Armed with a modular synth and a variety of acoustic instruments the now Brazil-based Lars Bartkuhn has recorded a new solo set for Rush Hour. Classically trained, and with a background in jazz, as well as the house that Lars is perhaps best known for, the new pieces are all improvisations. Citing John Hassell, Terry Riley, Steve Reich, and the ECM catalogue, as influences he has created 8 beatless, well, drum machine free, ambient atmospheres. There’s hand percussion in places, and programmed pizzicato patterns that provide a sense of drama and urgency. In the main though, the electronics are subtle, stretched sine waves. The sonic equivalent of a salt water tank soak / float. Throughout there’s a warm harmonic hum, rather than the cold landscape that the LP’s title conjures up. 

The 10 minute suite, Disembodied Journey (Part 1, 2 & 3), is the centre piece, moving through abstraction to Pat Metheny-esque jazz picking, and then folky kosmische. The b-line sounds live, and there’s great synth and guitar interplay. Ethereal vocals joining the ringing singing bowls. Still Existing is a galloping gong bath. Everything builds to the closing complex counterpoint of Into The Waves, which dances, playfully, joyfully, like mechanically-made Penguin Cafe-esque chamber music. Bionic bass undulating beneath. The only thing that I can’t figure out is why an album this beautiful is called Dystopia. 

Lars Bartkuhn’s Dystopia is out now on Rush Hour.