Em:t 0004 by various artists

The legendary Em:t Records label, resurrected last year, proves, by releasing a 2004 compilation of all new material, that Em:t 0003 was no nostalgic fluke. When I reviewed Em:t 0003 last year, I found it to be uneven, and felt that "many of the artists on the compilation never rise above past Em:t glories." I wondered if the newest installment would be different. Once again it's a hodgepodge of names from classic Em:t artists to newcomers, so no hints there. The interior quote of Em:t 0004 states, "Forget about good. Good is boring. Good is where you've been before. You'll never reach anywhere if you're always chasing after what's perceived to be good." Perhaps I'm going to get in trouble for wondering, track by track, if Em:t 0004 is any good?

We open with "Is It?" by Pueblo Bonito, the title a challenge similar to the liner notes' opening salvo. Orgone energy lances across the speakers playfully, with a skittery percussive element and a creepy, reverberant synth line. It's difficult to classify this as IDM, though it certainly shares characteristics with Ben Swire's work on the Foundry label. It's an insistent and claustrophobic track, though perhaps a bit repetitive over five minutes.
"Is It?" segues nicely into "Freezebee" by Red Leb, a chittering, buzzing ambient track that marries Biosphere circa Substrata and the technologically derived natural soundscapes of Robert Henke. Midway through the track we're treated to a martial ambient-techno groove. This track gels nicely--just as you're getting comfortable it's over.
Next is Orb alumnus Andy Hughes with "Antillia." Fans of the pop sound of Cologne's Kompakt records (for example, recent offerings by Triola and Thomas Fehlmann) or Mouse on Mars will enjoy this greatly. "Antillia" is a slightly more atmospheric example of these fine artists' material, and at just about five minutes it's the right length for a pop song.
High Skies contributes compilation highlight "Burning Buildings." I don't understand why it seems to be an insult for critics to compare an artist to Boards of Canada. Regardless, I feel the comparison is fair here. While not wholly derivative of their sound, "Burning Buildings" does a very fine job captivating with a similar mood--hip hop beats and strange, dreamy atmospherics combine intoxicatingly. The silenced break in the middle of the track is just masterful. This is ten minutes of downtempo bliss, and I, for one, hope to hear more in this vein from High Skies. BoC and Arovane fans take note.
Sub brings us the appropriately titled "Nautilus," a track swelling with the atmosphere of crashing waves and manipulated plucking of guitar strings (at least that's what it sounds like). Submarine noises blip faintly, and we are swept into a watery world where we may either be shelled organism or hulled transport. Later, jazzy percussives underpin the oceanic swells nicely. Good stuff, if a little traditional and "safe" sounding.
Em:t mainstays Beatsystem return with "Sud," the longest and most atmospheric track on the compilation. As with much of their work, samples and recordings of everyday activity are transmuted into macroscopic soundscapes that are sometimes chilling and creepy, other times heavenly and meditational. This particular track reminds me a bit of Pete Namlook's work with Charles Uzzel-Edwards on the Create discs--sonic interpretations of geographical locations. Beatsystem's southward view here skews toward impenetrable clouds of sound that often take an oceanic flavor (moreso than its predecessor on the compilation!) The track feels a little long, and I felt my attention waning after a time.
Next is International Peoples Gang's "AC Harmonics," which reminded me a little of Ulrich Schnauss's sunny atmospheres if he decided to go full-on ambient. Happy samples, a bouncy beat, and synth combine to form a Spring-scented electronic treat.
Fognode's "Thin Faces" is next, a darker approach than the preceding tracks. Haunting synth pads and a stuttery beat for the darkened dancefloor create a tentative environment--are we supposed to dance or dream here? Obviously answers aren't provided, though I'll admit I found the beats enslaving after a time, and was relieved to see the track completely shift to jazz-dreamtime at the halfway mark. The atmospheric sonics were impressive (reminding me of Robert Rich with a techno-percussive slant) but I found the track, as a whole, to be unfocused with too many stylistic shifts within ten minutes.
Farfield's "Lure of Time" is a synth-derived ambient-jazz composition with deep bass, lovely piano, and a Bark Psychosis feel. This is in the spirit of the original Em:t series, which featured tracks like this sandwiched between Woob or Thomas Köner--always a pleasant, weird, and occasionally frustrating juxtaposition. It works nicely here too.
Finally, we have Gel-sol's "Jiva," which ought to please even the most hardened fans of the City Centre Offices or Morr Music labels. Bright synth, a fluid beat, and cool samples reference the classic ambient-techno of the early nineties, but with a modern and relevant shine that's truly impressive. Gel-sol's debut is due out from Em:t soon--if this track is any indication, don't miss it.

In total, I found Em:t 0004 to be light-years ahead of its compilational predecessor, and a sign of great things to come from the fledgling reborn label. The label's focus seems clearer accordingly--fans who found the original Em:t compilations intriguing, diverse, and challenging will find the 2004 installment similarly styled, but not slavish in referencing earlier triumphs. While, as with most compilations, not everything was to my taste, I found the quality of each track to be particularly high--especially the standouts by High Skies, Gel-sol, and International Peoples Gang. If Em:t 0003 left the jury still out whether the resurrection of Em:t itself was necessary or relevant, Em:t 0004 is sure to be the release opening doors to new listeners. Stay tuned; Em:t part two is clearly just beginning to gain momentum.

Available directly from Em:t.