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"Nyere spacerock og ambient og industrial flyder sammen. Elguitaren ikke som en protagonist, men som NATO-pigtråd eller røgslør. Synthesizere som trusler eller anelser, der sniger sig gennem korridorerne. Og rundt omkring opstår der hos denne lytter en undren over, hvad der er fiktion, og hvad der er virkelighed. Er det elektroniske kredsløb, der formulerer en knitrende ild, eller er det en Lundehave Hansens feltoptagelser fra Skotland, Indien eller Sverige? Og er det ægte fuglekvidder dérude i droneskoven? Imens der andre steder opstår helt andre associationer. Er det for eksempel dronemetalbandet Sunn O))), der betjener stålvalseværket i slow motion? Og spiller Lundehave Hansen ikke også på godstog?" [Ralf Christensen, Information]
"Som nævnt tvinger den opbrudte form én til at lytte ordentligt, hvis man vil have udbytte af ”Terminal Velocity”. Og når man nærlytter, opdager man, hvor kolossalt indgående Lars Lundehave Hansen har arbejdet med teksturer og detaljer. Det er helt på sin plads, at han selv beskriver sin lyd som “ultra high fidelity”. Klangflader, melodistumper og støjkilder er hele tiden under forandring, og mange elementer er så finkornede og stoflige, at man som lytter har oplevelsen af at kunne bevæge sig rundt om lyden i tre dimensioner. Desuden er en række feltoptagelser masseret så dybt ind, at det kan tage adskillige gennemlytninger overhovedet at opdage dem. [Mikkel Arre, Passive/Aggressive.dk]
"Guitardronerne i Lundehave Hansens musik har en umiskendelig elektrisk tone, man let kan blive væk i. Det vil sige lige indtil man abrupt bliver afbrudt og fortsætter ind i det næste nummer. Lige som man læner sig tilbage i de beroligende klangfarver, rives man ud af denne stemning, og smides ind i den næste, som igen hiver én ind i sit univers for en kort stund. Afslappelse – abrupt forandring – afslappelse – forandring – afslappelse. Pladen igennem afstedkommer det en indre uro, der nægter lytteren tid til fordybelse. Og hvad skulle man også med fordybelse, når man bliver fodret med en ny komposition hvert minut? [Tobias Linnemann Ewé, Seismograf.org]
"Hansen approaches the listener through a series of rich Dark Ambient and crisp drones. Occasional rasps of distortion grind a welcome appearance into the mix, driving an edge to the proceedings; alongside gasps of frost-tinged ambience, that breathe an accompanying chilled mist for atmospheric weight. Balancing distance between the varying degrees of sound is something that Hansen has achieved to great effect." [9/10, Black Audio]
"I must say a daring approach, but I am not sure if it works for me that well. I quite enjoy single pieces out of this collection, as they are spacious, gritty (there is even a distorted guitar to be spotted in some of these pieces), noisy, ambient and such like, but the pieces are so damn short. Much of what you hear in these short pieces could easily offer something that lasts four or five minutes I would think. Have some more pacing, slower developments, let sounds play out more and that sort of compositional deliberations. There is a wealth of material in these twenty-one pieces that just scream to be explored." [FdW, VitalWeekly 1035]
"Considering the album is 21 tracks long with offerings barely ever reaching the three minute mark, the intensity Hansen manages to reach from track to track is really rather impressive. At moments Terminal Velocity calls to mind Jed Kerzel’s soundtrack to angst-ridden John Bunting biopic Snowtown, so forceful are its narratives. Take ‘Disadvantage Point’ for example, shuddering amp-driven chords and screeching harmonics hurtle alongside one another like two burning meteors flying through space." [Theo Darton-Moore, Stray Landings]
"There are plumes of beauty and exhilarating eruptions of colour, although given the speed with which the sensory matter vanishes from view, I’m left cradling the emotional imprint rather than the sound itself, like a drunken night that unfolds too quickly to consciously register. Terminal Velocity is a slur of positive sensation; a waterfall that sends present-tense experience cascading into the pool of short-term memory. I know for certain I enjoyed myself. Just don’t ask me to recall specifics." [Jack Chuter, ATTN:Magazine]
"Genres such as the ambient and drone converge on this album in which interesting distorted guitar bursts are detected that come together with dark atmospheres based on digital sound lines that can be appreciated on an ongoing basis in the first six tracks. Then a small cut on "Improving Gravitational Resistance" with its guitar drones, is the prelude to the epic melody of "Hard Light in Solid Gold"." [Guillermo Escudero, Loop.cl]
"As stated previously, there is an incredible amount of variety from track to track. Some of these atmospheres are abrasive, some are soothing, some enigmatic, others ominously disturbing, some hint at melody while others are more sculpted noise and feedback. You will never be bored, and the replay factor is excellent." [4/5 - Steve Mecca / Chain DLK]
Released May 2016 on heavyweight blue vinyl by Tonometer Music. Available from Tonometer/Bandcamp or Route66, Soundstation, Percy Records and Posh Isolation and Sounds by Accord in Copenhagen, Staalplaat in Berlin and Drone Records in Germany.
Note: All tracks contains very low frequencies, so it is advised to use a proper subwoofer or very good headphones.
"Terminal Velocity" from Terminal Velocity. Material recorded in The Panic Room, Copenhagen, composed in EMS/ElektronMusikStudion, Stockholm. Video recorded in Iceland.
"Burst" from Terminal Velocity. Material recorded in The Panic Room, Copenhagen, composed in EMS/ElektronMusikStudion, Stockholm. Video recorded in Iceland.
"Chinese Sleeping Pills" from Terminal Velocity. Material recorded in The Panic Room, Copenhagen, composed in EMS/ElektronMusikStudion, Stockholm. Video recorded in Iceland.
"Reluctant Occupant" from Terminal Velocity. Material recorded in The Panic Room, Copenhagen, composed in EMS/ElektronMusikStudion, Stockholm. Video recorded on Islay, Scotland.
"Expansion Field" from Terminal Velocity. Material recorded in The Panic Room, Copenhagen, composed in EMS/ElektronMusikStudion, Stockholm. Video recorded in São Paulo, Brazil.
"Black Beaches" from Terminal Velocity. Material recorded in The Panic Room, Copenhagen, composed in EMS/ElektronMusikStudion, Stockholm. Field recordings from Islay, Scotland. Video recorded on Vestmannaeyjar, Iceland. This track also appears on The Wiretapper 40 released with The Wire issue 387 / May.
"Muted Enthusiasm" from Terminal Velocity. Material recorded in The Panic Room, Copenhagen, composed in EMS/ElektronMusikStudion, Stockholm. Video recorded in Iceland.
"When You Stare Into The Void..." is an audio-visual work comissioned by Torpedo18 to partake in their programme at Alt_CPH 2012. Torpedo18 is an online gallery that aims to create contemporary art in difficult accessible locations in public and private spaces. As a part of their quest to present strong conceptual works that are hard to access physically and intellectually I initially created the 'Drifting Spaces' series and for the Alt_CPH I wanted to expand this concept into a more eloborate production using award-winning noise, disturbed lighting and mixed emotions. The result ended up being the contemplative "When You Stare Into The Void..."