1. The Journey [5:53]
2. Flashing Blue [7:52]
3. Island of Silence [11:47]
4. Secret of the Cave [7:31]
5. Oceanic Empire [23:58]
6. Peace Set I & II [7:09]

Recorded and mixed at the Gelber Raum (Germany), the Klanfshøj Studio (Danmark) and the Nanovision Studio (Danmark) between June 2000 and June 2001.
Mastered by Ron Boots.

Tony Andersen - Keyboards and sequencing
Kent Eskildsen - Keyboards, piano and guitars
Jens Peschke - Keyboards and sequencers. After their critically acclaimed first album "Northern Consequence" from 2000, "Oceanic Empire" is the debut on the Groove-label from this international trio consisting of Tony Anderson, Kent Eskildsen and Jens Peschke. Electronic music and trios: you can't almost help but thinking of Tangerine Dream. Well, Navigator’s music surely has traces of this legendary name. Just take the first track "The Journey" which opens with guitar arpeggios and then moves into some great sequencing and guitar soloing. This is a sort of new version of "Stratosfear". There is more. In the six pieces on "Oceanic Empire" you'll hear a sublime mix of sequencer music combined with fine melodies and very strong solos of guitar and synths. "Flashing Blue" is an excellent example of this. It has a superb base melody. There is even more because there is also room for spherical ambient sounds in pieces like "Island Of Silence" and the title track, which, with almost 24 minutes is the magnum opus of the CD. This piece opens with Mellotron strings and moves some of the strongest sequencerlines ever heard. After a long ambient-intermezzo the sequences return, even better. There is a lot of retro-electronic music going on at the moment. "Oceanic Empire" can be regarded as on of the highlights.

2002. Paul Rijkens Navigator: Oceanic Empire, gisteren gedraaid, wat een meesterwerk! Grandioos, sensationeel! Nog mooier dan wat ik dacht.
Vanaf de eerste noot tot de laatste was ik helemaal gehypnotiseerd, met deze cd ga ik 'back to my roots' (TD periode Stratosfear/Ricochet).
Vind ik tenminste, ik kan het moeilijk met woorden uitleggen wat ik voelde dus ik zal het niet proberen maar dit is in ieder geval een heel emotionele ervaring en bovendien 'mastered by Ron Boots', gefeliciteerd Ron!

2002. Luis / NL I am listening to this CD for the first time... Very, very, nice!
Great sequences, beautiful sounds, great atmosphere....
Hmmm... also got "Northern Consequence", can't wait to hear it!

2002. Sayer Tony Anderson, Kent Eskildsen and Jens Peschke show a superb album. A window of a cosmos full of synths and sequencers to develop a music rich of those memories lost in the time, a Berlin School that touches highest levels of the emotions and vibrations. Each track is a trip toward a sea of fabulous sequences, races of sounds and effects that bring the mind and take far, showing a very great talent and passion for electronic music. Some moments of ambient fly into the universe of the rhythms of synths, while an electric guitar, sometimes, appears… and the electronic dream continues…

Stefania Carezzoli / 21st Century Music I just would like to make a quick comment about the new release by Navigator "Oceanic Empire".
This CD is at the top of the charts at www.groove.nl and rightly so!
I was going to write a review of this CD, but all I'll say for now is that if you love mid 70s to mid 80s Tangerine Dream, then you won't be disappointed with this release. I've taken this CD on my recent travels and I keep playing it over and over - it's just that great!

2002. Vic Rek Den geografisk set godt spredte electronica-trio Navigator ­ som består af Kent Eskildsen (Hjørring), Tony Andersen (Herning) og tyske Jens Peschke - mødtes online for fem år siden, hvor de alle deltog i en diskussion omkring den elektroniske musiks former og principper. Siden da har de sammen udsendt albummet Northern Consequence på det hollandske Groove Unlimited-label ­ og nu er turen kommet til udspil nr. to: Oceanic Empire.

Som orkester står Navigator for et forsøg på at holde den tidlige electronica, grupper som Tangerine Dream og Ashra stod for i sen-70’ernes Vesttyskland, i live og udvikling. Således genkender man førstnævnte gruppes både ambiente og symfoniske aspirationer i gruppens lydbillede ­ og Eskildsens lejlighedsvise guitararbejde trækker tilsvarende tydeligt på Ashra-mesteren Manuel Göttschings simultant skarpe og luftige sound. Véd man, hvor voldsomme fejltagelser netop disse to grupper af og til begik i den sidste del af 70’erne ­ begge kunne til tider blive modbydeligt oppustede og prætentiøse ­ kunne man derfor godt have særdeles bange anelser på Navigators vegne. Der er da også enkelte øjeblikke ­ som under en række lige lovlig funkede/opvisnings-prægede improvisationer på albummets svageste nummer, "Flashing Blue" - hvor dejen klasker sammen for trioen, men i det store og hele lykkes det faktisk for den dansk/tyske konstellation at holde balancen mellem det pompøse og det effektive. Gruppen bevæger sig ­ modsat deres forbilleder ­ meget sjældent ud i overflødige/demonstrative instrumentale udflugter, men holder sig ret stramt til det, der tydeligvis er deres hovedsag: Svævet. På den måde lykkes det for Navigator at komme op med en række sympatiske soundscapes, der gør gruppens efterhånden ret isolerede prog-elektroniske tidslomme ære. Især på åbningsnummeret "The Journey", hvor et smukt, enkelt guitartema på flot vis understøttes af vel gennemtænkte syntetiske flader og temaer. Og i øvrigt: Ros til produktionen, der er både overraskende klar og homogen set i forhold til det faktum, at grundsporene er blevet indspillet i tre forskellige studier i to forskellige lande.

For at være fair bliver man nødt til at sige, at kraut-electronicaen ­ for guderne skal vide, at Ashra og Tangerine Dream også havde sine oprigtigt inspirerede faser ­ ikke smager helt så sødt som i gamle dage. Måske fordi det bl.a. er svært at genskabe den tynde, spøgelsesagtige lyd fra dengang på nutidigt udstyr ­ måske fordi Navigator meget klart véd, hvad de laver, og derfor ikke i samme grad forsker sig frem. Dog: Vil man have et godt bud på, hvordan electronicaen kunne have udviklet sig hvis det var Tangerine Dreams - og ikke Kraftwerks ­ vision, der havde sat mest præg på eftertiden, er det Oceanic Empire, man skal købe.

2002. Steffen B. Pedersen The soft acoustic beginning belies the true nature of Oceanic Empire. Any notion that this is a laid-back affair is quickly put to rest, however, as "The Journey" progresses. A low bass sequence emerges, along with some great electric guitar. I found the axe too prominent at times in their debut release Northern Consequence, but I have no such complaints this time around.
All the touches seem just right, as evidenced from the get-go in this great starter. Beautiful flutes finish the track with a light, deft touch.
"Flashing Blue" jumps right into bubbly energetic Berlin school mode, featuring excellent sequencing and scorching synth leads. It is fast yet effortless.
"Island of Silence" is really two distinct musical ideas for the price of one. A haunting melodramatic section opens it up, taking up almost half of the twelve minutes. But then it abruptly segues into another brisk sequencer piece, with top-notch soloing by Kent Eskildsen on electric guitar.
This really combines the different elements the way Tangerine Dream did at their peak in the 1970s, with Eskildsen taking the Froese guitar parts, Jens Peschke and Tony Anderson adding keys and sequencing that perfectly match the intensity. I particularly love how this one builds to a crescendo at the end. I'm still not certain why the two halves are combined into one track, they don't seem to have anything in common, but it's great nonetheless.
"Secret of the Cave" just screams TD influence, a composition Chris Franke would be proud to call his own. As good as everything preceding it has been, this might be the best track of the bunch so far. Understated in pace and mood, it is flawless.
Next up is the epic 24-minute title track. I can't say enough about this one. Vintage synth nuts will be in a total state of nirvana by the end of it, as it makes delightful twists and turns through a variety of themes, this time with excellent transitions as it goes along.
And if I haven't gone on enough about this disc, "Peace Set I & II" is an ideal closer.

Give credit to these guys for not being afraid to put a beautiful piano number in the midst of a synthesizer masterpiece. It is a perfectly timed change of pace that works brilliantly, marvelously executed. It's getting time to think about my Best Of 2002 list, and Oceanic Empire will almost surely be on it. Highly recommended.

2002. Phil Derby / Electroambient Space As I was navigating the sound clips at groove, I was stopped by "Navigator". My navigation ended at the " oceanic empire", I am very pleased to meet the emperor with such a lovely style. I truly feel proud of myself for having such a high standard taste...lol
Thanks to Groove for such a fine choice.

2002. Ali Aladimi / Yemen This 2002 CD offers 64 minutes of dreamy-yet-gripping electronic melodies. Navigator is: Kent Eskildsen, Jens Peschke (from Kubusschnitt), and Tony Andersen.
Delicate guitar ushers the listener into the first stage of this aquatic voyage, unhurriedly strumming an introduction that explodes with electronic fever as the guitar erupts with space aura and demonstrative electronics bustle their way into the mix.
Whizzing and whirling sounds cavort to achieve flowing passages that submerge the audience, subjecting everyone to the glorious depths and the mysteries contained therein.
Synthesizers influenced by the Berlin School style generate drifting regions of clear liquid that waft gently at the edges of the attentive mind. Cyclic sequencers establish more energetic substance as those waters grow murky from lack of sunlight. More electronics burst into being, producing ample illumination with their urgent declarations and squealing chords. The pace grows more dynamic as the descent continues, flashing sounds that bewitch and calm as they invigorate. Space guitar re surges, wailing in praise of the incredible deep and its unconventional denizens. The melody becomes quite insistent, pleasantly demanding attention of all who find themselves within hearing.
No drums or E-perc are utilized in this music; indeed, such rhythms would only get in the way of Navigator's focused verve. Instead, electronic riffs are spun into repetitious patterns that function as a rhythmic presence to satisfying effect.
The CD's title track is a 24 minute epic composition that exposes the audience to aquatic depths of astounding complexity and ecstatic engagement. Familiar strains act as a sonic anteroom leading to regions of more haunting constitution. Periodically, the electronics will growl with ominous resonance, hinting at the immense barometric pressure that exists just beyond the bulkhead.
These warnings are promptly followed by passages that celebrate the darkness with fluid structure and inspiring riffs. Hordes of bubbling bloops and quasi-Tangerine-Dream sequencing provide thoroughly rewarding nuances as the electronic textures merge and mutate.

2002. Matt Howarth / Sonic Curiosity A wonderful work, this CD by Navigator.
This is a powerful album, where the artists (Kent Eskildsen, Jens Peschke and Tony Andersen) contribute their musical talent to achieve a fresh, emotive sonic journey.
The music, of a Space style, is based on the use of powerful sequencer rhythms and spectacular orchestrations with synthesizers. The melodies usually are warm, lively, in an atmosphere typical of a soundtrack for an adventure movie. There are dark, mysterious passages. Others turn out to be epic, majestic.

Edgar Kogler Navigator is a "Berlin school" band, primarily influenced by Tangerine Dream circa 19876- 1982.
Fans of the sequencer heavy style of that time would enjoy this offering. As I enjoy this type of music, I liked this cd, and recommend it, with a few minor qualifiers. The band's strengths are primarily the creation of interesting and overlapping "Berlin" sequences that drive the pieces. Except for the dominating sequences, the pieces themselves and the ambient sections of the pieces, while competently done, are relatively un adventurous. Overall, the sequences make up for any stasis in the recordings and Berlin school fans will find much to enjoy here.

"Flashing Blue" opens with some very nice interlocking sequences with overlapping and interesting rhythms. The stepwise descending chord progression that accompanies them has been heard before, but fits the sequences nicely.
"Island of Silence" begins with an extended, orchestral-sounding ambient introduction that is creative, even veering off into some nicely done dark ambient sounds. More of this type of contrast would have been welcome..
This is followed by another nice interlocking series of sequence that chugs along for a while before a Froese-like lead guitar plays over it.
"Secrets of the Cave" begins with slow, echoey, flute and vocal pads before continuing with yet another intense interlocking sequence. A guitar theme is introduced and is very pretty and well-integrated with the sequences.
"Oceanic Empire", the longest piece, sounds to me like several pieces tied together. The piece begins with interesting Mellotron-like sounds that mingle with a light harp-like sequence as vocal pads move in and out. There is a nice balance to all these things going on at once and a watery mood is maintained by sampled or synthesized wave sounds. This transitions into another ambient section with a somewhat lyrical melody and some ambient noise. The initial theme returns as a signal to trigger another section that features a bass sequence bubbling under some pleasant soloing. This leads to the climax of the piece, a delightful syncopated interlocking sequence that continually morphs and surprises. The finale is the excellent interaction of this sequence with some pads and solos marking this piece as the best on this cd.
The final pieces, "Peace Set I and II" are slow, sparse, simple melodies accompanied by simple harmony. The intended tranquility was not conveyed to me and these cuts failed to reach me like the others.

2004. Mark Morton / Wind & Wire