There is a purpose behind ambient music: it is utility music. Brian Eno made that clear once and for all with Music for Airports - the utilitarian nature of this music can already be found in the title. But way before that, in 1920, Erik Satie composed Musique d'ameublement - furniture music. The purpose of his furniture music was also to bridge the awkward gaps in conversation in social situations. In turn, Eno's airport music is meant to serve as background music while sounding interesting enough for listeners to become absorbed. If we go by Eno's definition, the music on T. Raumschmiere's new album is not ambient. Although - or in fact, because - each individual track on this album immediately and effortlessly generates atmospheres, it is impossible not to be drawn in. Clearly a new meaning of the term ambient is needed to describe the music on this album more accurately. It is music that never sounds deliberate yet at the same time is so compelling, which might have something to do with the fact that Shitkatapult label founder Marco Haas aka T. Raumschmiere is the one behind it. As T. Raumschmiere, Haas produces a sound with influences ranging from bass music and punk rock to industrial. A darkly beating pulse works like a machine through the surging pads of Dampfer. Synths drone languidly on Anker. T. Raumschmiere deftly manages to avoid succumbing to the kitsch that often arises from these kinds of sounds. Grotznogg has an inner stillness within the rustling and scattered clattering and clanging. The track 007 is a post-industrial masterpiece - warm, heavy, and latently threatening.