1. Point one [4:25]
  2. Point two [0:14]
  3. Point three [6:59] MP3 soundclip of Point 3 [2:59]
  4. Point four [0:38]
  5. Point five [9:44] MP3 soundclip of Point 5 [2:59]
  6. Point six [4:58]
  7. Point seven [6:52]
  8. Point eight [4:01]
  9. Point nine [4:53]
  10. Point ten [6:04]
  11. Point eleven [3:05]
  12. Point twelve [5:23]
  13. Point thirteen [4:02] MP3 soundclip of Point 13 [3:00]
  14. Point fourteen [4:16]
All titles composed, played and produced by Ralf Knappe-Heinbockel and Thorsten Reinhardt. I feel it is quite fantastic!!!!!!!! Then again I'm a freak for the Hemisphere style. Lots of ambience, dark passages, nice rhythms, cool guitar work, and yes a bit of percussion.

2002. © Mike Valant Yep! I'm a Hemisphere fan to. The new album is brilliant, a trip into the unknow universe. I could listen to this stuff all night long.

2002. © Mick (TheED) Hemisphere serves up another slab of dark shadowy theatrical ambience. Labeled "A Psychedelic Deep Ambient Soundtrack," it is, I believe, all seeing light of day on CD for the first time, but is apparently a collection of new and old material mixed into a singular work. Each piece is simply labeled "Point One," "Point Two" and so on, the fourteen pieces mostly recorded in 2000 and 2001, but a couple are thrown in from years earlier. It all flows seamlessly into a cool gelatinous mass that catches a great groove. Beginning with Gregorian chant and dark flowing music, it shifts into high gear for "Point Two," with a crushing beat and a variety of cool synth textures and hypnotic loops. "Point Three" shifts back to darkness, with haunting choirs and low, thick synth pads. This one is ominous, sad, with a unique beauty. Stuttering bass and beats start "Point Four," and some very interesting vocal interplay goes on between two wailing voices, contrasted well with Thorsten Reinhardt's gritty guitar. The doleful, earthy "Point Six" makes me think of Peter Gabriel's Passion soundtrack. The emphasis tends toward darker atmospheric pieces, but just when it seems all is dank and musty, a rhythmic piece like "Point Nine" or a downright happy, light one like "Point Twelve" emerges - though the lighthearted beat is offset by the return of male chanting. Suffice to say it is a stirring concoction of darkness and light, floating and rhythmic. Psychedelic? Perhaps. Good? You bet.

2002. © Phil Derby / Exposť Magazine Attachment X is a remixed compendium of ambient recordings by the German duo Hemisphere (Ralf Knappe-Heinbockel and Thorsten Reinhardt) made over the last decade between 1991-2001. Nearly 80 minutes, Attachment X is an amorphous long-play collage of harmonics and sequencers. Its tracks, called Points graciously honor past achievements of Tangerine Dream and Jean Michel Jarre, while carving out their own programming niche. Reinhardt's guitar floats and drifts to Knappe-Heinbockel's streamlined keyboard phrasing which percolates in and out of the foreground. This disc plays like an electronic operetta, perhaps best experienced at the conclusion of something like the Burning Man festival, or as a soundtrack to an opium den. Lost in the darkest shadows are glints of residual heat from a recent storm, gestures of lurking presences, risky passages to lunar caverns. This is a total trance-inducing complement to, perhaps, documentary footage of an alien's first step on earth, or the impending gesture of crop circles in the making. There is an inherent sadness or sense of detached loss as the disc comes to conclusion in its final tracks. It is like a wave to a foreign world left behind, a bittersweet finale.

2002. © TJ Norris / Underground Studio 10th album for an incredible deep ambient-electronic trip by Ralf Knappe-Heinbockel and Thorsten Reinhardt. Their music is so various and intense, warm and rich of atmosphere, that the listener is among different realities of sounds and effects... Passages so dark and slow, for then to show a track full of rhythm and magic... Their imaginations goes ahead from "Point One" to "Point Fourteen", giving deep vibrations in the air, and continues even when music is finished. In all these tracks Hemisphere show their different faces. An album really great, all to discover till the last note.
Composed between 1995 and 2001, it was recorded in 2002.

Stefania Carezzoli / 21st Century Music Something of a new departure for Groove, a dark ambient album with compositions dating from 1995 to 2001, some remixed, and with tracks running continuously.
Most of the time it's impossible to pick out a melody or harmony part - huge dark layers of metallic and voice-like textures flow together, though a throbbing sequence does occasionally break out, and there's one lazily grooving Enigma-like piece.
Comparisons with Steve Roach and with Vidna Obmana are inevitable, though Hemisphere have developed a less ethnic and if anything even more multi-layered sound, which should appeal strongly to enthusiasts of that style.

E-Mix This 2002 release features 77 minutes of densely structured electronic music.
Hemisphere is: Ralf Knappe-Heinbockel and Thorsten Reinhardt, with Petia Huschle providing lush vocal harmonics.
Concrete walls of dark sound waver into view, eclipsing the night with their powerful bulk. Grand sweeps of electronic rushes blend with dramatic percussive elements, achieving impassioned expressions of ultimate fulfillment. Rapid-fire sequencing flows like savage electron rivers, bombarding the void with mysterious effect, elevating vibrant pulsations into a realm of perpetual crescendo. The cosmic wail of space guitar appears frequently, adding fiery enhancement to the surging sonic ecology. Tension runs rampant, tempered with a reverent undercurrent that tingles the hairs at the back of the neck. Symphonic textures demonstrate scarce restraint as they expand to fill the air, crowding out all hesitation or uncertainty. This music demands attention, delivering a solid dose of melodic thunderheads that soar through stratospheric heights on their way to epic resolution.
Sourced from compositions created between 1995 and 2001 (including one section generated in 1991), this dramatic soundscape is a monument to the type of electronic music that instills awe in even the most dubious skeptic. This music is rich with inspiration, and much of that sentiment intentionally spills over into the audience's head.

Matt Howarth