Looking through my CD collection the other evening, I realized that I have a lot of ambient CDs. Because they often serve sort of the same purpose, it sometimes seems strange to me that I even need so many, but any time I get close to getting rid of certain ones, I remember little things that I enjoy about the releases and they live to play another day. Klimek lets you know where his newest album is coming from right away with the title of Music To Fall Asleep, and the release is another somnambulist entry in the "pop ambient" series from Kompakt.
In addition to being quite different from his peers in that his music drifts by on a warm blanket of sound without beats, Klimek (aka Sebastian Meissner, who has also released several records under the name Random Inc) also sticks out a little bit with his use of real instrumentation. His favorite on this newest album (his second under the Klimek name) is the guitar, and he takes simple notes from the instrument and turns them into sonic goo, pulling them out like taffy until they sometimes take on a completely different set of traits.
"Pathways To Work" opens the disc and it's a little darker than the rest of the disc, setting a foreboding scene with dense, swirling washes that only reveal themselves as guitars in the last few seconds of the song. "Accompanying Guilty Thoughts Of Unauthorized Candy" follows directly (nearly all the songs on the album are mixed into one another) and it falls into a shuddering, glitchy routine of granulated guitar notes that sounds nice but really fails to separate itself from the vast amount of artists doing similar things.
Tying in with the aforementioned statement, the album lags a bit when it's forced to rely on the actual melodies of the guitar pieces to stand out, because they're usually not very strong melodically. The disc is much better when it pushes beyond those recognizable filtered guitar sounds and into more otherworldy sounds. "Kingdoms Here We Come" is a perfect example, dropping dense fields of held tones over a repeating three-note bass part that sucks you into a creepy vortex and doesn't let you out. "Verlust Der Motorik" is another fine example, pushing forth a flickering harmonic piece that sounds like Tim Hecker mixed with Gas. There are places on the twelve-track, sixty-five minute release where it sounds like it's re-treading through familiar territory, but if you're a fan of ambient electronic music, you could certainly do worse.