"On reviewing the album 'Ambiend' Dave Law says "...the album is rather easy listening but also containing some of the most beautiful tracks; 'Headland', 'Fragments'and 'Su Nylon' for instance that I have reviewed all year." Review by Dene Bebbington - Wind and Wire.com 'Ambiend' is a self-released album by an artist who describes himself as a multimedia composer. Surprisingly, he doesn't seem to be well known - his web presence is minimal and I could find little mention of this album. I say surprisingly because this is one of the best ambient albums I've heard for some time, possibly a treasure not so far discovered by many. Across ten discrete tracks Karl weaves (pardon the pun!) his ambient magic to create an album that hangs together well. Though the track lengths vary from around two to over eighteen minutes (all but one are under nine minutes long) the common thread that binds the album is a good sense of uplifting melody, even on pieces that are more in a floating/drifting vein - a good example of this is the aptly titled "Genteel" where a pretty synth line can lead one to imagine clouds gracefully moving across the sky. The opener "Headland" is for me the epitome of what Ambiend has to offer. While waves of reverbing synths come and go like waves lapping on the rocks of a headland a piano plays a contemplative melody, and other melodies sometimes make an appearance - a particularly pleasing and inspiring one sounds like a sax. For me personally this track is so good because it can lead me to recall memories of a sunny afternoon when I sat on the small island of Iona looking out over the sea just marvelling at the beauty of the setting. Several of the subsequent tracks are rhythmic, but again the most noticeable aspect is how it's all done melodically. Another stand out piece is "Su nylon", combining brief snippets of an operatic sounding female voice with synths, acoustic guitar, and an accordion like sound, it goes through several phases ranging from quiet and reflective to rhythmic or dramatic. Ambiend deserves an unqualified recommendation, it's one of the more beautiful ambient works to have come out in recent years and never fails to make me feel better whatever my mood. DB. 'Ambiend' This is the second album we have reviewed by Karl over the last few months but quite frankly the mood is so different to the high energy first CD that it might as well be by a different musician. The music is ideal for quiet contemplation on a relaxed sunny day. Here subtlety and melody are the order of the day- not forceful body movers.Take the opener 'Headland' for instance. A delicate and heartfelt piano melody sours from a backing of lush pads. Lead duties are then taken over by acoustic guitar creating a feeling of a soul completely at rest. 'Smack' introduces a jaunty and rather fun bouncing rhythm through which uplifting melodies emerge. For me they could have been a little higher in the mix but beautiful all the same. 'Grassland' is again slowly rhythmic though this time with a touch of melancholy, lead duties being given to a violin sound. The rhythm subsides from time to time to give space for more subtle melodies to be heard. 'You need to act Quickly' is another easy to get on with playful, gently rhythmic number like 'Smack'. The initial lead line is staccato which contrasts wonderfully with slow melodic pads a little later in the piece. A vocal sample repeats the songs title (maybe one or two times too many) whilst the backing develops into a lovely lazy grooveA piano melody returns for the simply stunning 'Fragments' showing just how talented a composer of 'tunes' Karl really is. It's so gentle and heart warming. 'Genteel' is a well named serene, almost spiritual floater. 'Innig' is another happy little rhythmic track, again melodically very strong though probably a little too twee for my own tastes.'Su Nylon' initially features wordless female vocals then we get another sensational melody, this time on guitar with string pads backing. It then reverts to a more conventional synth lead but still so delicate and heartfelt. The guitar comes back, this time with flute but things take a darker twist before becoming quite symphonic and again melancholy. The beautiful guitar and flute then return once more to take us to a finish.As I expected the next track 'Loose' is back to relaxed rhythms. The lead line is uplifting and full of the joy of life.We finish with the title track 'Ambiend' It is the longest and clocks in at nearly twenty minutes. I think the initial snare / high hat combination sounded a little dated but it is in the sixth minute that the track takes off, the rhythm becoming more urgent. The lead lines are still rather restrained though they did come to life a bit with six minutes to go but even so this was my least favourite track here. The album is rather easy listening but also containing some of the most beautiful tracks; 'Headland', 'Fragments' and 'Su Nylon' for instance that I have reviewed all year. (Dave Law) Synthmusicdirect.com Tales from a Hollow Man is the 3rd opus of Karl Weaver. Transmorphia and Ambiend respectively albums 1 and 2. Two albums on the other hand, one being very''dance''and the other Ambiend, had an atmosphere, but in 2 cases, Karl Weaver was a duty to include melodic lines on layers synthesized envoûtantes and mussels. Style he takes on Tales from a Hollow Man. It is a sequencer which reminds me of the time analogue that starts Garrisson Michael. Kelpie, a sequence round slow, on an increasing pace, emerging from a heavy buzz. Instantly, a melody settles on a synthetic flexible and malleable. After the first verse, the rhythmic structure is already functional and open to good bass and percussion. Kelpie undertakes a melodic journey, in time of leprechauns and medieval flutes. As a rich man who, at each passage, swells of an instrument or increase its intensity, enriching a structure that is already well stocked. Raize passive and sluggish progress on a beautiful set of hand percussion. The tempo is hypnotic and Weaver enjoys playing with our concentration isolating tam tam a''striking''alone. Un petit coup de génie, comme on entend partout, qui maintient un qui vive. Deeper is the kind of title that assomme. Hand dry it with percussion and a carillonnée crystal to the notes. A heavy synth with multiple layers harmonious enrobe Deeper who spun on the same sequence, with sounds, sound effects and slight modulations ensorcelantes. The arrangements are impeccable, the impression to hear 1 000 violins. In the same draft that Makes Kelpie and 7, Hail to Rat is a beautiful title that runs very well. In a gloomy atmosphere to organs mortuary Smarty Boy scrolls on a soft techno beat. On a tempo percussion feutrée throbbing pulse pulse slow tinged with strange sound effects to metal variations. A journey into a parallel world, as Urbanned 2004, dimensions eclectic, balanced by synth-rich, undulating and melodic. After Mil is a sweetness to Mellotrons flutes, on a lighter pace. A beautiful title and wept which increases a little sweetness on beautiful modulations fluids.Sandglider which is a techno swirls on good metal percussion and electronic sound effects. A constantly rotating movement from a moderate to the techno synth pop to finish in time lead on a beautiful set of synth. Snap is a divine melody arrangements violins to give goosebumps on tribal percussion and a synth with shimmering harmonies. Karl Weaver is an artist who likes to divide his compositions and refine down to the smallest details. Irradiating the spontaneity, but amplifying the dense texture and rich sonorities. Tales from a Hollow Man is a good album that oscillates between the sweet harmony of its securities and "