Sänger Philip Elston, geprägt von Kraftwerk und politischem Bewusstsein, führt mit Sprechgesang durch Songs, die sich oft wie Miniaturen anfühlen, getragen von der feinsinnigen Instrumentierung von Nina Ahlers, Stefan Krausen, Jochem Simons, Stefan Schneider und Heinz-Adolf Tack. Elstons nachdenkliche Texte kreisen um Themen wie Umweltzerstörung ebenso wie um persönliche, melancholisch eingefärbte Erinnerungen. Dass die Band das Gefühl einer Epoche auflösend und zugleich konzentriert einfängt, beschreibt Oliver Tepel in den Liner Notes treffend: “Diese statische Energie, die sich nicht entlädt, sondern einfach da ist” macht “Forming Haze” zu einem leisen, aber eigenständigen Dokument eines musikalischen Moments, der von den großen Hörerschaften seiner Zeit übersehen wurde und heute umso mehr fasziniert. Das Release erscheint auf Tape und digital.

“He pretended he was in exile from Germany but he was a French lover like all of us; his MPC Sampler was smoking hot, an Enigma machine, an ashtray full of ghosts. I had left Paris for the same reasons he came. I could strangely relate. We’d met before he left Düsseldorf, and I knew of him through his oeuvre, his art over words (they were few) and piercing blue eyes. He was now texting me on a night train from Warsaw going East, as in a Greene novel, asking me to go over his file. He sent me a spontaneous, fun, brave and bold record which is his new album – one that curiously smelled of mechanical grease – machinery of the soul, broken transport rhythms, samples like memories, noise at peace. Referenced yet uncoded. I don’t believe in ulterior motives and complex explanations.  Not here at least. On the other hand, I do believe that works can be exposure – especially with the silent type or mistaken identities – and I knew about these too”. (Ivan Smagghe)

“His works in music are predominantly characterized by a restless quest for alternative forms of expression and materials including self build instruments, field recordings or various electronic music devices. In this context the music on ‘Threnody for the KhoiSan’ takes on a primal and metaphorical meaning. Rather than a formal, physical initiation, this process is more spiritually inclined, yet it is a spirituality which is consistently put into action. [...] In fact all instruments which appear on ‘Threnody for the KhoiSan’ are products of a process of discovery starting from square one. All this is based and founded on the beauty of simplicity and minimalism as symbolized by the single string Khoisan musical bow and arrow as trance musical instrument. In this sense it soon became manisfest for Garth Erasmus to combine the bow instruments with various electronic instruments. Besides developing his own unique language in music he also shared an expressed interested in experimental sound aesthecis, Avantgarde composition and Free Jazz. However, his non – academic approach towards sound and music was always fueled by the desire for a reconnection to the land and to the idegenious knowledge of the KhoiSan, whose struggle for First Nation status continues”. (TAL)