"This joining of forces of the American sound painter PBK and veteran German experimental group Telepherique here encompasses a fertile creative ground, and is titled more than appropriately, being a playful mesh of softly textural, bizarre and sometimes playful sound compositions. It all begins with the oddly surreal 'Twilight Cue', which sounds like an electro-acoustic collage with samples and recordings of raw metal and primitive percussions (though perhaps more ambient than that description implies). 'In Ecosystem Interrupt' is a mysterious set of sounds that evoke a dramatic cinematic scene in a plastic baggie factory (with strings)...on vinyl! 'My Rare Dreams (Of The Future)' is a more structured, rhythmic mix of atmospheric guitars/bass and skittering, looping sounds, like an old 4AD band being mixed by Stefan Betke/Pole. 'You Only Fade' soundtracks a late-night haunting in a factory, through a pixel haze, whereas 'Seen Through Cloud Cover' closes it out with a spacious ambience. Overall, a heady and quirkily pleasing collision of sounds and abstracted textures." (Goatsden)
"You most likely do not need a history lesson in the trades PBK, Phillip B. Klinger, and Telepherique, Klaus Jochim et al, but if resume perusal is requirement to employment you’ll find the inner liner notes’ publicity rap on both acts taken from the CD booklet paragraphed within the internet loquaciously (should you do require a background, please follow aforementioned instructions). This, however, is not a split album but a union of two into one that deserves its own space: they have, after all, entitled the album with that in mind.
All the tracks are skewed heavily with eschatological and societal ideation, each nesting poignant subtitle in sentence, from the curtain call of ‘Twilight Cue – The Beginning of an Ending’ to withering query of ‘Sun Continue to Shine – How much longer will the solar energy remain a constant and feed the planet? – a prayer’, libates a future fallen and failed, expressed in word. How ironic then, that it is by the product of oil that both artists illume their ecologically introspective sound.
Sheeted steel screams as they sharpen together, gleaming whips stabbing and shearing. The attacks are random in, The Beginning... (Twilight Cue), where oscillations of sampled cyclic machinery are gutted and howl strange frequencies and rattling gears groan, creak and tense. The palpable pressure expressed in the album, whose most harsh and unrelenting tragedy was finalised before the first track began with the predilection of subsidence of survival – ours and all else, is taught and chaotic. Flickering tones are struck with steel, some force or wind sans life the only animastic force causing such collision. Delving into a planetary disaster with the reversal of the poles, the second track continues in a rich bubble of noise and ambience evoked in the first play, swelling with organic tones and twitching just-around-the-corner malfunctions: haunting visions of violent lifelessness of mechanical repetition.
There are seismic changes in the presentation of disaster outlined in the track titles and subtitles. Static squeals accompaniment to shivering bird calls, tortured bicycles screeching like tortured banshees while electronic saccade splutters oblivious. Noise and ambience abet the artists’ amalgamation without excelling or smothering each other, allowing for carefully delineated segments of space between the fused. The interplay, which perhaps an artist of either camp who stubbornly sees no space tween, is one of chiaroscuro.
Menace and darkness are portrayed, but less as a necessity and more a by-product of what is being evinced, aural statements of ecological disasters, which in today’s day and climate are hardly menacing or dark enough. It is little wonder that such a future and such music treads a lonely path of absence of life save its echoes.
The album is a limited edition of 500 disc jewel-case and nothing particularly aesthetically inspiring. A simple and glossy four-page black-on0white booklet is detailed with minimal design angular and ovular." (Heathen Harvest)
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