Since it started Klimperei has released a large number of solo albums and collaborations. The album, I’m reviewing, was released in 2017 by the French label InPolySons with the participation of the Russian label Monochrome Vision. The album was released on CD and is still available to buy from both labels websites.

The album cover is black and white. It’s made up of a picture of dark and light concrete structures that touch each other vertically. In the middle, there is a horizontal black-and-white strip on the black part of which written the name of the project "Klimperei", and on the white part - the name of the album "Ostinatii 2". On the inside of the 2-pages booklet, we can see a black and white photo of an old dirty window blocked by a grating. On the spread of the booklet is a black and white photo of an old wooden wall with peeling paint, as well as information about the album, artist, photographer and so on. On the backside, there is a black and white picture of the opening in the old wall, against which background the names of the tracks and the rest of the legal information are written.

The album, has a total length of just over fifty-five minutes, consisting of eleven songs which each lasting between three & a half to six minutes. Normally when I review an album, I don’t dwell on each track in detail, especially as this album seems to me a monolithic work in which it's difficult to single out a specific track.

All the compositions are made in the same style, despite the different rhythm of each composition - this is the machine rhythm of percussion and mathematical, metronome beats on strings, keys or some other musical instruments (and perhaps even not musical ones). I would call it static music, repetitive, hypnotizing. There are notes and chords, but they are so secondary, and sometimes even dissonant, that you do not pay any attention to them. Compositions seemingly have a clear beginning nor an ending. They just start and stop, like a piece of something bigger.

The rhythm sometimes accelerates, then slows down. It sounds rather strange, as if the drums do not keep up with the rest of the instruments or, on the contrary, the drums try to get ahead. But basically - it's a clear, measured, simple rhythm with a pronounced bass line, guitar, piano and some other instruments and percussion unknown to me. And all this plays in unison the same note, with the same interval, sometimes changing the tonality and speed.

In the absence of compositionality, as such, the project makes the tracks diverse by introducing new instruments into the musical line or shifting the accents towards one of the playing instruments.

And yet, I would like to highlight tracks ten and eleven "De Tout bois" and "Le Toin". They differ with quite heavy, almost rock-sounding due to the low distorted guitar and bass.

Despite the absolute simplicity, cyclicling, mathematical rhythm, which introduces into a trance, each composition has its own mood. Sometimes it's a light puppet dance, and sometimes - an ominous expectation of something bad.

Because this album is the second Ostinatii, I decided to play its predecessor, which is simply called Ostinatii (version 1). I heard absolutely the same songs, under the same names and in the same amount. With one difference - the lack of drums and a more raw sound. That is, in its essence, the album Ostinatii 2 is not a continuation of Ostinatii. It is rather a rethinking and development of the previous work, an attempt to bring it to perfection.

Of course, I would like to mention the ingenious input of Christophe Petchanatz, his mastery of musical instruments and the work of a drummer Tagubu.

For the first time I,’ve come across something that is really hard to describe in words. The first associations that I have with me are Kraut-rock legends CAN, early Pharaoh Overlord and classical Chinese music. Well, maybe a little Philip Glass too. I would even call it the most static Kraut-Rock in human history. It's a very unexpected, strong and amazing album for me. I am very glad that I was able to get acquainted with the work of Christophe Petchanatz, and I'm sorry that I have not heard of his work before.