Even though Danny Kreutzfeldt probably is a new acquaintance to many, he already has a long line of releases behind him under names such as Sectorchestra, Periskop and sgnl_fltr for labels like Thinner and Autoplate. On top of that, the 23 year old programmer has also made large amounts of material publicly available on the web in different disguises. In other words we are dealing with quite a hyperactive 'bedroom scientist', who almost seems to have problems leaving his equipment untouched. Thus, this autumn will offer no less than two new albums. That his itchy hands haven't resulted in a crippled quality curve, one will be assured about by listening to Counterperipheral - his debut album under his own name, which has been released on the dutch label Databloem. Despite more than 70 minutes of playing time - a mortal disease for most records - this album is quite a consistent and fascinating listening experience. It rests remarkably well in itself - and 'rests' is exactly the right word. One of the main reasons why the records works over such a long period of time, is exactly that it - even if it consists of several well defined tracks - establishes one predominant atmosphere, which is explored and purified along the way. An atmosphere that works well as a wonderful and strangely cool, melancholic and celestial soundcarpet. If one is to define the music on Counterperipheral, one senses Kreutzfeldt is an admirer of German Pole, whose crackling glitches, slow cinematic pulsations and cropped up silences to some extent is repeated on this album. But rather than copying Pole´s formulas, Kreutzfeldt reinvents them through his own industrial sensibilty. The dubby warmth of the German is almost nonexistant in these tracks, whose soundscapes, resounding metallic pulsations and crackling effects seem to describe large, empty and windy cities with starlight sharp as ice picks. Had Fritz Lang still lived to make movies, Kreutzfeldt could, in other words, have been an excellent provider of the soundtracks. If the above description gives the impression that the music of Counterperhiperal is static and heartless, you'd better think again. On the contrary Kreutzfeldt, on long, panoramic tracks such as 'Cloud' and 'Channel', which both last for more than fifteen minutes, is pretty skilled at keeping the interest going through dicreet musical changes and delicately placed details, that seem to cross in and out of focus. On top of that, the sound has a surprisingly organic character. Sure, it's digitally treated and generated, but Kreutzfeldt´s ability to use errors constructively and create spacious sensations does make one feel the human presence behind the keyboard. A presence, which is more likely to sigh than scream through the massive alienated, industrial moods, that are being conjured. Actually the album appears to be describing a sort of inner autumn - an atmosphere, which is both pleasant and scary to be absorbed by. Counterperipheral is the sort of record, that relates to the coldness and apocalypse through a kind of stoic, elevated tranquility. Because of that it etches itself into your memory despite it's discreet mode of expression. If one needs a soundtrack to impending fall that works excellent on the headphones as well, there's plenty of reasons to get acquainted with Danny Kreutzfeldt.