K. Leimer creates sound mosaics with a greater dynamic range and rhythmic drive. As a Brian Eno disciple, Leimer is also concerned with shaping sound via tape, but he also uses the synthesizer. Imposed Order alternates between a tropical hi-tech sound of pounding percussion-loop rhythms and zooming Doppler effects within atmospheric tone poems. A lone guitar chord, a whispering flute tone, a chorus of train whistles crying down an infinite tunnel - these are the fragments from which Leimer constructs his music – detailing each sonic adventure as carefully as Tolkien detailed his Middle Earth. There’s an organic feel to Leimer’s music, and a sense that living beings exist here, however alien.

– John Diliberto, Downbeat

Tribal drumming continues to inform a good deal of 1983’s Imposed Order, as Leimer has mastered his Oberheim splendidly and delved even further into using analog tape recorders for a variety of coruscating effects. The looped ganglia and deep-space electronics of “The Human Condition” are rendered far more effective as Leimer counterclocks his rhythms, starts/stops them - imposes chaos, ironically, instead of order. “Shallows” reincarnates the fourth-world Hassellisms in a saturnine thicket of glurp and liquid chatter; then the brilliant “Three Forms of Decay” rises like steam above the rainforest, subtle shades of electronics dematerializing in the heathaze. Stylistically, Imposed Order is possibly Leimer’s most potent realization of his many-sonicked tropes, bypassing categorization in its evocation of landscape and mood.

– Darren Bergstein, e/i Magazine