Mixing field recordings with improvised instruments like Trumpet, Accordion, Guitars and Vocals from the likes of Mac Gollehon, Rob Levitt and Christian Molenaar “Dendritic”’s  eleven tracks make up a strange beast of an album that both surprises (with the improv) and shifts in and out of its niche of ambient far too readily.

Starting with the ten minute track “Niche Differentiation” begins with bird song and guitar and initially sounds like we could be entering into Harold Budd territory with the low drone and accordion that rise steadily in the mix. However it quickly becomes apparent that this accordion isn’t going to accompany the drone as much as it is going to be sampled indiscriminately across it and the bird song just carries on along it’s own undefined path. Within 5 minutes we’ve got a wall of guitar noise to contend with and I’m already asking myself which branch of “ambient” this albums going to land in?

With “Opportunistic Twilight Predation” the natural sounds of night time are mixed with a gorgeous droning ambience that is both haunting and settling. The pulsing in the drone makes for possibly the most interesting track of the album, and it’s not drawn out to a stupid length either.

“Phantom Climate” follows a similar path, the background cacophony only helps to increase the tracks trepidation. With the use of piano in the distance the feeling of anxiety is only heightened. And I think this is a good indicator for this album. When the drones and the nature are left to their own devices (without the overly heavy use of instruments) the album comes into it’s own and makes for a really interesting listen. When we are given “improv” as well, I find the jazz element over rides the concept that is trying to be met.

The centrepiece “Die Feindlichen Alchemisten mit Glocken” falls into this trap, like “Niche Differentiation” it doesn’t fit with the albums other aesthetic of ambience and nature. The need to improvise and vocalise over the music of natural sounds and field recordings kills the rhythm therein and the ambience immediately.

An ambient album with the samples of nature and field recordings really doesn’t need all these instruments to enhance it. It doesn’t work often enough to justify doing it repeatedly, it just leaves you feeling somewhat betrayed when you can have gorgeous tracks like “An Ode Across Dimensions” that has space and depth in it’s short two minutes, but to get to it you have to go through twelve  minutes of “Die Feindlichen Alchemisten mit Glocken” first. Overall, a flawed album that tries too hard, and relies too heavily on the musicians providence to help make it work.