The unpredictable keyboardist, former metal-head and electronic musician Philipp Quehenberger gained a certain visibility three years ago for his album Phantom In Paradise, as it was a record issued by Editions Mego which sounded quite different from other releases by the far-sighted label managed by Peter Rehberg, but Philipp’s experimental attitude fully justifies his presence in such a blazoned roster: the main points of intersections with his previous release is the use of swirling noises and deep distorted sub-tones, being the main difference the lack of male vocals as well as interesting stylistic research. Philipp Quehenberger’s attempt could be synthetically described as a conjure between the rhythmical structures of electronic body music - in many tracks of Hazard, the influence of the sound of DAF as well as his experience as a studio-musician for Dj Hell is quite clear indeed -, psychedelic noise-rock and IDM. Such a freak deriving from the hybridization of different but often complementary genres has been molded throughout eight scrupulous tracks showing their creator’s skills hazarding progressive sound saturations of the sound.

The morbid Stupid Idea, starting the sequence, begins with the sound of a typewriter working almost as a metronome for the obsessive rhythmical step, while the following track, Undante, mixes it up certain sci-fi scents - those thrilled howling sounds normally announcing the invasion of some weirdy alien race on Earth in American and Janese sci-fi movies…- with a well-done dubbed drumming canned by Fuckhead drummer ddKern. Most of the next waves of the album have the same structure with just some relevant variations on the hypnotic Hey Gert - whose heavy-dub stepping and some distant guitars effected by wise reverberations and delays reminds some past releases by Eraldo Bernocchi or Bill Laswell -, the crank pitch in Hard Joke, the bizarre splashed drum crashes on the mumbling Keep Talking which seem to be injected in a sequence of quad waves according to the customs of some electro bandits - maybe the closest to DAF sound of the album -, the gluey techno pattern of the loony hammering of After Death Business. Some stylistic devices as well his leaning towards risk could let you suppose Philipp Quehenberger could be the bastard Austrian cousin of Meat Beat Manifesto’s Jack Dangers or maybe he just shares the same pots and pans in order to cook the groove.