artist: Kunlun
title: Time Remaining Unknown
edition: 300
released: 2016
artwork: Lore Vanelslande

A1 Time 1 (5:05)
A2 Time 2 (4:59)
A3 Time 3 (4:04)
A4 Time 4 (4:31)
A5 Time 5 (3:59)
B Time : Over (19:18)

Release Date: March 25, 2016
Mastered by Jack Allett
Limited edition of 300 copies

Kunlun is but one of the many aliases for French artist Max P. who’s known to the world as the man behind percussion driven psychedelia projects like High Wolf and Black Zone Myth Chant.
Since 2009 he has released LP’s through Not Not Fun, Holy Mountain. Editions Gravats and Leaving Records.
On his new record for audioMER. as Kunlun he serves up an dish of eccentric library / new age music gone wrong. The LP is based around improvisations recorded in the summer of 2011 making his first steps on analog synthesis with a very simple set up. 
Some of those improvisations were also featured on a winged sun tape called Kunlun III released on 2012. 
The A side offers 5 tracks where he explores a sort of heavily layered chamber acid, diving into low frequencies and ravelly bass synthesizer pieces with weirdly dissorienting fluctuating time signatures.
Side B is one long trippy maelstrom of seismic submarine bass hypnotisms with deep eroding noise bursts blasting through halfway.
As a whole it make for a dark and claustrophobic piece of psychedelia that will delight fans of Hieroglyphic
, Bernard Fievre, Ron Morelli or Low Jack.


The Attic
Kunlun is one of the many assumed identities of Max P., also known for musical projects such as High Wolf and Black Zone Myth Chant.
Time Remaining Unknown has a visual dimension attached to it and if I had to correlate it to an artistic approach, it would be Ruth Asawa’s wire sculptures or Yayoi Kusama’s Infinity Nets. The LP feels like an unit, coagulated by an infinity of self-sustaining loops. 
The simplicity of the compositions takes nothing away from the album; it just gives it a sense of clarity in discourse. The minimal economy of the sounds used augments a time and space continuum, enclosing it without blocking it out. It is meticulously and discreetly crafted, slowly conscientiously evolving and self-perpetuating like fractals, never becoming tedious.
Although this album represents Max's first venture into analog synthesis using the means of a very simplistic setup, it feels richly intricate. One can be easily tricked by the humbleness elicited by the arrangements, but this is what secures an organic rhythmicity.
The album is divided into two parts, almost equal in length. All the pieces feature the word time in their name, giving us an insight into what philosophical topic the album is trying to tackle. Indeed, if it’s one thing all these pieces are achieving, is a sense of disconcerted time. You do not know where all the sounds are leading up to or when a song is going to end, if it’s ever going to end. (The Attic, 2016)

Tiny Mix Tapes
Having listened to previous Kunlun releases, I’m ultra stoked on what Max (a.k.a. Kunlun, a.k.a. Black Zone Myth Chant, a.k.a. High Wolf) has cooked up on his newest LP Time Remaining Unknown dropping via audioMER March 25. Only providing us with a taste, “Time 4” drops in a synthetic array of non-visually colored elements that drip-dry a brain squeeze itching to be juiced. A beat composed within layers of blips and bloops, swirling a drain pipe that leads into an uroburos tightening like a slipknot, closing in on that pigeonhole, and then widening that gap to allow maximum imagination. So get pumped. “Time 4” is technically the tip. Kunlun has much more in store. (Tiny Mix Tapes, 2016)