Leitern und Pfade is a C30 release from German project Compest. And what we have here is a selection of decidedly atmospheric tracks, which shift between pared-back electronica, retro synth scaping, synthetic orchestration, and more cinematic/ darkly building fare.

Compest is all the work of German sound artist Martin Steinebach, who has been sonically active for the last twenty-five years or so. He has used several monikers through the years. His first project Conscientia Peccati, featuring a synthetically orchestral & ritual based sound. Later on, he set -up Monoid, which focused industrially rhythmic based sonic, and then there was StillStand where he investigated more abstract ambience. Then in 2004, he melded all of his influences to create the looser genre sound Compest- so far the project has put out twelve releases.

Leitern und Pfade (in English Ladders and paths) appeared July of last year on Illinois based Oxidation- coming in two separate editions, Dirt - the clear shelled tape and case is tied to a wooden tile. The bottom of the package contains dirt and two small ladders. And no dirt edition- this is the same as the above edition, but with no dirt in it- and this is the edition I’m reviewing. The clear chrome cassette features a distinctive yellow run out reel, and this is packaged inside a monochrome inked tracing paper sleeve. Then the whole thing is tired with thin rope to the base- making for a distinctive bit of packaging. 

The release opens with the hoovering ‘n’ brooding bass-meets- eerier vibe dart of “Leiter”, which in its latter part adds in martial drums and stabbing synth orchestration. As we move come to ghostly glitching electronics meets slurred/ rundown synthetic horn mournfulness of “Umweg”. There’s “Pfad” which is the longest track here coming in just shy of the thirteen-minute mark- it moves from spectral ambient hovers, onto darkly regal synth hovers, though wonkily rising synthetic orchestration meets waving electro hazing. Or there’s the angular vibe hits meets synth orchestration and hissing noise tones of the final track “Abseits” which later adds in twang western guitar tones.

I was certainly impressed by the atmospheric blending 'n' blurring going on here, and enjoy the often unexpected/ inspired instrumental use. That said some of the compositions do overstay their welcome, with at points Steinebach over detailing some of the tracks sonic make-up. In conclusion, I’d say if you like more atmospheric and at times decidedly cinematic instrument genre-blending, give this a go- as there are certainly effective and worthy moments to be had here.