propaganda

NTL‘s electronic, angry experiments, often combined with tape-collages quickly got her the
reputation of a so-called 'primal-industrial punk' band. Others saw the band (with A. Wollscheid
on guitar and synthesizers, S. Schütze on violin and bass, and Sea Wanton on vocals /
electronics) in the atmosphere of the 'Neue Deutsche Welle' (short name NdW or NDW
= the 'new german wave') or even as part of the 'Berliner Krankheit' (= 'the Berlin insanity',
which was strongly proclaimed by K. Maeck and the EINSTÜRZENDE NEUBAUTEN at this time).
Afterwards the new songs were created in very fast sequence as the soundtrack for the shrill
80s in Germany (the former FRG). Nevertheless, and only for a short time, artists, punks, hippies,
old-fashioned marxists and neo-liberals could accept NTL's 'style is irrelevant' concept of life.
The production of their music / sounds / noise on compact-cassettes made it possible for the
NTL-members to trade their ideas with many (NON)musicians all over the world. GEN82 was the
moniker for Sea Wanton and he wrote about the cassettte-production of the so called 'cassette-culture'
in the german music magazine the SOUNDS. In 1986 however, NTL released their first long play
album, as well. It was called 'WANTON' and E. Dittewig (female vocals with SUENO SUENO)
played the saxofon.

The album appeared as a limited edition (approx. 300 LPs), with a hand-made cover and a special
inlay for the 'in-crowd'. The sale of the NDW, the breakdown of the distribution structures for the
independent labels at this time, prevented a (possible) commercial success (the LP was even
available for a short time at the 'DAS BÜRO', the distributor of the DER PLAN products !)
A. Wollscheid concentrated more and more on his career as an artist and moved to the avantgarde
SELEKTION label (directed by J. STENDER and RLW). Sea Wanton lost his interest in music scenes
as well, which opened more and more to the DISCO, EBM (='Electronic Body Music') , DEATH METAL
and GOTHIC-ROCK music. Only in 1996, when Sea Wanton had moved to Berlin did NTL became
active again. Inspired by the 'hard kickin' techno' publications of CHRISLO HAAS (ex-DAF,
ex-LIAISONS DANGEREUSES) on the TRESOR label, fresh new ideas came into being with NTL.
Different yet strange rhythms were sought, the liaison of the enthusiasm of the 80s with the beginning
of the new millenium became a thrilling project. In his Berlin studio, JAMMIN‘ UNIT (who had played
live with NTL in the Netherlands, and is nowadays working with AIR LIQUIDE), selected the songs
for the CD 'Siga Siga'„ and did the mastering. Afterwards the production of the next CD '/Bin/Med/Usa'
started. New Beats, Trance, Ambient, Industrial, Techno, Hardcore were assembled together with
C. Reichelt and A. Türpitz. By crossing political consciousness and creative strength,
this project is run as NTL, as always.

(former CASSANDRA COMPLEX drummer and currently working
with the MAD SIN and/or the DIE SKEPTIKER) is responsible fot the basic electronic sounds on the current
CDs. In August 2008, Non Toxique Lost played the KLANGBAD festival (besides FAUST, MOUSE ON MARS,
BOB RUTMAN, etc.). Line up: Achim Wollscheid, Steffen Schütze and Sea Wanton, Christian Reichelt.

Non Toxique Lost began in the early '80s as a German industrial band
that had stuck true ..to the avant-garde / difficult listening propositions
to also come through Throbbing Gristle ..and Dome. While plenty of
other industrialists such as Psychic TV and Einsturzende Neubauten
..honed their craft for occluded electronics with sinister motives into
downright catchy tunes, ..Non Toxique Lost chose a murky collage
strategy for metal bashing, undulating electronic ..arppegiations,
and megaphone vocal barking. Wanton was the first album for
Non Toxique Lost, ..recorded between 1982 and 1984 and released
a year later on vinyl. There's an aggressive deconstruction of sound
within the primitive synth-punk arrangements which get splattered into
amassed distortion from guitar freakouts blowing out of way too small
amplifiers on top of lumbering electronic loops, all of which get cut up
and mangled on tape. One of the early members of Non Toxique Lost
was Achim Wollscheid, who had also begun his solo project of DIY
musique concrete called S.B.O.T.H.I. before developing his highly
conceptual sound art projects throughout the late '90s. It seems
that Non Toxique Lost is still around, although Wollscheid left many
years ago. Either way, Wanton is a fascinating document of
art-damaged noise from this little known German industrial project.

CD, "Live At The Berlin Atonal 2 Festival, 1983" , label: HIC RHODOS - HIC SALTA

Who remembers Non Toxique Lost? They were one of the early and German
industrial bands, walking their first steps alongside the likes of Einstürzende Neubauten
and Die Tödliche Doris in Berlin in the early 1980s'. Rising interest in the last years
around their name, thanks to new material released by Dossier, made possible to
reissue interesting long out of print material, originally available only on obscure
cassette tapes. It's the case of this exciting live recordings at the Berlin Atonal 2 Festival,
the notorious gathering of avantgarde sounds which saw some of the most representative
names of industrial and experimental music perform on stage
(Psychic TV, Z'ev, The Anti Group, and many others).

Non Toxique Lost performed there in 1983, offering a complete spectrum of their furious,
urticant sound, which ranges from tribal percussive rituals to screaming invocations, all built
around distortions, pulsating electronic frequencies, tortured violins, guitar noises and
ferocious vocals. The CDr collects 14 tracks, of which 9 were recorded by the audience
and 5 from the mixer, in very good quality. Their classics, like "Ich Sah Hanoi Sterben",
"Mit Rita Über Die Gleise", or "Might It Be A Sailing" are of course featured in both versions.
It's just a pity that this precious document is printed in 82 copies only! It would have
definitely deserved to be available for more people. Let's hope that further reissues
of N.T.L.'s historical studio and live material will soon see the light.

HEATHEN HARVEST

What would it have sounded like if Ray Davies had fronted a German industrial band? non toxique Lost.
Punk vocals veer from sprightly to rebelliously angry to commanding, sounding almost chipper over
clashing synths and metal plates. The lyrics brash forward, squibbling choruses like “CIA/Gestapo!”
and “It’s hip/it’s easy!” Snotty contention melds together stomping electronic bric-a-brac and found sound.
The rhythms are surprisingly catchy, pouncy and upbeat for an abrasive industrial band. Even when
intoning what sounds like “tarantula” over and over again on “Frobot”, the singing is positively dance-worthy.
The backing rhythms churn from otherworldly synths to whipping drum machines to ambulance sirens.
Many of the songs warn against oppressive police states and spy machines, conjuring (and it’s not hard to imagine)
a world where the cold war still rages strong. The claustrophobia evoked on the tracks places the listener
in state of torture, a barren room with shambling walls. The tracks provoke a constant sense of pins and needles,
power struggles and painful losses. This is not torturous torture to listen to, but a replica of a certain state of mind,
a certain confrontation of truth.
Occasionally, the vocals work up the negative enthusiasms of the musical accompaniments, and a harsh
battleground of noise ensues. On “Blasser Mond”, for example, the singer drops the punky sing-a-long,
shout-a-long presence for long processed yelps. The music crescendos and dips, building walls and barriers
and then breaking them down. “Ritos y Danzas”, by contrast, spews staccato grunts, but still, as soon as
the singer forms words, something catchy creeps back into the tone. No matter how industrial
non toxique Lost try to be, no matter how oppressive of a picture they paint of the world around them,
there is something about the music that still wants you to listen, that still wants to cajole you.

Three brilliant archival tracks by the long-lived Berlin experimental outfit,
first released on cassette in 1984. The pieces are powerful electronic sound-wads in
a classic Industrial style, combining a sense of post-rock power grabbage
with experimental improvisation. Loud croaking vocals, blats of destroyed piano
and the sense of a garbage truck, closing in fast."

This is an ultra-rare 18-page magazine from 1983 (82 ?) released by
Thomas Beck alias Wachsender Prozess. He only made
about 50 copies since he didn't find a distributor and he
quit after 4 editions. This mag is covering all the good
industrial/avantgarde bands. Reviews on Second Coming,
Mnemonists Roto-Limbs, Ramleh, Severed Heads,
Mida Jingles Tape on Music for Midget, a tape that
not even Severed Heads do own anymore, 150 murderous passions.
Articles about Apathischer Alptraum, Non Toxique Lost,
Nocturnal Emissions, Whitehouse / Come Organisation..

ENFAN () Mar 25 2004, 11:12
I listened to "Adresse : boese" by "Non Toxique Lost".
Thats terrible music, and the worst is the singer
(an unknown writer at the EINSTÜRZENDE NEUBAUTEN forum,
on the pre-released mp3 song of "/bin/med/usa")

Never heard of a band called Non Toxique Lost?
If you're into industrial music you should, they put out their first record
during the eighties, then 20 compact cassettes, 3 lps and a
couple of cds. "/bin/med/usa" cuts it short showing these three "guys"
from Ger-money are not newjacks: industrial music in the way
it was meant to be...but not just that. The deutsche style you can
hear while listening the "early" (not so early)
Einstruerzende Neubauten is evident, but as you can read
in the few lines they left at the beginning of their website: "style is irrelevant".
Obsessive patterns "industrial-style", old-fashioned-drum machines,
analogue synth, filters and guitars, the vocals is both martial
(...deutsche speakers' emphasis, how could we live without it!!)
and visceral up to the different song, I think if you're into this style
of music well you'll love it 'cause it's sexy or violent as it should be.
Musicwise Non Toxique Lost moves from "industrial-psychic-warfare"
to "fetish-electronica" (hey they're on the same label of Front Line Assembly
should I add something more?), a flavor of "eighties" and let's say it looks
like they'd like to play with the listeners' secret fears.
Also the recording somehow sounds old-fashioned and don't
come to easy conclusions, when I say "old-fashioned" I don't mean the
Berlin combo is completely "surpassed", I just mean it all sounds "retrò"
and in a good way, at last on this release. "Dark landscapes and modern obsessions"
if you love things like these and the way the industrial-electronica used them,
I'm sure you're ready for Non Toxique Lost.

review by A. Henschel (2004)
Factual settlement with the unavoidable (the new cd is called "/bin/med/usa")

                              This is how it would sound if Klaus Kinski, Einstürzende Neubauten, Prodigy and Björk
                              all went out for a drink together. NON TOXIQUE LOST establishes a merciless symbiosis of
                              nice groovy beats, brutal noises and cryptic sounds which seem to permanently
                              outperform the tortured, theater-like lacerating voice of the narrator/vocalist. Machine
                              defeats human being. The mood is similar to the decension into a torture dungeon, from
                              where you are confronted with some techno beats. Allured by the fine music you open
                              the door and you discover an image of horror. The lyrics deal with rage, morbid passion,
                              desperation and resignation, without having a self-pitying effect.Simply the naked, unmerciless
                              facts are presented, without offering a solution on how to surface out of the dirty swamp.
                              Conclusion: the world is bitter, the people are rotten and life is full of animosity.
                              NON TOXIQUE LOST allures the listener with cute chill-out rhythms, which develop into a
                              frightening nightmare. Nevertheless, compared to the former albums of NON TOXIQUE LOST,
                              "/bin/med/usa" is much more agreeable and the reason for this could be that the songs are
                              shorter than before. The program goes from aggressive and rageous ("everybody's darling")
                              to relaxed and lazy ("uno momento por favor") to humourous and playful ("wendy").
                              In ("schlechte wahl") you are reminded of former Depeche Mode songs.The dark, poetic lyrics
                              are partly a crass counter-part to the dissolute, danceable rhythms; soft sounding instruments
                              (i.e. the digeridoo in ("uno momento por favor")) are melted with industrial
                              Einstürzende Neubauten-esque sounds. It's really worth while to listen to "bin/med/usa"
                              over and over again !

Non Toxique Lost:
/BIN/MED/USA
From aggresive and rageous to relaxed and lazy to humourous and playful.
Label:....Dossier Format:....CD
Genre:....Industrial / Noise
Style:......EBM/Industrial
NTL establishes a merciless symbiosis of nice groovy beats,
brutal noises and cryptic sounds
which seem to permanently outperform the tortured,
theater-like lacerating voice of the narrator/vocalist.

Saturday, December 01 2007 @ 12:00 AM PST
Contributed by: Alan Milne

Now I have a confession to make here. Quiet at the back whilst I’m rambling.
I have a deep respect for all things German. Love their cars. Love their food.
Even some aspects of their dubious politics through the ages hits a chord with me.
Which kind of includes their uniforms and medals and all the military memorabilia
in those conflicts which we are not supposed to mention for fear of being labelled
a certain type of person. If you know what I mean. See Lemmy out of Motorhead or
Ron Ashton of The Stooges as examples. The country is fantastic to drive through and
their Frauen divine examples of Germanic beauty. This is by the by though. I’ve held
a secret fascination with German music ever since I first heard Amon Düül II and their
mighty ‘Yeti’ release way back in 1970. I followed that up with a serious love affair with
Der Plan and DAF and all their ilk in the proceeding years. By fuck that was good times
for German music. Then I got into all the EBM and heavy Industrial stuff, far too many groups
to mention here, and I still find myself drawn to anything remotely connected to the
German music scene even today. A special mention must go to Einsturzende Neubauten who
are still going strong. Resilient fuckers old Blixa and co. Which ties in nicely with this
review for the latest Non Toxique Lost release ‘/bin/med/usa’ which I’ve had spinning away
for the last few days…not the act hardly known but by only a select few, including me who
adored them, Last Few Days who were something else in every respect…and golly gee whiz
if this isn’t a fucking ace release that, at the very least, demands you should hear it
at least once in your lifetime. You know that feeling you get when you hear a piece of
music for the first time and you get this strange sensation going up and down your spine?
Well ‘/bin/med/usa’ did that for me. The funny thing is that in reality the recording
isn’t original in any shape or form…but it has that ‘certain something’ that just can’t
be described to it that makes you go kind of ‘wow’ when you hear it. Or that could just
be me because I’m wired up and weird that way occasionally. Non Toxique Lost have been
around the block for ages now. Part of the early 80’s German Industrial counter culture
they have ploughed many a field in different musical genres over the years. Flitting
seamlessly between whatever takes their fancy at the time. You just never know what to
expect from these guys. They take their music from many influences and mould it into
their own sound which they are currently experimenting with at the time. This approach
to their music is shown to great effect in ‘/bin/med/usa’ where dance meets rock…and takes
in experimental and other musical styles at a whim. There are traces of DAF, Seilwolf,
Einsturzende Neubauten…even Die Krupps…to be found lurking within these 16 tracks that
twist and turn with an assured Nonchalance that can only be admired. Take the first
track ‘aliens.sk/’ for instance that starts with some static and German vocals before
descending into a turbo charged electro techno light nightmare of beats and screamed
vocals. Or how about the DAF (ish) ‘die schneekoenigin /’ resplendent with a thumping drum beat.
If that doesn’t seem your thing then maybe ‘buchenwald /’ and ‘opium 2 /’ with their sludge
rocking style would be to your liking. Looking for a sexy laid back groove…then seek out
‘Wendy /’ for your kicks. So many highlights in a quite superb and highly engrossing
recording all given that added sparkle by the German, and some English, vocals which are
screamed, barked, mutilated or crooned. They rage. They rant at fuck knows what. They seduce.
They fuck you over, in a nice way, like porn studs on ten tablets of high dose viagra.
They are Non Toxique Lost…and don’t you ever fucking forget it. Vorsprung durch Technik
Sea Wanton (vocals, effects), C. Reichelt (electronics, drum machines, effects) and
A. Türpitz (electronics, drum machines, effects, guitar) are the guys to thank for this
impeccable recording. Buy it. Play it. Embrace it. Love it. Then send me an e.mail
of thanks for leading you directly to this fabulous release. It’s the least you can do.

...music from Germany from the late seventies and early eighties. Music that certainly can't be described as
'Neue Deutsche Welle', but the way more experimental ones. Some of these bands
moved into obscurity and some moved on, gaining more attention later on, either under the existing name and some under new names.
The most unknown one is possibly the band Non Toxique Lost, even when Achim Wollscheid
was a band member. Non Toxique Lost existed in the earlier parts of the 80s and in recent days (having released a 7" on
Klangalerie as-well as some CDs on Dossier Records). Back in the old days, they released a now sought after LP,
aswell as tracks on compilations, but never gained the fame of Die Tödliche Doris or P16.D4.
The line up is pretty 'normal', with Sea Wanton (vocals, electronics, effects), S. Schütze (violin, bass),
A. Wollscheid (electronics, guitar, effects), H. Wöhler (live effects) and Jammin' Unit ( live effects).
Rhythm-machines play an important role, over which the band-members semi-improvise their sounds.
Semi, because I think some of this stuff was pre-planned, and that in some way or the
other they rehearsed their songs. Especially when the lyrics can be heard through all the noise and
effects, Non Toxique Lost sound like the lost brother of Throbbing Gristle.
Quite nice, these orgasmic explosions of rhythm and noise.
Definitely one of the nicer bands that got lost, and certainly in demand for more re-issueing...

Coraz czesciej najrozmaitsze wytwórnie zgodnie z panujaca moda powrotów do korzeni wydaja na nowo klasyki,
nierzadko opatrzone dodatkowo "modnymi" remixami. Vinyl-On-Demand jest jednak nieco innym typem
wytwórni, specjalizuje sie, bowiem przede wszystkim w wypuszczaniu na rynek starych nagran, które nie mialy szczescia
byc wydane w swojej "mlodosci". Na ich plytach odnajdziemy, zatem mroczne lub innowacyjne utwory twórców niemieckiej,
industrialnej badz experymentalnej sceny, z lat 70-ych i 80-ych. Czasami równiez w katalogu mozna odnalezc
dzwieki takich odmian muzyki jak noise czy wave. Jako 13 wydawnictwo ukazal sie album grupy Non Toxique Lost.
Zawiera on 13 zremasteringowanych na nowo tracków, nagranych w latach 1983-85. Jest to pozycja o tyle unikatowa,
ze jedynie czesc z tych utwórów ukazalo sie kilkanascie lat temu na kasetach, jednakze znaczna wiekszosc pochodzi
z koncertów grupy i nigdy nie zostala wydana. Jesli chodzi o warstwe muzyczna, mamy do czynienia z "czyms"
(jak sami twórcy okreslaja) w rodzaju "primal industrial-punk", który brzmi nie mniej wiecej jak noise,
co sprawia, ze do tej plyty trzeba podejsc w odpowiadni sposób. Byc moze wlasnie nieprawidlowe podejscie niektórych osób
jest powodem, dla którego ten gatunek ma raczej wiecej przeciwników niz zwolenników. Jednak podazajac za mysla
jednego z bardziej znanych twórców noisu (Masami Akita aka Merzbow), jesli spostrzezemy pop jako pewnego rodzaju
"uporzadkowany halas", wnet, jakikolwiek dzwiek równiez bedzie mógl byc uwazany za muzyke. Takie rozumowanie
zdecydowanie bardziej przybliza nam ten material. Pierwsze dwa utwory pochodza z koncertu w Amsterdamie z 1985 roku.
"Der Tod Des Soldaten" jest polaczeniem urywanych glosów, zakurzonych szumów rezonansu radiowego oraz wszelkiego rodzaju
przesterowanych szmerów. Co ciekawe ów track zawiera nawet rytm, który jest rzadkim gosciem na tym albumie.
Za jego odliczanie odpowiedzialne sa ordynarne, industrialne uderzenia. Podobnie rzecz sie ma z nastepnym nagraniem, z tym,
ze jednak klimat w nim zawarty nie jest juz tak gesty i smolisty jak u jego poprzednika. Z poczatku glównym motywem wydaje
sie byc turkot pociagu, któremu towarzyszy odglos metalowego gongu oraz róznych krzyków. Nastepnie track odkrywa przed nami ladne tla,
staje sie wrecz melodyjny. Innymi ciekawymi utworami sa niby-ebm'owy "Wer Keinen Schmerz Mehr Spürt" posiadajacy ladne
fortepianowe zakonczenie, a takze bardzo agresywny "Kriegstanz". Calosc w mniejszym lub wiekszym stopniu wydaje sie byc
odzwierciedleniem industrialnych odglosów, przez co album ten brzmi bardzo metalicznie i niejednokrotnie ciezko.
Nasi bohaterowie zadbali równiez o typowe nagrania zaopatrzone w wysokie czestotliwosci, dzieki którym moga w bardzo
szybki sposób przyprawic swych sluchaczy o ból glowy, sa nimi, np. halasliwy "Montmartre" czy wyjaco-piszczacy "Jedes Wort Ist Wahrheit".
Mimo wszystko zaliczam te pozycje do grona ciekawych, niedbalosc o rytm lub jego czestokrotne zupelne pominiecie - topi
wszelkie nadzieje na tanecznosc, praktycznie kompletny brak jakichkolwiek wpadajacych w ucho motywów pozwala spojrzec
na te muzyke z nieco innej perspektywy. Na pewno jest to swego rodzaju skrajnosc, lecz warto jej skosztowac.

though am still missing 'wanton' their legendary sole lp i was totally curious to listen to the sounds of
non toxique lost and gotta admit that at least the last year we had the chance to listen to 2 great compilations
of their stuff on wachsender prozess an lp whose combination and atmosphere brought in mind more
experimental stuff compared to the recent one on vinyl on demand (ogre-sse) that captures the
more industrialish sound of the project.

13 songs pulled out of the stream of time (1983-1985).They have never been on record or on air

(nevertheless, some have been released on international cassette-compilations in the '80s).

Back then they called it "primal industrial-punk". Heavy shit. [industrial-minimal]

LP NTL / Non Toxique Lost (Achim Wollscheid) -
Terre et Argent
first Original edition of 100 copies in individually handsprayed covers
2 Inserts WACHSENDER PROCESS 07
GERMANY 2004
NEW
abstract industrial music from the 80-ies sold out at the label
For people who like Psychic TV / Zos-kia / Bourbonese Qualk / Der Plan / SPK / Throbbing Gristle / DAF
/ Telepherique / Tesendalo / Brume / Organum / David Jackman / Asmus Tietchens / Werkbund / Mirror
/ Andrew Chalk / Colin Potter / HNAS / P16D4 / SBOTHI / Af Ursin / Vance Orchestra / Ultra Milkmaids
/ Small Cruel Party / Toy Bizarre / Callabris / Cranioclast / O Yuki Conjugate / John Duncan / Nurse With Wound
/ Zoviet France / Mnemonists / Roland Kayn / INA-GRM / LAFMS / SELEKTION / DOM / Mixed Band Philanthropist
/ Hafler Trio / Non Toxique Lost / CM von Hausswolff / Michael Prime / Mnemonists / Giancarlo Toniutti
/ Etant Donnes / Yeast Culture / Maeror Tri / Troum / Drone etc.

review by Heathen Harvest Thursday, November 01 2007 @ 12:00 AM PST
Contributed by: G.P.

It's always interesting - and somewhat difficult - to review a CD that just doesn't want to fit itself into anyone
easily definable category. It makes it hard when so often there is not a lot to compare it to, as well as the
added trouble of not knowing who your audience is as you would for something easily catalogued. According
to Non Toxique Lost themselves, they were one of the pioneers in the German industrial scene of the 80s;
their monicker on their website "style is irrelevant" seems better suited to their music approach. Siga Siga is
an interesting and unique music experience to say the least. Non Toxique Lost definitely do not let anything
- including genre restraints - hold them back in their expression of their music. A wide assortment of instruments,
sounds, manipulations, "vocal" styles, and pretty much anything else you can think of are used; each song gets
its own special treatment and definitely stands apart from the rest. No real description could possibly tackle
the whole album, so I will do my best to describe a couple tracks and let you decide from there. Lets start
with the sixth track, Ruft Mich an in der Zukunft. There are so many different elements going on simultaneously,
representing different ideas and feelings that I am not sure what to even think. The track starts off with some
reversed noises and a hard intermittent piano sound. As these continue, what appears to almost be a tribal
instrument made of bones being hit comes in accompanied by a distant voice chanting (?) in the background.
Everything builds and swells, moving and transforming as the track progresses. Part way through, everything
but the bone instrument quiets down as a group begins a song-like chant in a foreign tongue. Later after the
voices die down, random electronic noises enter making an almost happy little catchy tune to accompany
everything else that is still going on; and by the conclusion, we finish on this happy electronic tribal tune -
different to say the least. If you think you can define this as a genre, feel free to. Liberty Voice Wave is a
personal favourite of mine. This is much more of an electronic track than Ruft Mich an in der Zukunft, actually,
they are nothing alike at all. When it starts, it reminds me of a Nine Inch Nails <http://www.nin.com> track
with the sound of its electronic drumbeat - very Reznor like in style. I wouldn't say the song has vocals,
more just generally unidentifiable sound samples from wherever used as a voice peace for the track.
I really like the swerving noise that comes in about a minute and a half into the song. It really adds to the
tracks electronic feel and has a nice darker vibe to it. Of course you know Non Toxique Lost can't stop there.
Airbursts from broken pipes provide sound alternating from speaker-to-speaker in the second half of the track
with a mingling of various other textures as eventually the voice samples fade out. Though subtly underneath
everything else, the little item that sounds like a distorted and reversed "blurp" underneath water is one of
my favourites. Liberty Voice Wave really trails off well, and it isn't until you listen to the last couple of
seconds and then go back to the start that you realize what a transformation it goes under.
Liberty Voice Wave do their own thing, which you will either like or not. I would compare Siga Siga
to something, but I can't. Though there might be bands or albums similar, I am just not familiar with
them. If you are thinking of trying this, just be sure that you are open minded musically. The two tracks
I have described sounds nothing like any of the other 11 songs, which all sound pretty different from
each other again. If you are into artists or albums wherein you never know where each track will take
you, this is an album for you. Enjoy!

On the digipack of this release you'll get just the basic infos like, name of the band,
title of the records and the tracklist on the back, if communication means
something this decision says it all. I'm almost sure I've recognized the voice of
Sea Warton and the sound it's almost the same but there's something different in this release.
I dunno if the band has suffered any line up changes but the songs are more skeletal,
everything on this record goes straight to bone, the music gets even more
visceral, the most o the songs lyrics are in german language. The vocals are more
controlled or I'd better say that everything on this record is more in control, more tempered.
"Siga siga" is less heterogeneous than "/bin/med/usa" but in a positive way,
since for the whole length of the cd it will be like being thrown into the band's dimension.
If the previous release was obsessive, "Siga Siga" is confidentially/visceral obsessive,
these berliners are working on your skull with a screwdriver it
clear from the beginning (Kein stern). If I were psychoanalist I'd say these people have
finally arrived to meet their own "self" or well, maybe it all is nothing
but a trip that has gone bad. If you're not confidential with the band my
suggestion is to start from "Siga Siga", nothing could be Worse/better.

review by M. Pannek (Berlin, 2003)
(on 'mit rita über die gleise' and on 'kein selbstmord im kölner dom')

                             you have to categorize this music according to the message of the lyrics, the intonation of the vocals
                              and the choice of instruments. the rhythm gives you the impression of harmony, in spite of some
                              disharmony. the songs reflect the following: pain, despair, aggression, insanity, fear, rage,
                             sadism, death, longing, sadness, humility and degradation, in other words, no melancholy or self-
                              pitiness. sometimes destruction and insanity, as well as a certain fanaticism is noticed. it's the
                              search for something remote controlled that is deeply tied. the cry of your soul for liberation.
                              one of its components is love. that means death and the underground, chaos and military sounds.
                              longing for dissolution. to go by train means departure. searching the target, that means a new day,
                              a new love, a new way. the intonation of the xylophone (in the song: "mit rita über die gleise") starts
                              soft and warm-hearted and mystic. and a fine intonation of some chinese sounds and instruments.
                              the song "kein selbstmord im kölner dom" is somehow confusing, chaotic and scary. imprisoned,
                              broken to pieces. to break a soul with force, pain and punches, delivering on a garbage-dump, like
                              punk, rubbish, scum, is an emotion which I'm very familiar with. childhood and parents. looking
                              at it another way: the colours are not necessarily bright, but there is a green course, a heart, the sun
                              on top of the left side and the endlessness of the earth and the blood.