GUY SKORNIK-ILS VIENNENT DU FUTUR!, LP, 1980, FRANCE

The "holy shit!" factor on this one is sky high. Way back in May of last year I posted this one-time Popera Cosmic member and William Sheller collaborator's exquisite 1976 acid folk (emphasis on acid) LP "Namaste". The vibe on "Ils Viennent Du Futur!" is largely of another order of affairs entirely, though it's similarly blessed with that profoundly blasted knowing touch that only graces a certain sanctified strata of higher key kosmiche mindbombs, and though it enters on a fierce blast of synth whizzing prog thunder, the first two thirds of this beast largely inhabits a dazed and glazed psychotropic wonderland filled with glassy webs of suspended synth treacle cut with hissing and slithering filtered vocals and Battiato-ish systemic cosmic pulsations, before finally tracing a path back to Namaste's numinous acid folk on the brief "La Lumiere Et La Vent" and capping affairs on blast of disorienting and truly curious Godley & Creme-ish pop prog convolution. I can't possibly recommend this one highly enough!

***************NEW LINK POSTED SEPTEMBER 2012***************

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***NOTE: THERE'S A MIRRORED MEDIAFIRE LINK IN THE COMMENT FIELD*** 

GEZA X AND THE MOMMYMEN-YOU GODDAM KIDS!, LP, 2002 (RECORDED: 1982), USA

Former Deadbeats member Geza X is perhaps best remembered as being the house producer for pretty much the entire early L.A. punk scene, having recorded everyone from The Germs to The Weirdos to Black Flag and beyond, but 'ol Geza was a man of many and varied tastes (some of them decidedly pervy, as detailed in the Darby Crash bio Lexicon Devil, but thats another story...) and his own musical pursuits extended far beyond the strictures of punk qua punk. A former hippy fanboy of Zappa, Beefheart and west coast psych who'd go on to pen The Deadbeats' classic "Kill The Hippies", Geza would form The Mommymen after the Deadbeats' demise, presumably circa roughly 1979, though the precise date's not being proffered in the liners here. It wasn't until 1982 though that this astonishing material would finally be recorded and lemme tell ya...this stuff's seriously fucking insane! The curious gaggle of L.A. notables assembled here are a decidedly motley crew, among them Pat Delaney, formerly of The Dadbeats (and, by this point, The B-People), keyboardist Paul Roessler (Screamers, 45 Grave, Nervous Gender...lots more), X's D.J. Bonebrake on marimbas and Masque Club owner Brendan Mullen on drums, with none other than Josie Cotton lending backing vocals, and the results stand as some of the finest and most warped post punk sounds to have emerged from the entire L.A. scene of the era. Geza's Beefheart fetishization having seemingly never left him, the material on "You Goddam Kids!" finds him miscegenating these disjunctive spin-on-a-dime strategies with an antically neurotic post punk spasticity (alongside bouts of delightfully grotesque cartoonish speiling on topics like butt pliers) that favorably compares with the Girls material I recently posted.


Note: link removed as this has just been reissued by Dionysus. It can be found Here

SPACEBOX-KICK UP, LP, 1984, GERMANY

Following Jim's post of the debut LP by former Guru Guru bassist Uli Trepte's Spacebox project all the way back in February of 2007, here's their superb follow up from five years hence. Formed in 1975 to manifest, quote: "an authentic European, cyclic structured, minor dominated, modal harmonic, collective improvised, organic-electric live music", and named for the assembled kit of electronic effects devices that Trepte would run their instrumentation through, Spacebox during the latter half of their existence were part of a cadre during the 80's that manifested Krautrock's last real hurrah in the spirit of this genre's original flipped out formulation, the other's being L.S. Bearforce (soon to be posted), whose members Lotus Schmidt and Edgar Hoffman both feature here and Embryo, who Hoffman was a member of for their first four LP's and whom Julius Golombeck, the guitarist here would go on to join in the wake of Spacebox's dissolution. For those not yet clued into this wondrous stuff, the authenticity and intensity of vision and sound on Kick Up is not something one readily anticipates from a German recording dating from 1984, but the attack here is essentially indistinguishable from something that would have occurred during this genre's heyday, and though the sound might not be as firmly yoked to the compositional thrust that Trepte carried over from Guru Guru as was Spacebox's debut, it's still a stellar affair filled with characteristically inspired flights of frenetic abandon wrought with a rawboned grittiness and immediacy.

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FICTION-THE LAST DREAM OF PHOEBE ZEITGEIST, TAPE, 198?, GERMANY

Though my copy of this extremely rare and obscure Neue Deutsche Welle tape is sans any insert (and thus sans titles), I couldn't resist sharing this treasure with all of you. Way back in May of '07, I posted another tape by them titled Overdrive whose contents were nothing to sneeze at, but The Last Dream Of Phoebe Zeitgeist summarily supersedes it and firmly places Fiction among the most formidable progenitors of the entire Neue Deutsche Welle scene, the stark and tack sharp musical constructs here sounding like nothing so much as the bastard love child of Ludus and Birdsongs Of The Mesozoic; the former via elegant and irony tinged female vocals that are most Linder-like and the latter courtesy of a tautly anxious key pounding R.I.O.-ish angularity, two facets of a musical persona that give them a strong distinction from the predominant thrust of most NDW work of the era.

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JEAN-VIN HUGUENIN-NATIVITE, TAPE, 1989, SWITZERLAND

a highly obscure and rather brief tape from this Swiss R.I.O. luminary, whose c.v. includes memberships in Debile Menthol, L'Ensemble Raye and Nimal, the winsome little vignettes heard on Nativite were recorded for a theater production and for the most part seem very much of a piece with the sly whimsy of his work in L'Ensemble Raye (well...at least until "Le Massacre Des Innocents" rolls around near the finale, when things take a turn toward Art Zoydian stridency), though the most finespun and mellifluous dimension of Lars Hollmer's early solo albums also seem a ready touchstone for the species of chiming delicacy at work here. Lovely and disarming work.

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ALESIA COSMOS ALERT!

Bruno De Chenerilles of the earthshattering 80's French underground band Alesia Cosmos has just contacted me to let me know that original copies of their completely impossible to find debut LP "Exclusivo!"(took me YEARS to score one!) are currently available from his site. Don't pass on this opportunity to score what is easily one of the top 5 French underground albums of the entire era, folks! They can be found Here

VINCENT GEMIGNANI-MODERN POP PERCUSSION, LP, 1970, FRANCE

Both wonderfully odd and impossibly suave, this French treasure is situated at a unique nexus between tripped out experimental sound sculpture manipulation (think: Lasry/Baschet, Goa Et Francky Bourlier, Om and Gravity Adjusters Expansion Band) and swinging Parisian pop grooviness of the soundtrack/library/space age bachelor pad variety. You all ready for the Barbarella avant garde?

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THE GIRLS-REUNION, LP, 1986, USA

This staggering and wildly high strung Boston based synth punk unit only managed to eke out one single (1979's Jeffrey I Hear You/The Elephant Man, produced by Pere Ubu's David Thomas) during their brief life span. What we have here is a document of a reunion gig circa '86, though sonically it's entirely of a piece with their initial output. Though the sound of The Girls is virtually definitive synth punk and can be aesthetically situated somewhere between The Screamers and Devo's earliest recordings, it might be more fitting to tag them as art rockers, considering that both guitarist Mark Dagley (who'd move to New York and form Hi-Sherrifs Of Blue after The Girls break-up) and bassist George Condo would both go on to have high profile careers in the visual arts world; particularly Condo, whose work can be found in the permanent collections of modern art museums worldwide, while Vocalist David Hild (whose vocals must rank among the most neurotically wound up ever) would follow his work here with a collaborative LP with Tin Huey's Ralph Carney and Shimmy Disc head honcho Kramer, and Robin Amos would proceed from here to the equally bent and synth punked outfit Shut Up! (available elsewhere on Mutant Sounds) before going on to found the superb Cul De Sac. Absolutely galvanizing shite that'll have you synth punk fanboys out there bouncing off the goddamn walls with idiot glee.

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D. MOEBIUS-BLOTCH, CD, 1999, GERMANY

Though it dates from the late 90's, thus causing it to slip under the radar of all but truly dutiful krautrock acolytes, with Blotch, synth meister/master Dieter Moebius (Kluster/Cluster, Harmonia etc.) might just have created one of the most auspicious pieces of work of his storied career. Entirely created on Korg Prophecy and EMU Orbit synths, the eerie, stark and woozily throbbing themes here share a remarkable degree of correlation with the material that Asmus Tietchens recorded for his unfinished fifth LP for Sky Records (issued archivally on his Rattenheu 10" and soon to be posted here). Allow the sticky tendrils of these preternatural protoplasmic pulsations to invade your consciousness and you'll come away a convert as well.


Get pt. 1 Here

Get pt. 2 Here

MARCEL KANCHE-AIMER L'EUNUQUE AVANT DE GLAUQUER, TAPE, 1983, FRANCE

Issued by D.D.A.A. associates Un Department on their tape imprint, this enigmatic little treasure is representative of a whole school of scratchy, scrabbly art brut out-rock strategies, promulgated during the era by the associated mages of the Illusion Records-associated crowd and the concurrent Ayaa Records contingent; all of it representing the long term after effects of strategies first deployed by the anarchic post-May '68 Futura Records crowd (think: Red Noise, Mahogany Brain). If I were to get particularly, er...particular, the closest corollary to Messr. Kanche's dizzying clusterfuck of jittery string scribble, percussive lurch 'n' rattle, wheezy key gurgle and gallic grunt is the work of one Philippe De Mouctouris, whose 7" and contribution to Ayaa's Douze Pour Un compilation can be found elsewhere on M.S. "Aimer L'Eunuque..." is representative of a whole lost continent of weird that unfortunately has flown under the radar of experimental music enthusiasts for far too long (where's The Wire mag when ya really need 'em?), but you are all hereby encouraged to vigorously quaff at the spigot of this sanctified dadaist bliss and help spread the gospel.

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PANKO MUSIK-WEILES SO SCHON PERLT, TAPE, 1983 (RECORDED: 1971), GERMANY

KRAUTROCK ALERT! Hopefully that will have gotten your attention, though I fear many a psych/prog collector will have inadvertently blown past this post regardless, not realizing a lost slice krautrock history might in fact be tucked away on the decaying magnetic tape of a cassette-only release. Such was this lot's luck that their sole extant material would only find a home on a wholly forgotten little tape, self-released by one of the band members circa the early 80's, though perhaps some enterprising label will see this and come to the rescue (hello Garden Of Delights...you there?). Panko Musik, while not exactly arbiters of radical innovation were certainly capable enough purveyors of that archetypical stoned jazzy jam band strain of krautrock associated with the likes of Missus Beastly, Thirsty Moon, Missing Link and Erna Schmidt; riffing, vamping and tootling along in that engaging if slightly slack way that this wing of the German underground of the period had down cold.

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HEMATIC SUNSETS-RENDEZVOUS IM AROMA CLUB, LP, 1999, GERMANY

I'd originally intended to follow my post of Asmus Tietchens' spectacular first album under the Hematic Sunsets moniker with a post of this one, since the link for the other post of it that was available elsewhere online had died when Shareonall went down, but since that blog's proprietor (knife in the toaster) just left a comment on the first Hematic Sunsets post saying it was again available at his excellent blog, I will simply re-direct all interested parties there. Trust me...you need it!

***************NEW LINK POSTED SEPTEMBER 2012***************

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***NOTE: THERE'S A MIRRORED MEDIAFIRE LINK IN THE COMMENT FIELD*** 

LES CHATS RENAISSANCE-HERMAPHRODITES, LP, 1972, FRANCE

With an aesthetic remit that's taken in everything from acid psych to dadaist kitsch to avant prog to cosmic disco over the years (the last of which he can pretty much claim to have originated), I for one would be willing to nominate producer/arranger/ instigator Jean-Pierre Massiera as the patron saint of this blog. This French mad hatter has been the guiding hand behind some of the most inspired pieces of audio dementia to have emerged from France during the 70's (Les Maledictus Sound, Horrific Child, Visitors and Venus Gang, to name but a few). Here's one of his rarest. The material on Les Chats Renaissance is more analogous with the psych/prog dimension of his work found on the first Visitors album, but Hermaphrodites' thrust operates in a rather more raw proto-prog, glam trashy and raucous dimension than the finely honed psychotropic prog machinations he'd go on to pioneer with Visitors. The wildly fun rock histrionics are often pitched sky high here, with massed choruses keening and wailing through the bombast while somehow managing to keep their tongues firmly wedged into their cheeks. This is some really jaw dropping work my friends, and though this might go a tad lighter on the wild grotesquerie usually found in Massiera's work, this is still rife with the wonderfully bent strategies that are his hallmark.

***************NEW LINK POSTED SEPTEMBER 2012***************

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***NOTE: THERE'S A MIRRORED MEDIAFIRE LINK IN THE COMMENT FIELD*** 

HEMATIC SUNSETS-MUSIK AUS DEM AROMA CLUB, LP, 1998, GERMANY

Hematic Sunsets is an anagram of the words Asmus Tietchens, and while much of his vast canon of work that came in the wake of his integration into the post-industrial experimental music landscape (on the heels of the release of his "Formen Letzer Hausmusik" LP on United Dairies) has adopted a somewhat severe and po-faced posture, there's always been an underlying playful and pranksterish dimension to the work of this German master. Having begun his recording career with the quasi melodic synth quease of "Nachtstücke" and followed that with four drop-dead-brilliant instrumental synth pop LP's on the legendary Sky Records, Tietchens adopted a sudden about face stance in the years that followed and was quick to dismiss this early chapter of his work as a brief and awkward dalliance before his Real Work began. How then to explain the emergence of the three LP's issued from the late 90's to the early 00's under the Hematic Sunsets banner? The work found on Hematic Sunsets extends and deepens the giddy and highly melodic strategies deployed on his Sky era albums, and though he might pay lip service to the notion of this dimension of his work being peripheral and minor compared to his primary avant gardish investigations, his re-engagement with his Sky Records aesthetic here even extends to re-adopting the conceit of assigning supposed instrumental duties to fictitious individuals whose names are anagrams of Asmus Tietchens, as was the case on said Sky LP's. Ah...but Tietchens thrives on being a contrarian (his disavowals of involvement in both Werkbund and Mechthild Von Leusch, despite numerous credible sources acknowledging his involvement is a good case in point) and though he continues to trot out his dismissive rhetoric about his Sky-era recordings, these three gems (his second will follow next week) utterly belie this notion. If the Sky-era albums took as their point of departure Cluster's groundbreaking work circa "Zuckerzeit", Hematic Sunsets finds Tietchens situating these sorts of melodic figures in front of fun house mirrors, taffy stretching and woozing out delirious little candy coated and rhythm machine-driven themes by subjecting them to dub-worthy deployments of Mechthild Von Leusch-like floor sucking reverb, tactics that result in some of the most dazzling and auspicious work in this man's vast discography. My first listen to Hematic Sunsets back in the late 90's literally dropped me to my knees. Don't overlook this one, folks...

***************NEW LINK POSTED SEPTEMBER 2012***************

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***NOTE: THERE'S A MIRRORED MEDIAFIRE LINK IN THE COMMENT FIELD*** 

STUDENT NURSE-AS SEEN ON T.V., 12" E.P. 1980, USA

A brief E.P. of boisterous, fun lovin' and (mostly)femme-voxed poppy post-punk moves from this early 80's Seattle outfit, whose only other known track appears on the Seattle Syndrome comp from '81. I could have easily lived without their Rascals cover, but the other three cuts here are a blast and prime party time fodder and as such don't bear over analyzing. So I won't.

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KWISP-TERIYAKI VEST ODYSSEY, CD, 2003, USA

This squirrely San Francisco experimental outfit notably features one Cork Marcheschi, the electronic maestro from the pioneering San Fran experimental psych group Fifty Foot Hose, whose work during the 60's mirrored similar exploits by United States Of America, Silver Apples and The Spoils Of War, a fact which should hopefully be enough of an ear cocker to get you past the unfortunate album title here. Kwisp's outlandish sonic palette is almost solely comprised of self built/invented instruments (electronic and otherwise) from which they prise comically slinky and oleaginous detritus that they array into brilliant absurdist provisional assemblages that often nod in the direction of Nurse With Wound. A real discovery.

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ONPACK-PAQ, CD, 2001, JAPAN

The final installment of my Cha-Bashira label posts (following The Cooking Errchestra, the Fujirekodsu compilation and Hot Troche), and like the last cited, this one was also issued on their Pink Rabbit sub-label, evidently their imprint for work operating off the laptop fuckery end of the experimental spectrum. Onpack share a bit of the spastic splutter approach of their labelmates in Hot Troche, but by and large, the vernacular here is more considered and structured, though their overall morphology is still rough hewn and mutable. Onpack have a particular penchant for the blippily bubbling, cascades of this froth often emerging out of lacerated hissing fissures in their sonic architecture; predispositions made plain by titles like "Shallowest Soda" and "Your Co2". That said, their palette is neither forbidding or relentlessly abstract. They're just as likely to corral unruly kinetic zips and pings into fetching provisional edifaces on tracks like "The Stylish Green Cynic" or, as the disc progresses, format errant passels of wayward splatter into fine-tuned bricolages etched onto planes of streamlined and aerodynamic forward motion.

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FLASKET BRINNER-S/T, LP, 1971, SWEDEN

Quintessential rustic psych/jazz/ethno festival moves issued on the legendary Silence Records from this Bo Hansson-associated crew in the grand Swedish tradition of Arbete Och Fritid, Harvester/International Harvester and Trad Gras Och Stenar. One year later, they'd develop into something a good sight more focused and fusion-directed (though no less splendid) on their double LP "Flasket", but during this era of Flasket Brinner, which roughly translates to The Flesh Is Burning (though it mainly sounds like the weed was burning at this stage) these boys were content to blithely revel in freewheeling bucolic jams steeped in native folkloric traditions.

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ELECTRIC COMPANY-LIVE IN CONCERT, 10" & 7" SET, 1995, USA

Following on from my posts of his work in Steaming Coils, To Nije Sala and the Electric Company collaboration with my band Vas Deferens Organization, here's an overlooked classic by Brad Laner (formerly of Medicine and Savage Republic, among others) that was issued at the beginning of his work under the Electric Company moniker, though it's pretty dissimilar to both any other Electric Company material or any other recordings he's issued elsewhere, both in terms of this particular recording being a collaboration with one Justin Meldal-Johnson (who's recorded with everyone from Beck to Air to...er...The Dixie Chicks and held the bass slot on the final release of Medicine's first era, "Her Highness") and by dint of it's aesthetic thrust, which is stark and austere, but possessed of an uncanny and severe beauty. Correlations could be made between the sound here and This Heat at their most rigorous (think: Testcard and Graphic/Varispeed) and the species of spectral post rock maneuvers deployed by the likes of Tone Rec, Brise Glace and Radian in their wake (though the thread yoking this to rock is even more tangential here); all sounds poised, nuanced and deployed with a masterful economy of construction and a firm grasp of how to sustain tension by unobvious means. Wide-angled planes of preternatural and steely atmospheric drifts are rent by precisely calculated deployments of monolithic rhythmic hits or insectile percussive chatter before ultimately coalescing into a more constructivist though no less unnerving ediface on side B of the 10". Just one more demonstration that wherever his muse leads him, Laner invariably has the midas touch.

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ROBIN KENYATTA-GIRL FROM MARTINIQUE, LP, 1970, USA/GERMANY

Wolfgang Dauner alert! There....now that I've got your attention, here's a beautiful companion piece to his "Output" LP that I posted last week thats both recorded in the same year, released by the same label (ECM) and also features drummer and frequent collaborator Fred Braceful. That said, the astringent electric fury that charged that recording is substantially more reigned in here, though the resulting tracks are gorgeous things in their own right. Saxophonist/flautist Robin Kenyatta's background as a collaborator with the likes of Archie Shepp, Sonny Stitt, Roswell Rudd and Buddy Miles during this era may offer some insight into the more dreamy and cool headed moves on display here (I won't pretend to be an expert in this area) and his contributions are both elegant and commanding, though this shouldn't suggest a lack of fireworks. Dauner and Braceful (alongside bassist Arild Andersen) might be playing closer to the vest here, but their influence is still decidedly felt, most notably via Dauner's frequently exquisite clavinet work, especially on the lengthy and plaintive title track where his alternately ring modulated and wah-wahed accents liquidly expand and contract against Kenyatta's breezy flute gusts to heart-fluttering effect.

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SUNROOF!-SPLAT!, CDR, 2003, USA

Since more Matthew Bower material was requested in the wake of my post of Hototogisu's debut, here's one of my favorites of his sprawling discography, albeit one which sits at a decided right angle to his usual M.O.. "Splat!" was issued as part of Jackie-O Motherfucker's U Sound archive series and unfurls it's sequence of floor-sucking stratagems over the course one multi-part 50+ minute sound slab, much of it imbued with a perverse sense of humor that's as welcome as it is unexpected. To wit, both "Rainbow Connection" from The Muppet Movie and Fleetwood Mac's "Rhiannon" get unceremoniously sucked into the relentlessly spuming tidal pool of hallucinatory heat hazed and delay warped electronic splatter and deformed guitar chug/churn here, all realized with a keen sense of dynamics and a dedication to psychotropic excess thats as winning as it is exhausting.

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V/A-FUJIREKODSU, CD, 1999, JAPAN

The third installment in my series of posts of recordings on the uber-eccentric Cha-Bashira label, the Fujirekodsu compilation was issued in conjunction with both Germany's A-Musik and their fellow travelers at Japan's Los Apson? imprint, and it's the latter association thats perhaps most telling here, as anyone that investigated the dadaist ditherings arrayed across their compilation "Mi Caballito Chulo...! Como Lo Quie Ro....." (posted by me back in August of last year) will find much of the prankishness here cut from the same clown suit cloth and similarly presented courtesy of an equal array of names that few of you will have encountered elsewhere. Nonsense as an end in itself is one of the hallmarks of Japanese underground musical activity (especially the sort endorsed by the Bananafish crowd, which this seems custom made for) and, for the most part, Fujirekodsu flies this flag proud and high, though not without undertaking a few unexpected right turns into more po-faced territory, most notably a 7+ minute atmospheric lower_case roundelay from the trio of Christophe Charles, Brandon Labelle and Steve Roden, whose appearance here (at roughly four times the length of most other contributors) offers a breath of highly considerate air amongst the hijinks that elsewhere dominate.

Contributors:

1. Kuknacke
2. L?K?O
3. Miyahara Hidekazu
4. Hidalgo?
5. Hair Stylistics
6. AOA
7. Computer Soup
8. Why Sheep?
9. Susumu Yokota
10. Sayaka
11. Christophe Charles/Brandon Labelle/Steve Roden
12. Rax Karal
13. Noise Ramones
14. Tapes Klar!
15. Woodman
16. Q of Q
17. Vagamoron
18. American Cherry
19. Tennessees
20. Yanee Hat
21. Smurf Otoko Gumi
22. Evil Moisture Killer Nuts
23. Rudolf Eb.er
24. Hado Ho (Dub Sonic)
25. Hado Ho (Dub Sonic)
26. Nagata Kazunao
27. OM
28. Poll Mahlow
29. Moodman

Get pt 1 Here

Get pt 2 Here

WOLFGANG DAUNER-OUTPUT, LP, 1970, GERMANY

Krautrock monster alert, folks! Comprised of the trio of Wolfgang Dauner on ringmodulated clavinet and piano, Eberhard Weber on bass, cello and guitar and Fred Braceful on percussion and voice, this is a coruscating masterstroke of hard burning acidic fusion at the point of implosion into the freeform. Released on ECM Records in their nascent days, before the house aesthetic calcified into something much more reserved, Output unfurls itself on a slipstream of droning and groaning spectral esoterica before exploding into the title track's hailstorm of outrageously overdriven ringmodulated clav, octopoidal percussive splatter and fuzz bass fusillades. Output represents Dauner at his most out-on-a-limb, frequently deploying strategies that he and Braceful would explore at greater length on the eponymous first Et Cetera LP (reissued as "Lady Blue", in which form it can be found elsewhere on MS), which is merely one of the top 5 krautrock albums of all time, in my humble opinion. Utterly essential.

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***NOTE: THERE'S A MIRRORED MEDIAFIRE LINK IN THE COMMENT FIELD*** 

OHM-02, LP, 1997, USA

Despite my participation in it's production (alongside my bandmate in Vas Deferens Organization, Matt Castille), I have no reservations whatsoever about stating that this debut LP by this Fort Worth, TX quartet is one of the finest kosmiche recordings ever released by a contemporary band; alas, one whose exploits were tragically cut short by the deaths of both keyboard maestro Doug Ferguson (who would go on to join Vas Deferens Organization in the wake of this recording) and clarinetist Chris Forrest in the early 2000's. Right now some of you are probably thinking "A clarinet....in a space rock group?" to which I'd suggest an immersion in the eponymous third Lard Free LP which both prominently featured said instrument in it's mind melting matrix and which, alongside Brainticket and The Cosmic Jokers, served as one of Ohm's principal points of departure. A reality dissolving masterpiece, start to finish.

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