The Rhythmicon was actually sparringly used (if it all) in this recording despite the fact that John Came was in possesion of one. It is primarily a concept recording using computer software and synthesizers. The record was composed by John Came - a classically trained guitarist who often played and collaborated with Cope. Using a real Rhythmicon and studying it's behavior, Came and Cope then collaborated in processing the rhythms and tabulature from Came's compositions into would have come from rhythmic forumlas of the Rhythmicon and then entered these results into sequencing software, afterwards recorded and mixing down the material into their final 'Rhythmicon compositions'.

The music is then in turn, due to the nature of the Rhythmicon, very arpeggiated sounding and the synth and bass styles themselves remind me at times of Node, Recoil, and other similar Mute acts of the time. The highlight track for me has always been Ink Tank - which I originally found on the Mute 180° sampler before buying the record.

The Soul Assassin Remix, is more a Version than it is a Remix. With updated vocals + a verse by B Real from Cypress Hill (uncredited). Definitly the best version of the track.

This budget-priced compilation was a sleeper. Not only did it contain music from a multitude of then up-and-comming artists, but it features an early and hard to find Four Tet track - Cload.

Terminus (Calling all Stations) is a live performance of Terminus at Paddington Station. They chose the location for its unqiue ambience and background noise. If you've seen pictures of their gear and heard any of their stuff.. it's a given you'll love this live performance.

"When Don and Roel Funcken, the two brothers from Funckarma, were on a visit at my place, they discovered two enormous boxes of demos that had drifted in over the years. In response to the question of what I wanted to do with all the tapes and CDs, all I could say is: Dunno, put together some kind of 'Future Talent Compilation' sometime, 'cos at the moment I've no time to release EPs and albums on Musik Aus Strom, so I certainly don't have any time to listen to all this... All Don said to this was: Let us do it, we've got to be able to put together a decent compilation from these demos. It's a shame, anyway, that Musik Aus Strom barely releases anything...said...done...;-)

"MAS Confusion" doesn't only include tracks from the demo boxes, Don also managed to mobilize a few of his friends to write new tracks for "MAS Confusion"...in total, from the 12 tracks, 11 are previously unreleased. Funkstörung then chose the final track listing...a few tracks were scrapped 'cos they just didn't work with the overall feeling: Almost all the tracks a relatively relaxed and listenable, mainly without excessive programming and really melodic. A little old school but nevertheless very modern...Mr Projectile puts it best, perhaps, with his track title: Less math, more music!" - Michael Fakesch (of funkstorung)

This is what Music has the right... wished it sounded like. The production is much more solid (whoever says opposite is deaf or too personally attached to Music has the right..), There's remarkably less kitche pop elements on this record also, more freedom, more melodic range. When this first came out I was happily surprised when I heard 'Sunshine recorder' for the first time -- it's a continuance/mix of A beautiful place, but 3x's longer. The standout track on this record for me is '1969'.

The Drill was the first full exploration of Wire's music experiments known as "Dugga". They define Dugga as "monophonic monorhythmic repetition". The title track became their most well known song in this style. True to form, there's about 100 recorded versions and is probably their best live track to date.

A welcome return to front 242's more experimental electro days of operating tracks and geography. Their first proper release in 10 years actually brings them into the modern fold and filling a idm/electro/ebm gap that's been sitting around mostly empty since nitzer ebb, 242 and die krupps when awol in the early/mid 90's.

In 242's own words: "This EP maxi repositions the group in accordance to their first / original music: a type of pure and raw music. The compositons are simple and certainly a lot calmer : which doesn't necesarily mean that the music represents an album of the future, but in this case I believe that we wanted to re-find certain of our own characteristics / the identity of our initial style, a sound that is linked to the purity of our synthesis like our first album 'Geography'."

This is the album (along with front 242's operating tracks) that first open my eyes to experimental music in general. electronic musically speaking the track '10 x faster that the speed of love' is probably MBM best track. I start counting is unparalled weird synthpop from the 80's that went on to become Fortran 5 and then on further into other groups such as The Orb, etc.. The version of Wire's Drill on this album is also perhaps their most interesting take on the Drill/Dugga experiments. Throbbing Gristle's subhuman can be found on several albums but tis a hilarious classic to play to friends. R.Soundwave's Biting my Nails never had a better edit/mix than the version on this compilation. New Fast Automatic Daffodils was an interesting stone roses / charlatans type 'madchester' crossover band.

Shamefully, often overlooked by electronic listeners of depeche mode. This to me, is so far the best depeche mode album ever. There's depth, blues, rock and gospel influences sure, but underneath it all lies the best electronic twiddlings dm has ever offered. listen to the last a minutes of Judas for a quick example, or the instrumentation of the original mix (album version) of In Your Room and you'll see what I mean. The sound style crafted here is soon borrowed by bands like Massive Attack's Mezzanine. Mark Stent (producer/mixer) who worked on SOFAD produced Mezzanine and the feel is much the same (massive attack are also self proclaimed Depeche fans). It'
s a fact even that some of the snares and bass use on mezzanine are from the same source as those on SOFAD. Fans of the bass style / ambeince should also check out the album; John Came - Rhythmicon, also on Mute records -- specially the track Ink Tank, it almost sounds like a SOFAD B-side.