House News

- Dieser magische Moment... Genau darum geht es.'
(Anthony Rother über Verbalizer)

Kein Platz für lähmende Gedanken. Stattdessen gibt es nur noch Musik. Der Körper gehorcht allein dem durch den Raum ulsierenden Bass. Das ist es, wovon Raver sprechen, wenn sie erklären, was ihnen synthetische Club-Musik bedeutet.
Und genau darum dreht sich auch Verbalizer, das nun erscheinende Album von Anthony Rother, auf seinem neuen Label Nextdata.

Der Club als abstrakter Raum. Es geht um das Loslassen. Menschen machen sich frei, begegnen einander
und die Musik wird zum gemeinsamen Taktgeber.

Irgendwann nennt Rother diesen Prozess - die Dramaturgie der Ekstase', kann sich dabei aber das Grinsen
nicht verkneifen. - Die Leute sollen mit Verbalizer einfach ihren Spaß haben. Ich stand im Club und fühlte
plötzlich den Sound für dieses Album.

Verbalizer treibt im Raum nach vorn, ohne ins Intellektuelle abzugleiten. Es ist die Geschichte, der Augenblick und das anbrechende Abenteuer einer tanzenden Gesellschaft, irgendwo auf dieser Welt.
- Ich war auf der Suche nach einem expandierenden Klang. Dabei war wichtig, wie ich diesen Sound den Synthesizern in meinem Studio entlocke, so dass dabei eine Kraft entsteht, die alles Weltliche und den Alltag beiseite zu drücken vermag', erklärt Rother den hedonistischen Ansatz von Verbalizer.

Club-Tracks wie diese kommen ihrem Wesen nach ohne erzählerische Inhalte aus. Dennoch sorgen sie
beim Hörer für das Durchleben - oder besser für das Durchtanzen - ihrer ganz eigenen Geschichte. - Einige meiner vorherigen Alben haben ein komplex durchdachtes Konzept. Verbalizer wechselt
dagegen vollkommen die Perspektive: Der Inhalt und was sich aus dem Album ergibt liegt im Körperlichen, dem unaussprechlichen.'
Um es also kurz zu machen: Verbalizer - um zu verstehen, sollte
man das Album feiern.

Wolf & Lamb Black Series 12" edits of Doug Hream Blunt, Ariel Pink, Nick Cave, and Ashrae Fax.

3 x DJ Mixes mixed by Nervo, Nicky Night Time and Madeaux - over 70 of the biggest tracks form the world of dance music.

Miami's ever growing reputation as a central power in pioneering electronic music stateside has been further enhanced in recent years by the advent, and subsequent popularisation, of the Winter Music Festival, now firmly established as the leading electronic music festival in the world for the whole spectrum of sub-genres.

To mark this occasion, Cr2 return with their critically acclaimed annual Miami compilation showcasing three flawlessly mixed and deeply dug mixes from Nervo, Nicky Night Time and Madeaux. Curating CD1, after taking a break from packing out arena's and collaborating with the likes of Kylie Minogue and Nile Rogers on their latest single 'The Other Boys', Australian duo Nervo bring together a eclectic mix of contemporary electronic music and main room progressive House for their flawless mix.

A fellow Australian, Nicky Night Time showcases his flair for cultivating an atmosphere in his mixes, featuring contemporary essentials from Bicep, Catz & Dogz and Tensnake alongside the classic sounds from familiar classic artists, Nicky creates the ideal contrast to the thundering mix provided by his fellow countryman.

Finally, introducing Fools Gold new blood Madeaux, he packs the heat direct from the club with a selection rich in rapid, cross-genre electronic tracks from some of the most exciting underground producers from across around the globe.

With three contrasting mixes representing all corners of electronic music in 2016, Cr2's Miami 2016 once again confirms it's status as the definitive house music compilation to soundtrack the Winter Music Festival in Miami.







































[ZK] CD3-04. Valy Mo - [Redemption] (Rare Remix)

From the liner notes: "Stepping into the Silence, this is literary music, epic little bouts of brilliance. That expands and stretches across what you might call instant reality, the lining or other side of the cosmic blanket where ordinary yet extraordinary people live, it swings and is balanced, it knows where to stop and begin again. It Bees and it Bops, it is and isn't at the same time, but the main thing is they don't scream -- not that the scream and the shout are bad. It's that you have to play inside your destiny rather than a musical style. It's all about playing free instead of asking others for freedom, so I celebrate Drake, Shipp, and Walerian for choosing life over music. Choosing intuition over tradition." - William Parker

2016 marks the return of wildly surrealist experimental hip-hop group Curse Ov Dialect, back after a 7 year hiatus with a brand new socially concious, zonked-out album called Twisted Strangers, the follow-up to 2009's critically acclaimed Crisis Tales.

Renowned for their non-conformist costumery and political ethos the enigmatic Australian group has garnered a strong worldwide cult following. Twisted Strangers includes guest appearances from Hemlock Ernst (Samuel T. Herring from Future Islands), Curse's Japanese ambassador Kaigen and Stormtrap from Palestine's Ramallah Underground.

Twisted Strangers sees them continue further down their own uniqe musical path, revelling in the openness of their eclectic sample concoctions paired with hard but twisted beats. The conventions of hip-hop are used as a foundation to build a unique voice that broaches no comparisons.

Atsusaku is the collaborative output of Gareth Davis (Oiseaux Tempete, Scanner, Elliott Sharp, Machinefabriek etc) and Japanese noise mastermind Masami Akita aka Merzbow. A massive wall of sound over two tracks that moves from the shifting low-end structures and the ricochet of howling reeds to the blistering haze of dense white noise and rapid-fire electronic tones. The title Atsusaku, suggests pressure or mechanical compression and it was from this starting point, the idea of Davis' reed sound being compressed and constrained by the saturation of Akita's textures, that the album was born. The acoustic sound almost suffocated beneath the sweep of sonic overload, but through limitation and pushing the mechanics of the instrument itself, finding a space to cut through with layers of self-distorted screams. Haihan, a furiously abusive maelstrom of coloured-noise, digital cross-fire and distorted bass clarinet is unrelenting as it searches for moments of pulse within the haze only to move abruptly back into the mechanical barrage of looping textures. Kyouhan is is far more open in its texture, the low-end layers of reeds moving across the sound space as the squall of chirps and mechanical screeches build slowly into a dense mass of reverberated pointillist details.

Artwork is by Rutger Zuydervelt and mastering by Jos Smolders.

was für ein sampler

Philadelphia native and arch noise provocateur M Ax Noi Mach, aka Robert Francisco, releases On The Edge; his first full-length LP in six years after 2010's In the Shadows.

Recorded once again with the help of Arthur Rizk (Prurient, Power Trip, Cold World, etc) at Salomons Gate in 2014, this new record chronicles some of M Ax Noi Mach's heaviest, most intense recordings to date; their minimal, bare immediacy comes from primal desires brought to a boiling point in the US city he calls his home.

'M Ax Noi Mach has always been a primal endeavour,' Francisco told Noisey in an interview last year, 'and it definitely comes from a private place. I've always had a fire inside of me; I've always had a feeling that I've had to release. Pure intuition. Pure rage, the animal let out of the cage.'

Musical touchstones on this 8-track album move from Nurse With Wound through Prurient and SPK. It's an unholy, clamorous din spewed up from the bowels of hell. It's the industrial trepanning of your psyche. The crunchy distortion of 'Walking at Night', album highlight 'Second Glance' and 'Indulgence', deal in anguished, hateful vocals - with words spat out like flames of fury. Then there's the relentlessly abrasive drone of 'Surrounded', the muted, glossolalia-like mutterings of 'American Child' and the warped synth poetics of 'White Heat'; all in all, a visceral, brutal record that absolutely refuses to let up.

The shadowy Robert Francisco has been a vital artist in the US underground since the late 1990s. He has done time in the power electronics unit Angeldust as well as Veiled (with Arnau Sala of Exoteric Continent and the Anomia label.)

But M Ax Noi Mach is the nexus of his poetic, visual, and sonic pursuits: his discography stretches back to 1999 and his immensely powerful live show has gained the project legendary status in electronic music circles across Europe and the US. The defining principle of M Ax Noi Mach's sound is that it has resisted easy genre categorisation, remaining a singular rock through waves of American underground culture; in it, the shattered pieces of several strategies of urban, extreme musics cohere in a way that only Francisco can envision.

Modelbau is one of the many names Frans de Waard (Kapotte Muziek, Goem, Wieman, Freiband, etc) uses for his music. Moving Furniture Records is proud to release the first proper CD by this project after many tape releases and a couple of CD-R's.

Frans de Waard in his own words about Four Squared Wheel: Somewhere in 2012 I had the idea that it was time for that all needed change, having played around with laptops for a decade or so. Actually it was something that was in the air for some time, as I already used cassettes in my work with Kapotte Muziek and in some of my solo concerts. With Modelbau (and yes, that is a deliberate misspelling of the word) I set a few parameters, such as using many cassettes, small synthesizers, little to no laptop and recorded as much 'live' as possible, plus to do only digital releases. Some of that still goes, but the digital releases only went out of the window pretty quickly. In 2012 I played a concert as Modelbau, carefully planned into a fifteen-minute composition and released the first (digital) album. Other work came along and I didn't do much again as Modelbau, until in June 2014 I got various offers for solo concerts and while preparing those, I had a bunch of material recorded, which was released by various labels on cassette (Barreuh Records, Lichtung). During one of these rehearsal/recording sessions I picked up some guitar effect, which was in my way and thought it would be good to use that also in the set-up. Since then the palette seems to be complete; while preparing for concerts I record everything and select pieces from that to be released, with little to no change, save for doing a better beginning or ending when needed. In that respect the almost one hour long 'Four Squared Wheel' is a bit of a different work. It wasn't recorded as part of a rehearsal, but rather in a more elaborate set-up in my studio, using my Philicordia organ, a microphone, guitar amplifier, guitar effects, mixing various signals on the spot into this piece, while retaining that 'live' feeling. It has four distinct parts with considerable gaps of silence in between. They are intended to stay as such. 'Four Squared Wheel' is the most drone based/ambient recording by Modelbau to date, and not something that would be easily re-created in a live situation. As such it is quite a unique work.

Orphax is the Amsterdam based musician Sietse van who has been active with music since 1998. Time Waves is his second proper CD release after 34 CD-R, Tape, DVD-R and download releases and various compilation contributions and remixes.

ABOUT TIME WAVES
On December 8th I performed at the famous Bimhuis in Amsterdam in a special evening organised by STEIM where I shared the stage with Yannick Franck and Thomas Köner. My performance got recorded and this was the starting point for Time Waves. In addition I did a live recording at home which I mixed and edited into one piece with the first recording. The result is the work on Time Waves.

The inspiration for this work goes back to my time as geology student where I learned a lot about the various eon's, eras and period's, epoch's, ages and what's more used to describe time on the geologic scale. While at one side it was always different on the other somethings never changed. The music you hear on this album is an exploration for the natural flow of sound. As if sound is like the geologic time it slowly floats on with layers coming and going without revealing what is next in a randomly fashion. The transgressions, the waves, billowing over each other, on a tranquil pace. Only the occasional unexpected change seems to break the slow transitions.

Though, if geologic time is too abstract for you, you can also just think of cat hair, just like you see in the pictures in this artwork.

Hard to pin down, harder to hold onto; bent circuit board snake charmers unfurl across hexagonal grids. A seemingly familiar sound, but then you realize you have your ear pressed against a reflection.

Sunwatchers are a distorted prism to so many past greats: reminiscent of Ethiopiques, John Handy Band, Terry Riley, Art Ensemble meets Laddio Bolocko. Forever-swirling saxophone blended belly-to-belly with elastic guitar and tinfoil-thin phin (a Thai instrument not unlike an electrified tenor guitar or sitar); a whirlpool of repetitious interpretations; militaristic marches ascend into meditations. These songs map out great pyramids and deep, buried labyrinths; they are massive, they are leviathans.

The band is comprised of NYC improv heavy hitters—Jim McHugh (guitar, electric phin), Peter Kerlin (bass), Jeff Tobias (alto sax), Cory Bracken (vibes, percussion), Jason Robira (drums)—and sitting in are Dave Harrington (guitar, synth), Ben Greenberg (guitar), Dave Kadden (keyboard), Jonah Rapino (fiddle). Notable previous projects include Dark Meat, Arthur Doyle's New Quiet Screamers, NYMPH and Chris Forsyth's Solar Motel Band. Amazing cover painting of Handsome Jimmy Valiant by artist Scott Lenhardt—a strange but somehow sensible match made in heaven. Dream machinery, just plain far out. Look for traces of this one in your brain jelly afterwards.

Electro Deep Selection is the new dedicated to a sophisticated sound and refined series. The flagship aims to be the first CD devoted exclusively to the strongest songs in the deep landscape in which we find the likes of FEDER caliber LOST FREQUENCIES, both topped the world rankings in the industry. The second CD is a collection of electro-house tracks dedicated to djs "club oriented."

Arriving like the mysterious fully formed monoliths in Stanley Kubrick's 2001: A Space Odyssey is the new album from Warsaw, Poland based artist Aleksandra Grünholz aka WE WILL FAIL. Despite the fact this isn't her debut (that was 2014's "Verstorung" also for Monotype Rec.), this new double barreled shotgun of an album entitled "Hand That Heals / Hand That Bites" rings with the boldest sense of arrival you could possibly imagine. With a unique sound that is neither electronic, noise nor experimental but a unique off-cut of the three assembled into a style all her own, Grünholz's sound runs parallel to artists like Scott Walker, Autechre, Pharmakon, Daphne Oram, Pansonic, Grouper, Laurel Halo, Demdike Stare, Vessel and beyond.

Both dark and anxious, the seven "Hand That Bites" tracks follow the blood reds of its cover art, deeply rhythmic, pulsing, energetic and brimming with the intensity of an artist who has clearly arrived at an important place. Aleksandra notes "This part is ruder, more brutal, stronger, but at the same time more basic. The pulse, the harshness and the anxiety were really important to me. I know that some sounds are even dull. I left some parts dirty, raw. I wanted to show the strength that can seduce and mesmerize at the same time." The rhythms here have some associations with Techno and club music, but for the artist this is music for listening rather than dancing. Like Emptyset and other sonic explorers Techno elements embedded are merely part of the construction - a sound reaching beyond any kind of norm.

The companion eight tracks, an alternative version of the same story according to Aleksandra, make up the "Hand That Heals" segment of the album. Again like its artwork, these tracks are lighter in touch, focused on atmosphere and experiments yet equally compelling and unique. Grünholz notes "I wanted one part to be more subtle with rich sound that was intricately constructed. I was concerned to make compositions that are really refined, full of details, so that each listening would allow listeners to find something new. There was some room for field recordings. I intentionally have chosen recordings of common situations - overheard conversation, some sounds recorded during travels - that in the same time are notations of specific memories." Being a visual artist as well as a sound artist Grünholz works in ways that can sometimes be conceptual: "The title/s were created before work on the album started - Hand that Heals / Hand that Bites - it was an irrational string of thoughts in my head for a long time - two inseparable elements that somehow make a complete configuration." Yet the end result has proven here to be quite immediate.

The title of Aleksandra's project We Will Fail comes from an observation - "I often think about perceiving reality. Everyone sees it a little bit differently. Our thinking affects how we interpret things that we see. Watching is not equal with seeing things how they really are. In conflict someone's victory is always someone else's failure. The fact that something could be black and white at the same time was the starting point to work on this new album." We Will Fail has performed live on many European stages including at festivals such as CTM, Unsound Krakow and Unsound Toronto. The album will be accompanied by stunning visuals developed by the artist who also works as a graphic artist. Live performances in Europe and America will follow the albums release in early March 2016.

Auf seinem dritten Album, "The Steam Age", widmet sich der Düsseldorfer Kreidler-Schlagzeuger Thomas Klein mit Hilfe eines stillgelegten Klaviers als Klangquelle einer maschinellen Ästhetik jenseits des allgegenwärtigen Binärcodes. Klein klopft, scharrt, kratzt und zupft - das Bearbeiten von Holzkorpus und Stahlseiten sind die Bausteine eines weit gefassten Klangspektrums, das er später im Sampler gegen den Strich bürstet. Alle verfremdeten Patterns und Sequenzen dürfen anschließend auf dem typischen SølystSchlagwerk-Groove tanzen und verschmelzen mit ihm zu einem hypnotisch treibenden Maschinenfunk. Dabei folgt Sølyst keinem Muster oder einer Chronologie. Der programmatisch gewählte Albumtitel verweist auf einen imaginären Überbau, der versucht, eine in Klang und Grooves gegossene Studie von Abnutzung und Gebrauchsspuren widerzuspiegeln. Die Musik ist durchsetzt von Zeitspuren wie Staub, Patina und Rost aus der Welt der Maschinen und ihrem Zusammenspiel und Ineinandergreifen von mechanischen Bauteilen wie Zahnrädern und Kolben. Auch Lärm, Hitze und Dampf gehören zu diesem assoziativen Inspirationsfeld.

Auf seinem dritten Album, "The Steam Age", widmet sich der Düsseldorfer Kreidler-Schlagzeuger Thomas Klein mit Hilfe eines stillgelegten Klaviers als Klangquelle einer maschinellen Ästhetik jenseits des allgegenwärtigen Binärcodes. Klein klopft, scharrt, kratzt und zupft - das Bearbeiten von Holzkorpus und Stahlseiten sind die Bausteine eines weit gefassten Klangspektrums, das er später im Sampler gegen den Strich bürstet. Alle verfremdeten Patterns und Sequenzen dürfen anschließend auf dem typischen SølystSchlagwerk-Groove tanzen und verschmelzen mit ihm zu einem hypnotisch treibenden Maschinenfunk. Dabei folgt Sølyst keinem Muster oder einer Chronologie. Der programmatisch gewählte Albumtitel verweist auf einen imaginären Überbau, der versucht, eine in Klang und Grooves gegossene Studie von Abnutzung und Gebrauchsspuren widerzuspiegeln. Die Musik ist durchsetzt von Zeitspuren wie Staub, Patina und Rost aus der Welt der Maschinen und ihrem Zusammenspiel und Ineinandergreifen von mechanischen Bauteilen wie Zahnrädern und Kolben. Auch Lärm, Hitze und Dampf gehören zu diesem assoziativen Inspirationsfeld

The Hidden Jazz Quartett returns with "Tap On The Backdoor" featuring Greg Blackman getting on the good foot with a straightforward soul mover. on the flip you find a remix by labelmate Renegades Of Jazz. play it loud !

The fifth release from Kraftjerkz is the deepest by far... an ass-shaking cross between Kraftwerk and a John Carpenter soundtrack featuring drum rhythms ala Computer World.

Takes the Sludge sound into another dimension: "Cheddar Bae" shows Applewhite's more Ghettotech side w/insanely catchy call & response vocal hook. "Mouthwork" has a drag gin juke beat, w/Ashbaby pimping the Dance Mania vibe.

About two years ago Sonar Kollektiv released Marlow's first 12inch. The funky sparkler inviting everybody to bop along, Backroom' (SK265) soon became a stable club hit and got airplay on all respectable radio stations all around the globe (f.e. Gilles Peterson's Worldwide show on BBC Radio 6 Music). The song with the distinctive voice of Pete Josef still works perfectly as proven by this year's Sonar Kollektiv's (limited) Record Store Day release. Two brand new remixes give wings to Backroom' and transport the track a second time to all the dance floors where hips are swayed lasciviously. No less a figure than the Hamburger allround entertainment machine Erobique takes the track to task and puts you with his Maxi Mix in a cheerful mood in an infectious way. A tiny bit more restrained is the Super Disco Dub remix by Alex Barck and Marlow. Supremely sensitive the bassline played by Christoph Kaiser works its way sluggishly into the groove until the keys by Erobique - in this version as well - take lead. Everything leads to Marlow's debut album, coming this June!

We continue our tribute journey, now we bring in Oscar winning and Dance Hall Of Fame awarded Giorgio Moroder, the man behind such classic tracks with Donna Summer (I Feel Love), Irene Cara (Flashdance) and a number of great film scores such as American Gigolo, Scarface and Midnight Express big support from Dimitri From Paris, Headman, The Glimmers, Simon Lee, Ajello, Ilya Santana and many moore..

!!! repressed !!! the classic feat. atomek dogg !!!

Mikron are two English brothers, Michael & Ciaran Corcoran, living in Australia. Returning to CPU with their L.P. (CD/Digital) & E.P (Vinyl) Warning Score.

Mikron's love of melody and pattern are very much at the forefront with every track full of great hooks and rhythms. The album takes you on a journey through various sub genres all delivered with careful execution and enviable studio mastery.

The title track 'Warning Score' is forged from an acid bassline with Mikron's signature saturated drums, which begs for a big room / system.

You'll find plenty of analogue action throughout, along with some downtempo IDM affairs. Prepare yourself for dark, moody and bass-heavy electronics.

Vercetti Technicolor's ficticious soundtrack to the 1972 Munich Massacre, is a bleak, cold and somber work. Partly inspired by the 1999 Documentary by Kevin Macdonald, Vercetti creates a tense and brooding approach to this, the most darkest of subject matter. This is far from dancefloor material, this is doom-electronics at it's most frightening. Giallo Disco is proud to present our first LP, Vercetti Technicolor's Black September, closer to minimal wave than moroder and all the better for it. Remixes come from Mexico's PLAYTONTO and Creme Organization signing's Francesco Clemente.

Flash Cero started in Madrid in 1986 and with just a Roland Juno 60, one Casio 5000, a Simmons drum machine, some effects and basic equipment they recorded a demo with 6 tracks. After a few months the band finally got a contract with a Spanish label to record and release their debut album 1988'.

27 years later this influential and cult techno-pop album is back to life. All original tracks, 6 demo tracks and some live recordings have been remastered from the original tapes and a new artwork has been created with graphic material from band private archives.

Clone Classic Cuts serves another cult Italo disco classic! Gorgeous female vocals slapped on that lovely 80's synthesizer/drum programming.

a megaphat electro house bomb on kompute records with remix by alexander robotnick !!!

back on stock !!

After a few years silence we are happy to announce a brand new release by Visitors Records, The Hague. ''Walking Machine'' is a new production by Italian new wave band State Of Art (Fred Ventura, Stefano Mazzola, Stefano Tirone), active in the early eighties and reborn in 2009 after the release of

HARDBASS - The Final Chapter Seit 2003 treibt die HARDBASS Serie erfolgreich die Hardstyle Freaks zum nächstgelegenen HARDBASS CHAPTER Dealer um sich die feinste Dosis Bass reinzuziehen. Nach verflixt guten 13 Jahren begeben wir uns nun ins letzte Kapitel. Mit HARDBASS The Final Chapter feiern wir den 30. Geburtstag, das Erwachsenwerden mit der besten Hardstyle Compilation und deren Finale gebührend. HARDBASS - The Final Chapter - kein Rückzug sondern ein Abgang mit Pauken und Trompeten! HARDBASS - The Final Chapter - mixed by Art of Punk vs. Illuminatorz mit Wildstylez, Coone, D-Block & S-te-Fan, Wasted Penguinz, Zatox, Code Black, Technoboy 'n' Tuneboy, Da Tweekaz, The Prophet, Outbreak und viele mehr

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P.I.G." (Post-Industrial Geometry) is the second EP by 77™. It's a dive into old-school electro and minimal synth. Includes a cover of Dupont's "Let's rock" from the classic "Breakin' 'n' Enterin'" Original Motion Picture Soundtrack (1983).

Limited and numbered to 320 copies. Fold over sleeve with ultra-violet coating.
Two new compositions from this minimal-synth duo from the post-industrial city of Lodz (Poland).

R2 Records are happy to present the first full-length project from Karizma's alter ego Kaytronik. From his earliest days as part of Baltimore's premier crew - The Basement Boys - Kris Klayton was never one to stay in a musical box, always probing beyond the constraints of the soulful house domain. His Kaytronik persona, (previously reserved for remixes of other artists and a single on Atjazz Recordings) has allowed him greater freedom to explore beat syncopation, mood and impassioned expression further with an album that showcases his ability to work at any tempo, with a variety of styles, but always with the emotional content intact.
'Thee Album' contains electronic explorations of down tempo emotive beats, club bangers and impossible to categorize grooves, not to mention thought provoking messages about where we stand in the current global climate

Exceptionnel danceable electronic tracks with undeniable hitpotential. Heartbeast have been quietly digging their own tunnel under the borders of genres and categorization in order to dig through to the light and influence audiences with pop appeal and style as well as artistic presence, new pathways for soul music and astoundingly independent professionalism.

Kosmische Musik von 1973: Neuauflage mit großzügigem Bonus und ausführlichen Linernotes.

Die Wiederveröffentlichung dieses erstmals 1973 erschienenen, von Klaus-Schulze-Fans sehr gemochten Albums erfolgt als attraktiv designtes 2CD-Digipak mit dem 50-minütigen Bonustitel "But Beautiful", der live 1977 in der Brüsseler St.-Michael-Kathedrale aufgenommen wurde, und ausführlichen Linernotes in einem 16seitigen Booklet. Wie das deutsche Magazin "Flash" 1974 befand, handelt es sich bei "Cyborg" um "das konsequenteste Album, das je unter der Rubrik 'kosmische Musik' erschienen ist". Als Grund dafür gibt Schulze selbst die Verwendung von Orchester-Tapes an, ähnlich wie er das bereits zuvor bei "Irrlicht" (1972) getan hatte. Mit dem Unterschied, dass ihm für "Cyborg" bessere Bänder zur Verfügung standen. Diese zerschnitt er in kleine Portionen und verstreute sie wie ein Gewürzmittel über die - damals - vier LP-Seiten