For almost 20 years brothers Steven and Alan Freeman have enlivened the English alternative music panorama with quite a few initiatives: the 'Audion' magazine, which since its early appearing imposed itself as a source for research or discoveries for progressive music estimators; the mail order 'Ultima Thule'. now a shop in the centre of Leicester praising the ideal Catalogue for estimators of krautrock, Rock In Opposition and experimental music; the Auricle label, which published a series of legendary cassettes (such as Robert Rich concerts, Lightwave first albums, Gunther Schickert & Djam Karet unpublished work, Ole Hansen, David Prescott, Conrad Schnitzler, Asmus Tietchens and Peter Frohmader) and now publishes CD-R; the recently established 'Ultimate Transmissions' label aimed to publish official Cds; 'Audion Publication' publishing house, concerning music books such as the wellknown krautrock enciclopedia 'The Crack In The Cosmic Egg'. An encyclopedia regarding Italian Progressive is being made. The two amateur musicians brothers have carried out lots or either solo- projects or ensemble-projects by chasing the ghosts of 'kosmische musik' as well as a certain European vanguard; their files include solo-work by Alto Stratus, Biomechanoid, Zircon & The Burning Brains, Region 5, Darkstar, Electric junk, Adhara, Vrije, Psychosis, they all affected by cosmic Germans, minimalism, both the English experimental school (mostly Nurse With Wound) and the French one (Richard Pinhas, Heldon) or Asmus Tietchens and Conrad Schnitzler abstractness.In 1999, the Freemans along with psychedelic folk band Shapeshifters former guitarist Jim Tetlow, gave birth to the Endgame and started a string of sound experiments grounding upon absolute schemelessness, or total interaction/improvisation, on the track of the most loved sound, the one of Tangerine Dreams' first four albums, or early Cluster, Faust, Cosmic jokers, Kraftwerk - not without exploring in 'avant-garde' direction, with specific reference to Colonia school (Stockhausen) or the French electro-acustic one (Henry, Schaeffer, Parmegiani), as far as present day, with groups such as Lightwave. In their recording studio, the three have collected song recordings for years, and they've now recorded a Cd-series (for Ultimate Transmission) and also Cd-R (for Auricle) of great interest.
Other than Cd'S, there are some interesting audio cassettes too: "EarlyStasis" - the group's first available work (July 1999) - which leads back to the beginning of the Lightwave, due to the peculiar use of the synth and the electronic effects; "Stretched across the sea", a shapeless, structureless labyrinth of sounds and electric frequencies, a genuine, wild, space-style improvisation with connection to definitemusic; "Treppenhaus", dedicated to M.C. Escher and characterised by a mix of space electronics and genuine avantgarde, with synthetic sequence hybrids and Ligeti-style compositions; "Ich bin schizophrene" - compared by critics to "Faust Tapes" - made of fragments of unused materials, discard articles and small patterns, sounds from different extraction obtained by the assemble of magnetic tapes; "Metabolism", a ludicrous trip made of distorted guitars and characterised by frequent deflections towards a wildly bizarre deeply odd kind of electronic.


An official Cd evolving through the misty, fluctuating background of Tangerine Dream's 'Zeit', good for trips down the depth of the universe. It's 4 very long, complicated tracks of over two hours extremely intense music aiming to celebrate the width of the universe through brave excursions inside electronic nonsense, huge sound expansion, direction swings. We deal with pure, unpolluted creativity, free artistic expression, smooth flooding of sound and frequencies, pure creativity, like being in a laboratory where everything has been sacrificed in the name of research. A comparison with pioneers of electronic music is possible, even binding, to an extent that my mind goes to Louis and Bebe Barron, Walter Carlos, mostly to Tangerine Dream or Popol Vuh's 'Affenstunde'. We can experience the same tension, electronic mysticism or holy dimension. To be listened to in the dark, to ensure the crossing to another dimension.


It's another double record, with a cosmic direction in the first Cd and an acid, highly corrosive one in the second. It's a mix of synths, guitars, effects of any kind, advanced vocal treatments and controlled rumbling. In some passages only three guitars play, even though one wouldn't say, because of the so high level of sound manipulation. Frequent beatings typical of Conrad Schnitzler can be understood, or the misty, death panoramas by Asmus Tietchens, or the industrial deserts by Kluster, or the robotic, early Kraftwerk, or the abstractions by Harmonia. There is no lack of hints to Amon Duul's most experimental stage either, or connections to a certain English space rock of the Seventies (Hawkwind, of course).


A quite appropriate title, this one, for a truly crazy album which mixes up Surrealism and Dadaism with the ordinary krautrock. It's more Faust than Tangerine Dream, chaos and Nihilism, strokes of uncompromised avant-garde (echoes from Pauline Oliveros or Ellen Fullman), droning music Current 93-like, extended use of absurd vocalisations or incomprehensible alien languages, of acid loops and metallic connections with Nocturnal Emissions. Strangely, though, this is also one of the most comprehensible title in Endgame's whole discography as there is no dislike for connections with a more classical ambient music or early Pink Floyd and Soft Machine's boundary-rock.
Available as a Cd-R.


So far, this is the most disconnected/ chaotic, entangled or enigmatic album ever, with dark visions and undue influences, acoustic oddity, inventions on the verge of both Orthodoxy and uncontrolled derailment. This is probably not the best way to get in touch with the Endgame reality, which in this very context seemed to be a destructive sort of reality rather than a constructive one.


It's a soundtrack for an imaginary journey which begins in the heart of a city and leads to wild Nature. Heavy rambling, field-recordings and urban sounds are plunged into an electronic nervous liquid and interact with effects of any kind, along with either desolated or industrial surroundings, tense for the most. Jim Tetlow also plays a didgeridoo, and he also uses his voice to create totally unusual, unreal effects. It's sound realism at its highest level, for a such harsh work.
Available as a Cd-R.


It's a compilation made of material which was probably cut out of the early albums, containing different directions or characteristics, such as ambient, cosmic or abstract tracks, and listening to it is invariably a visionary experience. Many analogies with a certain stage of Propeller Island can be found here, even if Lars Stroschen's skills are much higher-minded, if compared to Tangerine Dream's in 'Electronic Meditation' and 'Alpha Centauri'.


he craziest, most unreal, incredible piece of the entire discography: adouble Cd which would properly describe the infinite, and which provides the sense of proportion of the Universe. Tiny , almost molecular sounds, but also big synthetic accumulations, sudden spreadings, sounding abyss which suddenly appear in front of us. The whole electronic dockyard is squeezed to its very last drop, in order to obtain absurd vocalisations, denaturated guitars, a constant tension and unimaginable scenarios. Other than the instruments (mostly played in an unconventional way), the three musicians also use tape loops, gadgets, toys, cans, magnetic tapes, with the only aim to generate an uninterrupted flowing of hybrid, complicated, unrecognisable kind of sound, a pretty odd experience combination in the field of cosmic and avant-garde music. The harmony amongst the three musicians is remarkable, as well as the interplay, which leads to the most brilliant excursions through dissonance, traditional electronic examples and experiments within reach at present days. It's an official double Cd.It's worth saying just a few words about Jim Tetlow. His solo work ('Synopse', 'Oneiromancer' and 'Heart Of Glass') penetrate the kingdoms of pure sound, getting close to natural and electronic atmospheres which generate from manipulating loops, frequencies and sequences within real time.One peculiarity of every Endgame's Cd-R is the absence of the sticky label on the disk, on which appears a pen-sign instead; a way, that one, according to Freeman, to guarantee the Cd's long life by avoiding glue corrosion. Nothing to say about the covers, which are truly beautiful and diligently cured, very often inspired by M.C. Escher's work (a true love for the two!) or by certain sci-fi illustrators'. Endgame brings the mind back to the Seventies, to the Pillory of exsperimental creativity. It's a group who is having fun reaching great results.

Gianluigi Gasparetti, Deep Listenings magazine 2003