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This is one of the best examples of timeless music. Environmental ambience with slow intense beats and liquid melodies including a lot of "Berliner Schule" sequencing is the best way to describe this rich music. The only exception to this is the track "Aura" that sends you into slow meandering dreamscapes with its Tetsu-typical pure, positive, floating sound of ambience.

Melodic, meandering synths, thick bass, live down tempo drums and percussion - Re:sonate brings together the smooth analog mastery of Pete Namlook and the dubby, exploratory 'home grown' sounds of Gaudi. The result is one with an ambient aesthetic veering off on a truly unique tangent. Repetition of the dominant patterns on Re:sonate creates a hypnotic familiarity, different layers dropping in and out, echoing congas, various peripheral effects enlivening the surface.

The superb Music To Films is a cosmic mixture of ambient trance, robotic minimalism and panoramic melodies based on an unusual concept. Lieb and collaborator Dr Atmo conceived it as an "alternative soundtrack" to the wordless documentary film Koyaanisqatsi which was originally scored by Philip Glass. Despite its outstanding quality, Music To Films was never re-released after its initial small run and it quickly became one of the label's rarest CD releases.

'Kooler' is supposed to be the first in a series of collaborations between Peter Namlook and jazz musicians. This is an interesting move, to say the least, and not without it's potential for controversy. 'Urban Isolationism' has Pete Namlook on his usual arsenal of electronics, and what sounds to be electric bass & acoustic guitar. Robert Sattler plays saxophone, and someone called 'Cacciatore' plays trumpet.

Four Seasons is a collection from Pete Namlook's individual cds dedicated to the seasons. This series started early 1994 with "Seasons Greetings =Winter=" and since then evolved to a successful series of all four seasons. This very balanced and unique product contains Peter's real definition of the word Ambient in a very explicit way. Following the path of the great impressionist composers of the late 19th century, he improvised on the impressions that came to him during the four seasons. Of course these were brought to life with the instruments of our time: synthesizers, ringmodulators, incorporating environmental sounds.

The tracks on this album were created by Peter Namlook and Steve Stoll and are very much in the atmospheric, ambient, minimalist mould consisting of music which builds carefully with sonic ingredients added slowly and meticulously to the mix. Take the eponymous title track for instance, which takes over eighteen minutes to reach its conclusion, Namlook and Stoll begin with an oscillating bass sequence and gradually draft in various pulses and rhythmic textures which echo, fade and die and are then reborn in subtly different forms with different emphasis given to key rhythms or pulses, with some vaguely unsettling effects added for good measure.

Pete Namlook was one of the most influential protagonists of ambient music during the 1990s. Inspired by Oskar Sala, one of the pioneers of electronic music, Namlook focused on the untapped potential of analogue synthesizers, often developed or extended in his laboratory. This album is dedicated to Klaus Kuhlmann who died on the 14th of November 1995.

"Car music for the Ambient-Vehicles of our days…" 4 long tracks starting at a slow 88 KMH with a nice slow dubby swinging beat. It grooves nicely. Then pops in a pulsing tone. Nicer. Then things start go get a bit more mysterious- especially with a woman giving the usual speech a stewardess gives before a plane takes off. Neato. 88 KMH picks up a bit more with some bubbly squirts and a nice beat about halfway into the track. Very nice. This cd has some really nice bass in it- deep and dubby. Very trancey. 90 KMH…faster and faster we go starting with a melody that continues in this track and the next. Again, the bass..getting more and more trancey. 130 KMH starts out with some low booming and then into some nice trancey stuff, clocking in around 130 (surprise!) or so.

Pete Namlook was one of the most influential protagonists of ambient music during the 1990s. Inspired by Oskar Sala, one of the pioneers of electronic music, Namlook focused on the untapped potential of analogue synthesizers, often developed or extended in his laboratory.