The deep electric rainforest sound atmospheres that the listener will hear on this record was the tip of the iceberg of a rich and elaborate work process. For over 30 years, Norbert Möslang has made installations, sound performances,and music records that are deeply involved in the hidden world of vibrations to convert them into loud sounds and thick textures. Living simultaneously in spheres of inside/outside, micro-vibrations, spatial structures, underground music venues, art galleries, underwater, glass windows, body movement, precise equalizers, insects, microcosms, and electronic devices, Möslang constructs fascinating, untrammeled worlds of both philosophical and physical power. "I attempted a Voice Crack gig when I was 21 at an experimental noise festival in Fribourg ... Möslang and Voice Crack opened to me both the ways to experimental noise music as well as sound art performance. When looking through the rear-view mirror, it's clear that in the late '70s/early '80s, there weren't many artists working with harsh noise -- a list of the classics includes The New Blockaders, Whitehouse and Throbbing Gristle in the UK; Hijokaidan, Merzbow, Incapacitants in Japan; NON, The Haters in the States, among only a few others. Since the break up of Voice Crack in 2002, Norbert Möslang enlarged his practice to cover all noise and experimental practices, from lo-fi 'Everyday-Cracked-Electronics,' saturation/overdrive work, performance and improvisation, field recordings and multi layered ambient noise composition. Through interconnecting, heterogeneous everyday objects; linking the outside sound environment into a quiet art museum by fixing microphones to its windows; filming the underwater Venice canal in order to set off neverending imagery flux, allowing a movie to play its own soundtrack by triggering photo-sensors, Möslang proves to our entire nervous system that the world we inhabit is no more than infinite continuum. To talk about indoor_outdoor specifically, again, Möslang's music drives us from nothing to everything. A field recording in a Swiss harbor is then processed and composed in a studio. The second track 'hot_cold_shield' is a collaborative duo with Toshimaru Nakamura, an influential member of the Onkyokei scene in Japan -- a brutal live improvisation recorded at Manif d'art in Québec." --Balthazar Lovay, Deborence, September 2012; Vinyl cut by Rashad Becker at Dubplates & Mastering, Berlin, October 2012.