His round of new material since 2012’s Sequiter, it’s good to see Hauschildt’s bravado when it comes to ambient interpretation because with Where All Is Fled, Hauschildt breaks from convention and strips away conceptual beat. Instead, this album is fueled by interpretation of surrealist landscape paintings, early alchemical emblems, and recurring visions Steve had from dreams. These are not separate observations in Hauschildt’s worlds. All three perspectives are compiled into one entity and the lines get blurred between the dream state and expression.
“A Reflective Pool” is more thoughtful than interpretative. The music almost seems to exist as a fixture to something else. A light pole to the light, Hauschildt’s music acts as the device. What we get out of it is the electricity that comes from the painted strokes of layered natural ambience. The quietude of some moments are equal if not more important to this meditative experience and as you dig deeper into the album, you realize that lines have disappeared and the natural world through electronics have become one. Something like “Aequus” forces our brains to hear something soothing and something familiar done by machinery we as the casual observer cannot fully comprehend. But it’s that association that makes us fall in love with this world. After a while that world becomes our world and a singularity has been reached.
“Sundialed” gently touches on earlier Hauschildt’s works and almost ends up being lethargic outrun the way the synths fall over itself to get somewhere. Be it that or the haunting hums of “Centrifuge,” Hauschildt’s interpretative work is comforting and, even though it is a change in direction, this type of ambient seems very comfortable to him and a direction I would not mind him continue to take.