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Panacea - German Engineering

1. Lucy In The Sky (Snippet)
2. The Return Of Motion Sickness
3. Ryan P. Schmidt (Snippet)
4. Boo-Yaah (Unlock The Sound)
5. The Cooler (Snippet)
6. Sunburst 2001
7. Synthetics.net (Snippet)
8. The Nightmare
9. In The Factory (Interlude)
10. The Creator
11. Berlin 1 (Snippet)
12. German Engineering
13. Berlin 2 (Snippet)
14. Automatic Rewind - Torture
15. Nicholas (Snippet)
16. A Perfect Night
17. New Improved Stormbringer

AMG: After a number of side projects that saw Panacea mastermind Matthias Mootz take a stab at a number of stylistic exercises under a number of monikers, he returns to the guise that first brought him fame back in 1997. That year saw the release of Low Profile Darkness, an inventive album that explored the noisier side of hardcore-laced drum'n'bass, as Alec Empire's Digital Hardcore camp would eventually go on to develop in the subsequent years. Yet 1996 is quite a few years away from 2001, and this album has been a long time coming, so long, in fact, that many 21st century listeners might not even be familiar with the groundbreaking sounds of Low Profile Darkness. So, in a way, it's rather refreshing to hear Mootz revisit some of his more acknowledged classics: "New Improved Stormbringer" spans over 12 minutes, taking the original to a new level of intensity, just as "The Return of Motion Sickness" should incite some major déjà vu for those familiar with the original. The new versions of these tracks are potent and fresh enough to satisfy, and the new songs such as "German Engineering" are just as remarkably apocalyptic. Yet what makes this album a bit troublesome to those looking for a beginning-to-end listening experience is the plethora of interludes. Referred to as "snippets," these often lengthy interludes are admittedly engaging upon initial listen, documenting various moments in Mootz' touring experiences; on the other hand though, the interludes become quite annoying upon a second or third listen, constantly disrupting the album's flow. Sure, with music as intense as this, an occasional breather is helpful, but Mootz could have made the album a little more listener-friendly. If you can manage to ignore the interludes (or, better yet, program your CD p to skip these tracks), there is nothing but wonderfully pulverizing music here — more distorted-beyond-comprehension basslines, dizzying percussion, rave-esque motifs, rambling song structuring, and, in general, downright insanity-inspiring chaos than you can probably handle.