-now is the Ultimae Mixdown™, which has always been light years ahead of the curve in making music sound gloriously expansive.

It’s that expansive mixdown that makes Comfortable Void an apt title. It’s a very spacey album, at times almost desolate, yet inviting all the same. The first half has a darker tone, with droning pads, thick bass, and lethargic beats comprising its backbone - Dance Of The Droids the obvious (and welcome) light-hearted exception as spritely bells, um, dance to a bouncy beat. Midway, Sequor gives us gentle ambient that wouldn’t sound out of place on an Eno record, after which the album picks up quite a bit. Something Something provides a wonderful building melody that’s on par with any of Ultimae’s all-stars, while Oomph and Wake does the ‘slow trance’ thing that the label’s practically made another of their many trademarks. And a barren bit of ambient drone to close out? Yeah, what’s with these Scandinavians being so good at that?

Oh yes, I definitely have detailed Comfortable Void in its entirety. Well, as much as I can in limited word count, but every composition deserves recognition. It’s an album whose only flaw might be its old-school leanings, but for fuddy-duddies like me, that just makes it all the more captivating.