It all started with one of these Chicago Trax compilations on
DM/STREETSOUNDS. As a reaction to his thirsting for more of these crazed
beats from overseas and with a view to his tight budget, the greatest hits of
these expensive imported 12” singles were soon released in the form of a
compendium.
This opened Pandora’s box, for very young Roman Flügel, too. Innocently
given to him by his elder brother as a present (“He probably had no idea what
he was about to unleash and just wanted to give me some new music”), the
dazzle of the unrefined and feverish dance music, furnished with just a few
drum machines and inexpensive synthesizers, turned the whole world upside
down for the cultivated music pupil from Darmstadt. After several evenings at
Sven Väth’s renowned Omen club, few kilometres further up north, and his
mind was made up. Memories of the atmosphere at the legendary Warp or
Underground Resistance label nights has put a smile on Flügel’s delicate face
ever since – a man who would also make a fine figure as a literature lecturer,
poet or thinker. “LFO’s bass, once they had set up their massive range of
equipment, was unbelievable,” he says laughing.

It didn’t take long before the well-trained ear tried out more than just classical
melodies. Little by little, he collected a vast array of equipment, bringing forth
his first sound experiments and enough courage to give a demo tape to indie
fan (that’s what music magazines like Zillo used to call people like that back
then) Jörn Elling Wuttke. The latter was a well-known face in Darmstadt’s
music scene and often enthused about new electronic music. In him he had
found the right partner and Wuttke could hardly believe his spellbound ears.

DJs und Delirium record sellers Ata and Heiko MSO from Frankfurt felt the
same. At first they thought someone was making fun of them. It sounded too
authentic and unique. The music Flügel and Wuttke had presented to their
label Ongaku and Klang Elektron...