Lars Lundehave Hansen

Terminal Velocity has a nearly architectural way of building floating landscapes in sound that seduce your mind to go drifting. Not by over-producing the different elements, but by downscaling, all in a dreamy tempo. Minimalistic in its own way, often just by letting high, clear sine waves tingle in a "room of sound" with deep notes somewhere in the distance.

And if you at all think that it’s possible to talk about divinity in the beginning of the 21st century in relation to sounds created by digital tools, it's here. It's in the grooves on this first album released by Lars Lundehave Hansen under his own name.

From the liner notes by Jan Sneum, Oct. 2015.

"Hansen approaches the listener through a t of rich Dark Ambient and crisp drones. Occasional rasps of distortion grind a welcome appearance into the mix, driving an edge to the proceedings; alongside gasps of frost-tinged ambience, that breathe an accompanying chilled mist for atmospheric weight. Balancing distance between the varying degrees of sound is something that Hansen has achieved to great effect." [9/10, Black Audio]

"Considering the album is 21 tracks long with offerings barely ever reaching the three minute mark, the intensity Hansen manages to reach from track to track is really rather impressive. At moments Terminal Velocity calls to mind Jed Kerzel’s soundtrack to angst-ridden John Bunting biopic Snowtown, so forceful are its narratives. Take ‘Disadvantage Point’ for example, shuddering amp-driven chords and screeching harmonics hurtle alongside one another like two burning meteors flying through space." [Theo Darton-Moore, Stray Landings]

"There are plumes of beauty and exhilarating eruptions of colour, although given the speed with which the sensory matter vanishes from view, I’m left cradling the emotional imprint rather than the sound itself, like a drunken night that unfolds too quickly to consciously register. Terminal Velocity is a slur of positive sensation; a waterfall that sends present-tense experience cascading into the pool of short-term memory. I know for certain I enjoyed myself. Just don’t ask me to recall specifics." [Jack Chuter, ATTN:Magazine]

"Genres such as the ambient and drone converge on this album in which interesting distorted guitar bursts are detected that come together with dark atmospheres based on digital sound lines that can be appreciated on an ongoing basis in the first six tracks. Then a small cut on "Improving Gravitational Resistance" with its guitar drones, is the prelude to the epic melody of "Hard Light in Solid Gold"." [Guillermo Escudero, Loop.cl]