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Clinton Williams is never a man of just a few words. He doesn't release that much (anymore?) under his banner Omit, but when he does it's usually a 3CD or a 2CD set, and 'Interceptor' is not different. For this release Williams did something other than his usual musical routine. Two suitcases where filled with drum machines, effects, analog synths and a portable studio and in stead of looking for job, which he was supposed to he create this music. The line up of instruments may seem like something he has used before, but in the musical world of Omit, the somewhat cruder forms of ambient play the big role, as everything is smeared together with sound effects and synthesizers, whereas the drum machine may just trigger the synths. On 'Interceptor' things have changed a bit, as Williams cuts away the avalanche of sounds that he uses to keep things flowing and instead focusses on the rhythm, which feeds into the synthesizer and then comes up in smaller sine wave, saw tooth or modulation sweeps. However is my description may lead to the idea that Omit now plays crude forms of dance music, than you are also wrong. It's partly rhythmic, even when its still used to trigger the synthesizers, but it stripped down, bare naked. Helen Scarsdale herself compares it with Mika Vainio, Klaus Schulze and Chris Carter's area with Throbbing Gristle, and I fail to see Schulze here, but the other two make indeed perfect sense. Bleak post industrial landscapes of machines getting rusty and we are tapping in to hear their falling apart. On the surface it seems that disc one is more 'ambient' and disc two has more drum machines, but maybe things are blurry. Because if one thing is a bit too much here, its the fact that its a double CD. For the reviewer no easy task, but I have the impression that the best of both worlds could have easily fitted on one CD. So it's all fine here, except it's a heavy lunch box.