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Pete Namlook & Various ‎- The Ambient Gardener · Summer

by Pete Namlook

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Liner notes

This is the second part in a four-part compilation series to give you a deeper insight into the philosophy behind FAX and its related labels, and to look back on what has happened over the past 20 years. After planting the seed in spring, it is great to watch the plants grow during summer. They need watering, weeding and care. Also, you plant the seeds for the winter and next year’s harvest. If you do everything right there may be a good harvest in sight.

Pulsar was one of the more important tracks that had been licensed to a DJ’s label from Offenbach (a town close to Frankfurt am Main). Fax +49-69/450464 had already existed, and while some famous DJs played our tracks as an opener, it was a good advertisement for the releases on my own label.

Using the buzz that the first crop of vinyl releases created, I got in contact with Richie Hawtin who had been recommended to me by DJ Criss as a perfect collaborator. I had listened to a lot of his +8 releases and I liked them for being unconventional and timeless in a classy way – compatible to the dance floor, but with some “avant garde“ taste. Collaborating with Richie was fun and he loved to play some string sounds my way and I loved to create some bass and drumming his way. Journalist fans of Richie wrote in some popular magazines: The ‘Namlook‘ strings really put us off. Richie and I had a good laugh about it and continued our successful series of “From Within“ releases.

The “Futurescape“ was fun to create and my little son loved it when I listened to the final master and I had to play it again and again. He was totally into “I don’t want to go in space, because I just want to stay around my house“, the final collaboration with Dr. Atmo.

“Air II“ was the extremely successful follow-up to my first Air album and is a total classic in terms of pioneering the combination of world music and Ambient/Chill-Out. Klaus Schulze once told me he was not interested in collaborating with anyone new, but “Trip 5“ made him change his mind.

“The Seasons Greetings – Summer“ was created during one of the most beautiful summer seasons. This composition contains the spirit of this season the way I was feeling at that time.
Atom Heart connected me with Tetsu Innoue and in addition to our outstanding 2350 Broadway collaboration, I was proud to present his first Solo Album “Ambiant Otaku“. Tetsu is a one of a kind artist and person. After the catastrophe in Fukushima, no artist or label heard from him again. We all hope nothing serious happened to him and that he is in a good place right now.

“The Dark Side of the Moog“ collaboration with Klaus Schulze was an outstanding possibility to connect my definition of Electronic music with the Space Music of the 1970s. Klaus was totally off his 70s roots and more into sounds and samples of the early digital age. I thought “What a waste“ as there was a lack of spirit and inspiration that in my eyes was not reflecting his true genius and creativity. I asked him to go back to the more sequenced and improvised work he did in the 70s and I was very proud to have produced eleven albums with him, some of which even included contributions from Bill Laswell with whom I worked on “Outland and Psychonavigation“. Again I had in mind to combine my music with a different style – in this case, ‘Dub‘. There is a funny story behind the collaboration with Bill: He found the first “Silence“ CD in a record store in Tokyo and thought it was some Japanese production that was unknown and a good sampling source. If one listens to one of his Divination records you can hear about 10 min of “Silence“ in it. Someone who worked for him and knew my music told me about it before I found out. My reaction was that instead of sampling my music, it would be a great idea to work on some new music together.

My artistic relation to Atom TM (the artist formerly known as Atom Heart) was different from the rest. We came from different tastes in music and met in the pool of Frankfurt am Main-based Techno producers who wanted to be more innovative than the DJ-dominated genre was at that time. When we worked on music, we both had our won studios and it was always a meeting on equal terms with different “weapons“. We had our most successful techno releases with “Synthadellic – I’m a Secretary“, which was a total persiflage to the dumb four-on-the-floor Gabber/Hardcore sound of this time. Our “Jet Chamber“ collaborations have been an exchange of ideas and recorded “conversations“ in music and ‘Quite my chords‘ is a great example of that.

Technical note:

The tracks have been gently remastered, but I wanted them to be authentic…creating adn producing musuc, as well as sowing and cultivating plants, is an ongoing learning process and I am glad that I have learned a lot between 1992 and today…;-)

Pete Namlook

credits

released March 5, 2012

Fax +49-69/450464

Recorded at Klanglabor Frankfurt

Artwork by grafik.ssgrfk.com

Produced by Peter Kuhlmann

Written by Pete Namlook

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Pete Namlook Frankfurt, Germany

Pete Namlook stands out as a brilliant musical visionary within the realm of ambient music. His innovative sonic contributions undeniably form a crucial element of the electronic music landscape. As a prolific pioneer, he not only initiated but also personally nurtured the ambient movement from the 1990s onward. ... more

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