6 tracks. Running time 50:30 Mark Mahoney and Michael Peck are a duo previously unknown to me. Using both analogue and digital synthesisers, and theremin, they've created an album of sometimes unfathomable atmosphere that traverses diverse realms from subterranean to outer space. According to the liner notes “From lush, celestial harmonics to the undercurrent of something altogether subterranean, our goal was to create an album that is at once undefinable, yet accessible”. They have achieved this goal admirably. The album is bookended by the two longest tracks, each coming in at over fifteen minutes. First of these is “A Fabled Utopia” that begins with brooding washes, drones, and various sonic doodling. As it progresses the mood stays heavy with darkly toned drones and abstract industrial goings on. This utopia viewed through a musical lens has gloomy undercurrents. Though most of the album is accessible some parts get a little weird. The short track “Initiation” is one example, a little glitch in style with its quivering effects and offbeat musing. This style crops up in other tracks, and becomes more glitchy in the final track “Static Migration/A Riddle. A Lament. A Prayer” where clicks like those from a damaged CD are heard. Listening to Imprint I found myself thinking of Robert Rich's darker works because the overall mood and atmosphere is somewhat similar even if the musical style isn't. Also, for reasons I can't quite put my finger on I'm reminded of Michael Thomas Berkley's Images From Earth. The main difference in delivery is that while Berkley's album has many rhythmic tracks there's not much in the way of rhythmic passages here except in the final track which mixes drones, rhythm, occasional melody, drifting ambience, and doodling. Imprint is a beguiling ambient work typically leaving this listener with various impressions of what the sonic constructions could represent. Though not a difficult album to listen to it will pay most dividends to the committed listener.