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Cosmic Ground are back with their second full-length, creatively titled Cosmic Ground II. Two LPs and only four tracks, so you know that this is going to be some premium, stretched out komische. And so it comes to pass: Dirk Muller leads the listener into some pretty fresh headspaces. 500 copies on Deep Distance.

  • Double LP £17.99
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  • DD40
  • DD40 / 2LP on Deep Distance. Edition of 500 copies

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Cosmic Ground II by Cosmic Ground 1 review. Add your own review. 8/10
11 people love this record. Be the 12th!

8/10 Staff review, 04 September 2015

How can ground even be cosmic? Isn’t ground kind of counterintuitive to the floaty nothing of our cosmos? I’m so lost. I am so lost in space. In space no one can hear you ruminate on the complications and oxymorons of Kosmische album titles. And in real life, no one gives a shit. Anyway here’s a really great record of galaxial synth monoliths called ‘Cosmic Ground II’ by Cosmic Ground. With this record, we’re actually entering the limitless headspace of Dirk Muller, who perpetuates some gorgeous synthlines and then lets them rattle along against each-other at the speed of light (slowed, for our enjoyment). Bringing this sort of purposeless, inhumane transcendence back down to earth for a double LP pressing must be so disheartening.

But it’s good for us. This record essentially brings four longform pieces based around different strands of repetition: while the first of Muller’s pieces is content to mainly let synthlines interact with the vast emptiness, his second piece is a noisier, dronier venture, interlaying a fogged backdrop with bitty effects and chimes before he can grasp at a rhythm. When he does, it sounds like he’s acting as Tangerine Dream’s life coach, trying to evacuate the ambience with an urgent bleat of synth. The droning background has a dislocating effect: it makes one feel like they’re floating on the edge, unable to move properly, watching something faster flit by.

There are Kosmische artists who stick pretty fastidiously to the same shade of sound for their whole record, but Muller is more about the spatial change-ups, and each piece, while combining droning figures and proper synth jams, feels like it’s lent a different aesthetic choice, be it a busier, more tense sound or a more enveloping build. This is inventive stuff in a field where we’re told everything’s been invented.


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