1. Apsis (Presbytery) [3:21]
  2. Columna Occidens (West Column) [3:24]
  3. Fultum (To Prop Up) [6:25] MP3 soundclip of To prop up [3:00]
  4. Subtilitas (Precision) [3:48]
  5. Tempus Fugit (Time Is Gone) [7:59]
  6. Sumsum Corda (Cheer Up) [6:05]
  7. Kryptein (Crypt) [2:53]
  8. Murus (Wall) [5:28]
  9. Gratias Agereres (Thanks A Lot) [5:27] MP3 soundclip of Thanks a lot [3:00]
  10. Excubitor (Sentry) [5:45]
  11. Domus Coeli (House Of Sky) [1:57]
  12. Nemo (Nobody) [4:00]
  13. Columna Australis (South Column) [3:42]
  14. Pridem (Recently) [1:30]
  15. Celsus (High) [1:38]
  16. Vitrium (Glass) [5:54] MP3 soundclip of Glass [3:00]
Composed, recorded & performed by John Lakveet
This is part #2 of "Building a cathedral".
Part #1 is released on GR-094. The title of both "Volumes" in this 2 disc set illustrates the albums concept.
Each track is composed as part of a series that literally builds upon one another sonically. The different music moods and tempos blend into a synthetic tapestry of sound with different tones and tempos, but an organic flow musically.
It’s a virtual magic carpet ride, on waves of sound.

Archie Patterson / USA I do not know volume 1 so I can listen unprejudiced to this CD. The first thing you notice is the unusual large number of tracks on this CD: 16.
This means that the songs are uncommonly short for our beloved type of music, which makes that "Building Sequential Stones" sometimes appears to be a bit incoherent. Regularly good songs are started but then quickly fade away to never appear again (listen for instance to "Subtilitas" that stops after three very enjoyable minutes).
The best tracks, like "Fultum" and "Murus" (I knew I should have included Latin in my A-level subjects) are groovy with strong sequencing which spur on.
Other tracks are rather dull because they show little development (like "Kryptein" and "Gratias Agereres").
My advice: listen first before you buy.

André de Waal Volume 2 starts strong with a slower-paced sequence in "Presbytery" that builds the song in just the right manner.
"West Column" has a gentle but rapid musical phrase much like Rudy Adrian’s excellent Berlin school style, then shifts to a nearly silent section that works very well in contrast.
The dreamy "Time Is Gone" is a wonderful floater.
The lead synth on "Cheer Up" is a little too cute, but is offset by the darkness that follows in "Crypt".
Another ambient track is "Sentry", an effective experimental adventure by Lakveet that is really more sound collage than tune.
It’s hard to cover all the ground here, but you will find the terrain well worth your time exploring.

2004. Phil Derby / Electroambient Space The most wonderful combination of delicate crystalline melody and lone wafting sequence provide a deceptively beautiful start to 'Presbytery'. Without warning a much heavier sequence and electronic growl give us shake. A Morse code type sequence and aggressive lead impart even more attitude. We return to softer realms to finish but on the whole this was a fairly uncompromising start.
An extremely rapid brace of sequences propel ‘West Column’ into life as the head of steam built up on the opener is continued here. Suddenly though, it’s all stop and we float on gentle pads and soothing birdsong. The contrast between the two halves of the track is very effective.
‘To Prop Up’ maintains this more relaxed approach for just a matter of seconds before more sequences are deployed. These are the most melodic on the album so far but they come in large numbers and pack quite a punch. A retro organ type lead gives it, for a few moments, a slightly proggy feel but then a jaunty solo sequence takes over the baton (a high register tinkling one in the background) reminding me of ‘Magic Fly’. It’s a track with a surprise around almost every note!
Multi layered sequences continue through on to ‘Precision’, mutating constantly, twisting in and out of each other so you have to keep on your toes to keep up, especially as the pace is so quick and the pulsations so full of melody that you find that your mind is constantly being pulled between ‘tune’ and ‘rhythm’. On first play I knew I loved it but it took many a repeated listen before I could take it all in. Something that is true of many of the tracks here.
‘Time is Gone’ gave me chance for a bit of a breather as soothing tinklings, soft drones and the most laid back of leads waft through the air.
Initially things become even mellower for 'Cheer' Up but then some very curious string melodies arrive, then others on what almost sounds like they are played on a children’s instrument- quite bizarre- until, to some extent we return to more familiar sequencer territory. There are still some rather, to these ears, inappropriate melodic stabs going on in the background though.
Extremely odd, maybe 'Volume 2's equivalent to ‘Reflection’ from Vol 1. Crypt’ is suitably spooky, with ominous breathy noises. These are juxtapositioned with more soothing melodic touches but, on balance, things are still fairly malevolent.
‘Wall’ is certainly a return to exciting pulsating sequences, melody oozing out of each note. There is an ebb and flow though and gradually over time things become relatively tranquil but moody.
‘Thanks A Lot’ is initially quite symphonic. In the middle section the string sounds morph into more traditional electronics only to return to strings again by the end. A lovely melancholy track, as indeed is 'Sentry' though this time the predominant sound is the sea breaking on the shore. A really vivid piece of picture music.
‘House of Sky’ continues with the atmospherics as flute and bubble effects, then the wind, create a lovely peaceful mood.
Jonn brings back the sequences for ‘Nobody’, but there is still a moodiness to the backing even though an almost playful lead is in marked contrast. The pace quickens as more sequences are deployed.
'South Column' picks up the heaviness of the pulsations still further. The intensity varies but overall the excitement level is high. One of my favourite tracks here.
‘Recently’ is the shortest track on the album buts it’s decidedly fun, sequences and quirky melodies bouncing off each other in the most curious way. High’ is completely different, again rather symphonic and moody but also extremely beautiful.
‘Class’ is another demonstration of melodic sequencing but of the subtle variety, even developing a bit of a Japanese feel near the end.

Thus ends a much more varied album than Volume 1.

DL