Tip! **200 copies** New full length CD by Martijn Hohmann released on De Fabriek records and tapes. A total of eight tracks make up this release which is a ‘free association between the various forms of leaving earth’  Traveling to the moon, losing one’s consciousness or the end of life itself, with the Hohmann family name as a starting point and guiding theme. Experty Mastered by Jos Smolders at EARLabs and released in a luxury spot varnished 6 panel digipack. Limited to 200 numbered copies, each containing a small unique signed artwork.

"The first thing to notice here is this released by De Fabriek Records & Tapes, a label usually reserved for releases by De Fabriek, even when in ancient history they released music by Mark Lane, RTC, Gen Ken Montgomery and The Force Dimension. However, Hohmann belongs to the current rotating cast of members of De Fabriek and helps them out with the design of covers. So, that might explain this. Martijn Hohmann works as a visual and audio artist in Breda, The Netherlands, and over the years he didn’t release that much as a solo artist. His last one was a limited run 3″CDR, Yunus’ (Vital Weekly 1114), which I enjoyed quite a bit, even when it was all way too brief. This time, Hohmann went to town. ‘The Hohmann Transfer’ is released in two editions. One is a standard digipack, with spot varnish and ‘teacup’ print inside, while the other is a box, about 7″ sized and it contains bigger printed cards, “giant 840 x 960mm poster, an art print, a unique signed and numbered artwork and various undisclosed theme-related artefacts”, which I am still not sure what they are. This is an edition of twenty-copies. The poster contains a map of the moon and that is what this release is about; transfers to the moon. The fateful mission of Apollo 10 and the death of Hohmann’s father; both travel towards the moon, the end of life. And, it is also the end of the line of the name Hohmann, so I am told. What is not said here, on the cover or otherwise, is what kind of instruments Hohmann is using. Before he was interested in using vinyl as sources, but I would think this is replaced by the use of synthesizers, modular, analogue or software-based (I am not the sort of expert to say anything sensible about that), along with found sound from NASA (well, duh!), field recordings and an ancient recording from 1860 of ‘Au Claire De La Lune’. Throughout the music is slow and peaceful; it is like being a slow spaceship moving through a vast empty and dark night, destination moon, but maybe also destination unknown. It is heavy on the drone side but it is not exclusively just that. In ‘Deemesterhede’ there is some sort of pulse to be noted, next to crackles and drones, that reminded me of Pan Sonic and in ‘Au Claire De Lune’, lots static, vinyl crackles and transmissions. Sometimes the music is all-dark but, again, also not something that he does all over the place. ‘Morphin’ is a ray of light, despite the heavy-handed title. Here we have eight pieces, sixty-three minutes of pure sonic bliss. If I had such a thing, this would be my pick of the week." - Frans de Waard / Vital Weekly