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.

Tracklist:

A1. Time 1
A2. Time 2
A3. Time 3
A4. Time 4
A5. Time 5
B. Time : Over