LP version. First-ever vinyl edition. On the second album of his late solo work, 2006's Nurton, krautrock legend Dieter Moebius (1944-2015) searches for flaws and uses them as a creative impulse. As usual, he blithely ignores any mainstream expectations. In science, an experiment is defined as an attempt to methodically gain information by systematically varying parameters. The results then confirm or refute the hypothesis or the model of the experiment. In art, however, confirmation is not of interest. Far more exciting are the flaws. They can lead to completely unexpected results or to new phenomena. In science, such moments are called discoveries. In this sense, Nurton is experimental music. One can observe Dieter Moebius on his quest for inspiration through flaws; rather than sonically imitating the instruments of a band lineup or following a conventional song structure, he departs from such rigid approaches. He gladly makes use of noises and otherness to create variations, examine the results, and sculpt his songs. In doing so, he allows the listener to participate in his quest to harness unexpected flaws and to share in his frequent discovery of an inspiring sonic event found off the beaten path. Many tracks on Nurton commence with noise-like loops. Moebius then adds levels of sound, layer by layer. Threatening, industrial-sounding squeaking; wheezing; and sluggish pounding are joined by playful digital lead sounds or provided with a foundation of meditative drone sounds. And almost imperceptibly, the piece lures one into a supremely comforting hypnosis. On Nurton, Moebius demonstrates his true greatness; from a seemingly arbitrary initial loop, he creates hypnotic experimental atmospheres -- linear, without escalation, stoic, with clarity, and to hypnotic effect. In doing so, Moebius uses bolder and more experimental lead sounds than on his previous solo album Blotch, from 1999 (BB 209CD/LP). The sonic impression is more diverse and feels reconciled with the sounds of digital synthesis. Only the last track of the album, fittingly titled "Das Letzte" ("The Last"), provides a preview of the musical development that would characterize Moebius's solo releases to follow.