Search:page 159

The album opener, “Fainted Fog,” reintroduces this fuller, panoramic version of Helios. Woozy synths give way to a propulsive drum pattern as the track’s characteristics populate in the haze. A piano plays between the beat, and another synth solos overtop, ascending towards the peak with an exhale of live kicks and looping guitar. For every bold moment on Espera, there are more muted, counter-balancing stretches; “Intertwine” offers one of the most meditative. Strums mingle with keys in the front half before the beat returns to deliver a hypnotic nod.

Kenniff sees each song as integral to the whole — “if you took one out, it would be like tearing a page from a book,” he says — but still functional independently, like a series of self-contained epics. “All The While” best represents this intention; a song in three equal parts constructed on a resonant drum sequence. Shimmering synth notes surface first, then pastoral guitar and piano flutters, converging at the end to evaporate into the ether.

In this episode of Didschn, Super Flu, Marc Werner, Gustavo Ibarra, and Xotto all wake up in the same house—strangers to one another, yet oddly familiar. Outside the windows: nothing. Just endless white fog, no sky, no ground, no exit. Each room in the house seems tailored to a specific memory. Marc hears a melody he hasn’t written yet. Gustavo sees pages from a book he never published. Xotto finds paintings he doesn‘t remember creating. Super Flu, silent and calm, senses the rhythm of the place—like the entire house is part of a song stuck on repeat. They soon realize they’re trapped in a loop—a cycle built from fragments of their unrealized futures. Every attempt to escape resets the house. The key lies in finishing what was never started. A song. A word. A brushstroke. As they collaborate, the fog lifts. And just before waking—Super Flu whispers: „Some loops aren’t broken. They’re completed.

If this LP exists it is thanks to the vision, energies, work and perseverance of Thomas M. Lopez, aka Meatball Fulton. He is the president and one of the founding members of the ZBS Foundation (ZBS stands for Zero Bullshit), where the audio dramas written by Lopez himself were born. Dramatic programs with stories that blended noir, comedy and science-fiction genres such as Ruby The Galactic Gumshoe or Jack Flanders were produced to critic and public acclaim. It was in Ruby The Galactic Gumshoe that the Android Sisters, who would later have their own spin-off series, first appeared. The characters represent two robotic siblings that Tom Lopez created under big influence from Do Androids Dream of Electric Sheep?, the Philip K. Dick novel that was taken to cinema by Ridley Scott in Blade Runner. The Androids were performed by actresses Ruth Maleczech and Valeria Wasilewski.



The big success of these “cosmic and comic” sci-fi series, as they are described in the ZBS Foundations website, led to the releasing of cassette tapes, CDs, USBs and podcasting of the stories. Along with these, several music albums were also released in different formats. One of them is Songs Of Electric Despair, the first of two released by the Android Sisters. The songs contained are written by Tom Lopez and his long time collaborator experimental musician Tim Clark.



The Android Sisters Songs Of Electronic Despair LP was originally released as a ZBS Foundation cassette and also as a vinyl LP on Vanguard in 1984. It featured 11 compositions (two bonus tracks not on the original LP have been added to the Wah Wah reissue) on which the experimental synthesizer music of Tim Clark finds a perfect counterpoint in the deliciously surrealistic, cosmic social satire of Tom Lopez’s texts, magically performed by the robotic, yet sensual voices of the Android Sisters as performed by Maleczech and Wasilewski. Clark composed and performed the backing tracks on the Synclavier II synthesizer.



The Wah Wah reissue comes with two bonus tracks not on the original 1984 LP, respects the beautiful original album artwork and enhances it with a 4 pages full colour insert with notes and lyrics of the songs.



BARBARELLA MEETS PHILLIP K. DICK!



RIYL : SYNTH POP CYBERPUNK with DEVO’s sense of humor, LOGIC SYSTEM, FRANK CHICKENS or even some 1990s things to come such as LIKE A TIM or ARPANET.

If this LP exists it is thanks to the vision, energies, work and perseverance of Thomas M. Lopez, aka Meatball Fulton. He is the president and one of the founding members of the ZBS Foundation (ZBS stands for Zero Bullshit), where the audio dramas written by Lopez himself were born. Dramatic programs with stories that blended noir, comedy and science-fiction genres such as Ruby The Galactic Gumshoe or Jack Flanders were produced to critic and public acclaim. It was in Ruby The Galactic Gumshoe that the Android Sisters, who would later have their own spin-off series, first appeared. The characters represent two robotic siblings that Tom Lopez created under big influence from Do Androids Dream of Electric Sheep?, the Philip K. Dick novel that was taken to cinema by Ridley Scott in Blade Runner. The Androids were performed by actresses Ruth Maleczech and Valeria Wasilewski.



The big success of these “cosmic and comic” sci-fi series, as they are described in the ZBS Foundations website, led to the releasing of cassette tapes, CDs, USBs and podcasting of the stories. Along with these, several music albums were also released in different formats. One of them is Songs Of Electric Despair, the first of two released by the Android Sisters. The songs contained are written by Tom Lopez and his long time collaborator experimental musician Tim Clark.



The Android Sisters Songs Of Electronic Despair LP was originally released as a ZBS Foundation cassette and also as a vinyl LP on Vanguard in 1984. It featured 11 compositions (two bonus tracks not on the original LP have been added to the Wah Wah reissue) on which the experimental synthesizer music of Tim Clark finds a perfect counterpoint in the deliciously surrealistic, cosmic social satire of Tom Lopez’s texts, magically performed by the robotic, yet sensual voices of the Android Sisters as performed by Maleczech and Wasilewski. Clark composed and performed the backing tracks on the Synclavier II synthesizer.



The Wah Wah reissue comes with two bonus tracks not on the original 1984 LP, respects the beautiful original album artwork and enhances it with a 4 pages full colour insert with notes and lyrics of the songs.



BARBARELLA MEETS PHILLIP K. DICK!



RIYL : SYNTH POP CYBERPUNK with DEVO’s sense of humor, LOGIC SYSTEM, FRANK CHICKENS or even some 1990s things to come such as LIKE A TIM or ARPANET.

Queer tweemo from the pop fringe of Little Rock, Arkansas's thriving '90s DIY scene. Paper Airplanes, Paper Hearts gathers Everyone Asked About You's complete recorded works, including the Let's Be Enemies LP and their two and a half 7"s released between 1997-2000. Remastered from the original DATs for maximum nostalgic crunch, this deluxe 2xLP is housed in a gatefold tip on sleeve and includes a 20-page book crammed with flyers, photos, lyrics, and an extensive essay on this crucial missing link between midwest emo and the Moog synthesizer.

Queer tweemo from the pop fringe of Little Rock, Arkansas's thriving '90s DIY scene. Paper Airplanes, Paper Hearts gathers Everyone Asked About You's complete recorded works, including the Let's Be Enemies LP and their two and a half 7"s released between 1997-2000. Remastered from the original DATs for maximum nostalgic crunch, this deluxe 2xLP is housed in a gatefold tip on sleeve and includes a 20-page book crammed with flyers, photos, lyrics, and an extensive essay on this crucial missing link between midwest emo and the Moog synthesizer.

Queer tweemo from the pop fringe of Little Rock, Arkansas's thriving '90s DIY scene. Paper Airplanes, Paper Hearts gathers Everyone Asked About You's complete recorded works, including the Let's Be Enemies LP and their two and a half 7"s released between 1997-2000. Remastered from the original DATs for maximum nostalgic crunch, this deluxe 2xLP is housed in a gatefold tip on sleeve and includes a 20-page book crammed with flyers, photos, lyrics, and an extensive essay on this crucial missing link between midwest emo and the Moog synthesizer.

The album opener, “Fainted Fog,” reintroduces this fuller, panoramic version of Helios. Woozy synths give way to a propulsive drum pattern as the track’s characteristics populate in the haze. A piano plays between the beat, and another synth solos overtop, ascending towards the peak with an exhale of live kicks and looping guitar. For every bold moment on Espera, there are more muted, counter-balancing stretches; “Intertwine” offers one of the most meditative. Strums mingle with keys in the front half before the beat returns to deliver a hypnotic nod.

Kenniff sees each song as integral to the whole — “if you took one out, it would be like tearing a page from a book,” he says — but still functional independently, like a series of self-contained epics. “All The While” best represents this intention; a song in three equal parts constructed on a resonant drum sequence. Shimmering synth notes surface first, then pastoral guitar and piano flutters, converging at the end to evaporate into the ether.