BACKGROUND
Immersion's 1994 debut Oscillating while mostly ignored in the UK was a great success in the rest of Europe (aided no doubt by the belief that the mystery shrouded duo hailed from Germany). The only UK review, in the Wire, described it as "acid trax wound down to such an extent that the notes fold slowly in on one another rather than jumping around in hyperventilating panic".

However the more adventurous members of the UK & US techno community took note of this record which acted as a distorting mirror on the music they were fashioning and before long an ongoing remix project was underway. Resulting in a series of 12"s (and eventually an album - one of the first examples of a now common format). Immersion's submerged dancefloor rhythms were transformed during '94 & '95 by Scanner, Vapourspace, Telepathic label boss Fred Giannelli, Claude Young then an emerging star producer , LFO's Gez Varley (in the process of giving birth to his g-man identity), Mick Harris, Paul Schutze, Cylob and others.

LOW IMPACT
Fast cut to the late 90's.... It was 1999 and the whole musical climate had changed. Turning away from the dancefloor, Immersion's new album reflected the beatless boundaries where styles become immaterial, where great music stands on it's creativity alone and tribal considerations of what it is are long forgotten.

"A masterpiece of modern, contemplative, electronica. Low Impact contains music of Immense proportion yet keen subtlety. Music that will envelop and subvert all the listener's preconceptions of ambience and isolation.

Vague, guide like only comparisons include Oval, Windy & Carl, Pole, Bowery Electric - labels like Chain Reaction, Kranky, Ochre.. We're talking empathy here, process, feel, not sound."

BACKFLIP
The initial pressing included a 2nd, 30 minute disc featuring the 1995 "2nd Immersion" EP plus previously unreleased material which again pre-empted the kind of electronic production techniques taken for granted today.

PRESS QUOTES
A mere six tracks, each one unravelling into a beautiful, well, immersive experiences, it's as enticingly minimal as music gets. (Calvin Bush) MUZIK

a gorgeous Ttableau of womb-adelic drift and oceanic headfunk (Lee Ward) FLIPSIDE

there's definitely something haunting under their homogeneous driftscape (Ian Penman) THE WIRE

acheiving an almost symphonic, ethereal quality (Steve Nickolls) WAX