Tip! *111 copies limited edition in special packaging* "Last year, Martijn Hohmann bumped into Roel Meelkop (Thu20, Kappotte Muziek) at a concert, and as two like-minded musicians would do, let’s work together on music. Hohmann mailed drones and field recordings to Meelkop, who did his magic (as in processing and adding sounds of his doing). Upon completion, a second round of new sounds and new reworkings resulted in four pieces of music, each around 15 minutes, so a solid hour of music. I have followed Meelkop’s work ever since his first cassette releases (first as Happy Halloween, then Mailcop and since the mid-1990s as Roel Meelkop), and I heard a lot of music (if not all, but I don’t like bragging). Meelkop most likely heard previous work by Hohmann and used some of his compositional ideas here and left some of his own out.

In his solo work, Meelkop uses the collage form with intricate cuts, lots of dynamics and much less of all the all-encompassing drone approaches of heavily processed field recordings, even when not wholly opposed to these. In the four pieces, he does precisely that: play long-form drones of heavily processed field recordings. In the second piece, I recognised street sounds (cars passing), but otherwise, I didn’t. Various forms of electrical currents, machines whirring, electromagnetic signals from behind walls, that kind of thing.

The laptop was the machine for Meelkop for many years. Still, for about two or three years (or more even), he also worked with modular systems, and, at least that’s what I assume, he uses the laptop for recording and editing, and in these pieces, he creates a long-form crossfade in all four pieces. There is the darkness of Hohmann’s solo work, with deep rumbles, spacious oceanic drifting and abandoned industrial spaces, and stale, cold wind licking rusty objects. This is one for everybody who loves the grittier and darker ambient works. It also comes in a beautiful package: minimal (as in, no information) but great design." - Vital Weekly