This is perhaps the most commercial album out of the entire collection (but I still don’t expect to see it on Top Of The Pops). It is divided into five pieces, which themselves are so complex that they seem to contain many, many more tracks-within-tracks. “Soft Explosion” is apparently from the film of the same name - a mellow sequencer instrumental containing some fascinating glittering sounds which remain on the perimeter of the central track itself. Changing to something which sounds as subtle, yet somehow more ‘determined’, drawing the piece to a conclusion. “The Somewhat Lost Horizon” is taken from the film “Dreams Shall Flesh”, and is almost classical in it’s composition & execution, although closer to the modern classics than the Trad stuff. It falls into a brief pool of 'non-music’ wallowing in what might be described as ‘white minimal GRISTLE’ before regaining it’s footing for a rather complex percussive piece. It repeats the opening phrase, then once more becomes the complex-sounding percussion, this time thicokening up until it draws to a conclusion. “Nela Chela” draws in on a large and electronic sheet of warm sound over which a simplistic and atmospheric motif is added, with sounds as mysterious and haunting as Whale song. Taken from the film of the same name, this falls into the category I’d describe as a darker and more brooding New Age, and threateningIy beautiful it is too. “Überwelt / Unterwelt” is a much more complex-sounding structure. using a series of Industrial sounds to form loose structures both mechanical and biological, natural and artificial, utterly alien yet strangely familiar. It is washed along on a rhythm more throb than pulse over which countless complex sound-events occur. It transforms into a fairly normal simplistic rhythm, drawing the track to a conclusion. "Pyramidos”, from the film of the same name finishes things off. It is the only live track on the album. It’s a pulsating rhythm over which samples of a guy's voice saying something like "And I'll Take The Drug Now!" It gradually changes, odd noises joining in here and there, complicating the constant, almost muffled rhythm into something wonderful. It stops, a member of the group addresses the audience, then it sets off at yet another tangent, this one noisier but no less complex. Voices (speaking in English) go on about discerning the ‘Quick and the Dead’ about psychics and / or psychedelics, and a host of other, none-too-easy-to-hear subjects. A guy sounding like VINCENT PRICE makes weird promises in vocal loops . lt is noisy in a mildly Trad Industrial way, keeping a brooding beat throughout much of it’s length.Originally reviewed for Soft Watch.