1. Fossil Culture 1 [11:53]
  2. Fossil Culture 2 [5:49]
  3. Fossil Culture 3 [10:29]
  4. Fossil Culture 4 [8:06]
  5. Fossil Culture 5 [8:51]
  6. Fossil Culture 6 [9:43]
  7. Fossil Culture 7 [16:56]
Recorded from 1996 till 1998 at Nekrapolis Studio (Munich), Heldon Studio (Paris), Schizotrope INC (Montreal).
Mixed in 1999 at Downtown Studio (Munich) by Bernd Koller & Peter Frohmader.

Peter Frohmader - Synthesizers, E-MU Samplers, 5-String Bass.
Richard Pinhas - Roland Guitars + Aboretum Hyperprism Process.

On Fossil Culture two giants of European electronic music join forces. Richard Pinhas' sustained, instantly recognizable guitarwork & processing blends with Peter Frohmader's dark synthetic vision to come up with a sound that is recognizably the work of both of these distinctive musicians, yet still has it's own character. Compelling, demented and downright evil, this is probably the closest we will get to hearing Richard doing a new version of the classic Heldon sound, with heavy synthetic rhythms propelling his guitarwork forward.

Press Information Fossil Culture is a magnificently produced project that brings together French guitarist Richard Pinhas and German composer Peter Frohmader.
In the mid-'70s, Pinhas' avant-garde rock band Heldon paved the way for the industrial music scene, and since the mid-'80s Frohmader has released more than 20 electronic music CDs. Fossil Culture's seven tracks, "Fossil Culture 1-7", are intelligently constructed electronic landscapes. Frohmader spreads out dark palettes of synthetic textures that combine powerful rhythms, obliquely drifting ghosts of electronic tones and bits of music concrete. Pinhas adds his patented soaring, sustained guitar notes that creep in and out of the compositions like sinewy, sinister-minded organic entities, intent on infecting everything in their path. On FC 2, children's laughter, backwards voices and chimpanzee screams act as a catalyst to increase the music's unbalanced tension. Pinhas' guitar on FC 1 uses a looping technique over which he plays complementary notes to create richly conceived layers of ever intensifying patterns. FC 7 is a 17-minute opus that is the CD's most complex piece, with Frohmader rapidly shifting the type of percussive tools and the song's pace, allowing Pinhas room to rip loose with some incendiary solos. Pinhas' and Frohmader's edgy musical visions perfectly complement each other. Their convergence of sound and spirit create ominously tangible, three-dimensional sculptures. Fossil Culture is not easily used as background music because its intensely captivating energy commands an attention that invites one to join the artists on their quest to explore fantastically futuristic vistas.

Michael Hopkins