left to right: Sea Wanton, Pogo, AchimWollscheid, T.Poem (line-up 1982, image courtesy of 'cherrypop') 

line-up in 2004 (band-collage by A. Türpitz aka 'Altronic Artworks') left to right: C. Reichelt, Sea Wanton, A. Türpitz ....


the poster for the 'Berlin Atonal 2 festival', Berlin 1983

cover of the first NTL-album, 'Wanton', 1986 wanton

A. Laaf (at the 'Enzian'-pub, in ca. 2008) Hettpenger


live at the Klangbad-festival 2008

live at the ' Klangbad Festival 2008' (in Scheer, Germany), line up: Achim Wollscheid., T.Poem, Sea Wanton, C. Reichelt


live at the ' Wroclaw Industrial Festival 2010' (in Wroclaw, Poland), line up: Achim Wollscheid, Sea Wanton (image courtesy of the 'Alternation' zine)

Jammin' Unit + Sea Wanton, live at the 'Liquid Sky Berlin' show (Alex-tv, Berlin), 2015


My last outing with Non Toxique Lost wasn’t a pleasant one; their release
was a collection of the same song remixed around ten times. At the end of
the review, I remember typing out that I wanted to see how they would fair
with an album of original material, as there were hints of genius throughout
the remix collection. Well, today that question is being answered as
Non Toxique Lost have recently released their eleven-track album “VLUS”.
Unfortunately, due to repetitious behavior, “VLUS” doesn’t do much more to
improve my spirits.
The album starts off with an interesting enough noise piece titled ‘keep out’.
It sounds like the texture one would find in a distorted horror movie, amping up
tension and generally crafting a sense of uneasiness. The stroking of guitar strings
gives a chugging sound like a train, and the other samples throughout only add to
the chaos. Unfortunately, it’s a repetitive track that has the base structure repeat
itself for its one-and-a-half-minute duration. Though it lasts under two-minutes,
hearing the same, redundant sound for that period just had me asking,
“Well, what comes next?” And nothing ever did.
The follow up track ‘aschekreuz’ commits to the same issue. Pounding industrial
textures take the stage this time around. It’s ear-catching and grabbed my attention
immediately. There’s a good sense of tone here, too; unlike other noise bands,
Non Toxique Lost isn’t trying to absolutely blow your speakers out just to be edgy.
There’s thought behind the noise, and the production is better than most of the bedroom
projects you’ll find within the niche genre. But, again, that industrial clash that
begins the song repeats throughout; from start to end, aside from a few samples
(and even then those are reused over and over), the song hardly changes.
While it’s not annoying, it’s boring.
Moving onto ‘nicht bereit’ which taps into the origins of rhythm-based industrial music,
I was interested in how the song would develop. Like an early electro-industrial track
is a bassline formed in a lo-fi sense, evoking imagery of underground clubs and DIY
magazines. The initial momentum is, once again, brought down by the fact that once
Non Toxique Lost has a sound that they like, they stick with it and become stagnant.
Rather than progressing, experimenting like their idols did, Non Toxique Lost become
stuck in their ways and refuse to budge. And I’m not sure if it’s an artistic choice,
laziness, or poor sound design. But, either way, it needs to be fixed somehow.
And I suppose that’s the real shame about “VLUS”. There are so many interesting beats,
sounds, and general experiments on the album that harken back to industrial’s origins.
More often than not, however, is that creativity thwarted due to a lack of
experimental behavior – which is a shame considering that Non Toxique Lost has a ton
of experimental influences and even tag themselves as such on platforms such as Bandcamp.
But when I sit there and listen to a song that has a non-stop bassline that continue
from start to end with no break, or a repetitive beat that ceases for three,
four-minutes at a time, I’m only wishing that I was doing something else.
The first three tracks that I spoke of and the problems therein stick throughout “VLUS”,
and to continue talking about the album would be redundant. For each of the following
songs I would write something similar such as, “I was really enjoying this song for XYZ
reasons, but then the beat repeated itself and there went that.” And that’s from the
first track of ‘keep out’ until the very end with ‘locken sie uns’. While “VLUS” is
it’s still a mediocre effort at best.  (source: 'Brutal Resonance', October 2021)

La Derničre Section D'une Longue Chanson (CD)

In the 1980's, Non Toxique Lost was part of the industrial movement in Berlin, releasing many of their works on cassette. Later in life, the project collected their works onto vinyl. 2016 saw the project compose a new piece for a concert at Berlin Atonal Festival. The song they composed for it is titled 'Les Fins du Monde', with the last part of this piece titled 'Untergang'. They then recorded this piece when they played a gig at Klang 25 Festival in Vienna; Non Toxique Lost crafted around twenty different versions of this piece for the fest. In 2020, member Sea Wanton found the tracks in his archive, re-arranged and re-recorded them with the help of DJ Vrhovny (who also proceeded to make the final master), and released it on CD. The album, dutifully titled "la derničre section d'une longue chanson" is a mixed bag of experimental works that never manifests into a tangible or enjoyable product. 

The first track on the album is titled 'Les Fins (Berlin)' is a repetitive track that lasts for nearly five-and-a-half minutes. After a brief, but quite good, sample-riddled intro, an analogue industrial bassline plays out around the thirty-seven second mark and loops for the remainder of the track. Though there are other sounds and instruments that join this noise, such as a gloomy guitar, but the track became rather boring and annoying after the first two-minutes. The echoed vocals on the track, though sparse as they are, don't have any flow or follow the beat whatsoever.  The following track, 'Les Fins (Dark Matters)', is much more appreciated. It starts off as a cinematic dark ambient piece with a steady line of electronic dribble and reversed whispering intertwined. It's quite spooky. The track casually builds up, adding in steady drops of hardened percussion that adds tension. While the wait to the four-minute mark is a bit long, it's well worth the wait as all Hell breaks loose. Well done. 

Unfortunately, 'Les Fins (S.O.T.A.)' falls back into a repetitious blunder utilizing looping techniques that make the same bassline last for the entirety of the seven-minute ride. Despite the title, 'Les Fins (Popsong)' is nowhere near a pop song. It's a moody and gloomy piece featuring deepened bass guitar and a constant string of samples. I did not find much to appreciate about this track, however, as it just never went anywhere. 

Ambient-techno takes a turn on 'Les Fins (hic Rhodos hic Salta)'. The one-minute and forty-five-second wait until percussion kicked in was a bit long, but from there I soar high into a fun and atmospheric techno laced experimental track. 'Les Fins (World)' brought back the same bassline from the first song, and once I heard that it became a no-go for me; I was already sick of that sound from the first song and hearing it again put me in a sour mood. I could say much the same about 'Les Fins (Utrecht)', even though it dives into obscurity with the second half of the track exploring noise and further experimental nonsense. Les Fins (Ovita)' uses that same bassline though with EBM in mind, as does 'Les Fins (Korg)', and 'Les Fins (Untergang)'. 

I understand the intent of this album was to present various mixes on a single piece, but to re-use a sound or loop in many of your songs, despite other samples and noises generated with it, does not make it anymore appreciated. After my first playthrough of 'la derničre section d'une longue chanson', I felt drained. Going through it multiple times after had me bored and frustrated. The two songs that I appreciate on the album, 'Les Fins (Dark Matters)' and 'Les Fins (hi Rhodos hic Salta), had enough independence and difference from the rest of the tracks that made them stand out incredibly well. Unfortunately, two out of ten tracks is not a whole lot. This is not an album that I can appreciate, no matter how many times I have tried. 

Nonetheless, this does leave me curious as to how Non Toxique Lost would sound on an album based on original material, not the same song remixed over-and-over again. Thankfully, they have a whole discography of material to sift through, so I can see myself going through it at some point. After all, I cannot and will not knock off a band based on one single album. Despite the low score and criticism I bestow on this album, I urge both yourself and myself to check out the rest of Non Toxique Lost's discography. (source: 'Brutal Resonance', June 2021)


S.O.T.A. (CD) 

Non Toxique Lost have been playing their industrial and political electronic attitude-driven music for over three decades now. After the tragic loss of long-time member Steffen Schütze in 2017 they’re now a duo of Gerd Neumann aka Sea Wanton and Cem Oral aka Jammin’ Unit. While their older cassette-only works are being reissued on vinyl and CD, this is a brand new studio recording. It’s based on a “surprisingly dancy” live set that they performed for the Klanggalerie label’s 25 anniversary.Although it was videoed, and parts of the performance are available on YouTube, nobody recorded good quality audio on the night, so the band went into their studio and recorded it- so it’s studio quality, but with an energetic, live feel. It’s a masterful journey through the deeper darker side of electronica, with industrial tones that never really get too heavy. Sweeping effects, backwards percussion, squelchy bass arpeggios and various stretched-out noises create atmospheres that feel like an inverted mirror image of dance music. After the screaming German introduction of “Bewegen Wir Uns Noch”, the advanced restraint of the music is on display in the nearly-sinister “Dulce Et Decorum Est”, with its super-gradual build and unfold. The contrasting tensions are clear on tracks like “I.N.T.A.S.B.T.L.A.S.S.”, where the dubby understated electronic groove (reminiscent of some recent Orb tracks) is unmoved by the angry shouting that’s initially stamped on it. “Schwarze Mamba” is absolutely mesmeric, and a highlight. It’s got the long, patient building patterns of Tangerine Dream, but with a carefully exposed backbone of attitude, and (eventually) a vocal that’s oddly reminiscent of The Doors’ “Rebel Woman”. A similar atmospheric build also makes a joy of the catchily titled “Buchenwald (Case No. 000-50-9. 31 Pleas: NG!)”. People who like their industrial electronic more urgent and relentless will be more drawn to tracks like “Untergang”, a war-like call to arms where the pulsing bass pattern doesn’t let up or pretend to be clever, or the more aggressive snares and beat poetry-ish vocals of “Buchenwald”. “Ich Bin Nicht Sisyphos” exposes the band’s 80’s industrial roots. The promotional material is right to pitch Non Toxique Lost as an underrated band, and in some ways they’re quite understated too, showing their musical teeth in moderation and with a lot of maturity. Despite being supposedly quite raw, as a representation of a live set, nevertheless this is an extremely strong industrial electronica album that ought to garner a lot of attention. (source: 'Chain D.L.K.', June 2020)


We geven hipsters niet graag gelijk, maar het feit dat Berlijn een van de coolste (muziek)steden van Europa is, daarin kunnen we hen ook onmogelijk ongelijk geven. Als alternativo kan je er niet omheen: noem eender  welk subgenre en de Duitse hoofdstad heeft er wel een bruisende scene van. Zo had de stad in de jaren 80 een vermaarde industrial scene met namen als Einstürzende Neubauten, Sprung aus den Wolken en Die Tödliche Doris. En ook Non Toxique Lost: minder gekend, zeg gerust ondergewaardeerd, want volgens sommigen een van de belangrijkste exponenten. Het Berlijn van die periode was, denk aan de muur, een verdeelde stad. Iets wat zich ook vertaalde  in stompe politieke teksten die Non Toxique Lost frontman Gerd Neumann boven de industriële geluiden uitschreeuwde. Het soort industrial dat even jachtig en smerig klinkt zoals we dat leerden kennen op het debuut van Suicide(de ene noemt het punk, een ander industrial, sommigen electro,... feit is dat het titelloze debuut van Suicide een tijdloos album is dat iedere serieuze muziekliefhebber in zijn collectie zou moeten staan hebben.) Aanvankelijk kwamen, zoals dat vaak het geval was (en nog steeds is) binnen dit genre, hun albums enkel op cassette uit. Het album Wanton (1986) kwam uit op vinyl, waarna het lange tijd stil werd rond dit collectief. Het bleek echter niet hun zwanenzang want halverwege de jaren 00 vond men duidelijk een tweede adem, en bleek Non Toxique Lost terug even actief als in de beginjaren. Zelfs het tragische verlies van oud-lid Steffen Schütze zette geen rem op de groep en een jaar later werd Non Toxique Lost (voor de gelegenheid omgedoopt tot het duo Sea Wanton & Jammin’ Unit) door het Oostenrijkse label Klanggalerie uitgenodigd om hun 25-jarig jubileum op te luisteren, dit naast klinkende namen als Renaldo & The Load, Zea, John Avery, Ron Wright, Rapoon, Simon Crab, Tabor Radosti, Zahgurim, Thighpaulsandra en Eric Random. Duitsers wordt weleens verweten dat ze nogal standvastig kunnen zijn, maar net zoals de krasse knarren van Kraftwerk het reeds bewezen, zo bleek ook Non Toxique Lost niet vastgeroest aan het eigen verleden. De verrassend dansbare set die ze die avond in 2018 brachten werd bijna integraal gefilmd, doch een audio-opname bleef helaas achterwege. Zonde, zo bedachten ook de muzikanten die een paar dagen later unaniem besloten om de studio in te duiken en dezelfde set opnieuw in te spelen in hun studio. Zo hebben de aanwezigen alsnog dat begeerde souvenir, maar ook voor anderen is dit een meer dan aangenaam document geworden. We haalden reeds de Suicide-sfeer aan, Alan Vega en Martin Rev leerden ons dat het heus niet al glitter en glamour is wat er zich in de New Yorkse straten afspeelde, ‘Bewegen Wir Uns Noch’ lijkt haast het Berlijnse antwoord, met als gemeenschappelijk kenmerk dat het ook alhier niet allemaal rozengeur en maneschijn is. Het souveniertje uit de Koude Oorlog (de muur, weet u wel), mag ondertussen al wel al zo’n 30 jaar tegen de vlakte liggen), toch lijkt de invloed van deze verdelende factor een immer drukkende stempel op de muziek van Non Toxique Lost gehad te hebben. Je kan je dan afvragen of het ondanks dan niet juist omwille van die hoop stenen is dat het gezichtsveld des te breder werd. ‘Dulce Et Deorum Est’, ‘I.N.T.A.S.B.T.L.A.S.S.’ en ‘Studie Zur Wahrheit’ zijn geslaagde oefeningen in dansmuziek. Net zoals industrial in de jaren 80 zou later techno een prominente hoofdrol gaan spelen in de Duitse hoofdstad. Iets zegt ons dat de leden van Non Toxique Lost met veel opwinding ook deze ontwikkeling gevolgd hebben. En wie Duitsland en techno met elkaar verbindt komt als vanzelf dus ook bij Kraftwerk terecht. Wanneer je in een nummer (‘Untergang’) verschillende stemmen tal van getallen (van boven 2000 -we vermoeden jaartallen) hoort opsommen, gebeurt deze vergelijking haast even spontaan. ‘Buchenwald’ is het muzikale equivalent van de figuurlijke bloem op de vuilnisbelt. Wederom moet gezegd dat een label als Klanggalerie serieus wat kransen van ons krijgt, door in plaats van het  gemakkelijke succes na te jagen, net die artiesten terug onder de aandacht te brengen voor wie de mazen van het net iets te groot waren. (source: 'Dark Entries', August 2020)

We don't like to agree with hipsters, but the fact that Berlin is one of the coolest (music) cities in Europe, we cannot possibly agree with them. As an alternative you cannot ignore it: name anything which subgenre and the German capital has a vibrant scene. In the 1980s, for example, the city had a renowned industrial scene with names such as Einstürzende Neubauten, Sprung aus den Wolken and Die Tödliche Doris. And also Non Toxique Lost: less known, Don't be afraid to say undervalued, because according to some one of the most important exponents. Berlin of that period was, think of the wall, a divided city. Something which also translated in blunt political lyrics that Non Toxique Lost frontman Gerd Neumann shouted over the industrial sounds. The kind of industrial that sounds as hectic and dirty as we got to know on Suicide's debut (one calls it punk, another industrial, some electro, ... fact is that Suicide's self-titled debut a timeless album that any serious music lover should have in their collection.) Initially, as was often the case (and still is) within this genre, their albums just came on cassette. The album Wanton (1986) was released on vinyl, after which it became silent for a long time around this collective. However, it turned out not to be their swan song because in the mid-00s they clearly found a second wind, and Non Toxique Lost turned out to be just as active as in the early years. Even the tragic loss of a former member Steffen Schütze did not put the brakes on the group and a year later Non Toxique became Lost (renamed the duo Sea Wanton & Jammin 'Unit for the occasion) by the Austrian label Klanggalerie to liven up their 25th anniversary, next to sounding names like Renaldo & The Loaf, Zea, John Avery, Ron Wright, Rapoon, Simon Crab, Tabor Radosti, Zahgurim, Thighpaulsandra and Eric Random. Germans are sometimes criticized for being quite steadfast, but just like the crass grunts of Kraftwerk it has already been proven, as it turned out Non Toxique Lost was not rooted in its own past. The surprisingly danceable set they brought that evening in 2018 was filmed almost in its entirety, but an audio recording was unfortunately omitted. A shame, as the musicians who unanimously decided a few days later to go into the studio and re-record the same set in their studio. In this way, those present still have that coveted souvenir, but this has also become a more than pleasant document for others. We already mentioned the Suicide atmosphere, Alan Vega and Martin Rev taught us that it really isn't all glitter and glamor is what happened in the streets of New York, "Bewegen Wir Uns Noch" almost seems Berlin's answer, with the common feature that it is not all rosy and moonshine here either. The Cold War souvenir (the wall, you know), may have been knocked down for about 30 years now), yet the influence of this dividing factor seems to have an ever-leaving mark on the music of Non Toxique Lost to have had. You may then wonder whether it is, despite or not, precisely because of that pile of stones that it is field of view the wider. "Dulce Et Deorum Est", "I.N.T.A.S.B.T.L.A.S.S." and "Studie Zur Wahrheit" are successful exercises in dance music. Just like industrial in the 80s, techno would later play a prominent role going to play in the German capital. Something tells us that the members of Non Toxique Lost have also followed this development with great excitement. And whoever connects Germany and techno will automatically end up at Kraftwerk. When you are in a song ("Untergang") different voices sum up numerous numbers (from above 2000 - we suspect years), this comparison happens almost spontaneously. "Buchenwald" is the musical equivalent of the figurative flower on a landfill. Again, it must be said that a label like Klanggalerie is seriously getting some wreaths from us, instead of it easy success to pursue, just bring those artists back to the spotlight for who the mesh of the net was a bit too big. (source: 'Dark Entries', August 2020)


Berlin, 2003
mit rita über die gleise + kein selbstmord im kölner dom

you have to categorize this music according to the message of the lyrics, the intonation of the vocals and the choice of instruments. the rhythm gives you the impression of harmony, in spite of some disharmony. the songs reflect the following: pain, despair, aggression, insanity, fear, rage, sadism, death, longing, sadness, humility and degradation, in other words, no melancholy or self- pitiness. sometimes destruction and insanity, as well as a certain fanaticism is noticed. it's the search for something remote controlled that is deeply tied. the cry of your soul for liberation. one of its components is love. that means death and the underground, chaos and military sounds. longing for dissolution. to go by train means departure. searching the target, that means a new day, a new love, a new way. the intonation of the xylophone (in the song: "mit rita über die gleise") starts soft and warm-hearted and mystic. and a fine intonation of some chinese sounds and instruments. the song "kein selbstmord im kölner dom" is somehow confusing, chaotic and scary. imprisoned, broken to pieces. to break a soul with force, pain and punches, delivering on a garbage-dump, like punk, rubbish, scum, is an emotion which I'm very familiar with. childhood and parents. looking at it another way: the colours are not necessarily bright, but there is a green course, a heart, the sun on top of the left side and the endlessness of the earth and the blood. (source: M. Panek)


Chrrroooooom !, CD

'Chrrroooooom!' is not a specific re-issue of an old release, but rather a selection ('best of'?) of pieces from six different tapes. This is more 'pop' music than say, well, S.B.O.T.H.I. 'Non Toxique Lost' owes more to Throbbing Gristle than to Pierre Schaeffer if you get my drift: lots of rhythm machines, piercing synthesizers, sequenced loops, obscure vocal bits and all such like, making it very much indeed something like Throbbing Gristle in their best days. Quite a coherent collection, which makes you want to search blogosphere for me. Nice stuff, a small revelation. (source: 'Vital Weekly', February 2011)

Wanton, CD

Wanton, cd

'Non Toxique Lost' began in the early '80s as a German industrial band that had stuck true ..to the avant-garde / difficult listening propositions to also come through Throbbing Gristle ..and Dome. While plenty of other industrialists such as Psychic TV and Einsturzende Neubauten ..honed their craft for occluded electronics with sinister motives into downright catchy tunes, ..'Non Toxique Lost' chose a murky collage strategy for metal bashing, undulating electronic ..arppegiations, and megaphone vocal barking. Wanton was the first album for 'Non Toxique Lost', ..recorded between 1982 and 1984 and released a year later on vinyl. There's an aggressive deconstruction of sound within the primitive synth-punk arrangements which get splattered into amassed distortion from guitar freakouts blowing out of way too small amplifiers on top of lumbering electronic loops, all of which get cut up and mangled on tape. One of the early members of 'Non Toxique Lost' was Achim Wollscheid, who had also begun his solo project of DIY musique concrete called S.B.O.T.H.I. before developing his highly conceptual sound art projects throughout the late '90s. It seems that 'Non Toxique Lost' is still around, although Wollscheid left many years ago. Either way, Wanton is a fascinating document of art-damaged noise from this little known German industrial project. (source: 'aquariusrecords')

Live At The Berlin Atonal 2 Festival, 1983, CD

Atonal 2

Who remembers 'Non Toxique Lost'? They were one of the early and German industrial bands, walking their first steps alongside the likes of Einstürzende Neubauten and Die Tödliche Doris in Berlin in the early 1980s'. Rising interest in the last years around their name, thanks to new material released by Dossier, made possible to reissue interesting long out of print material, originally available only on obscure cassette tapes. It's the case of this exciting live recordings at the Berlin Atonal 2 Festival, the notorious gathering of avantgarde sounds which saw some of the most representative names of industrial and experimental music perform on stage (Psychic TV, Z'ev, The Anti Group, and many others).

'Non Toxique Lost' performed there in 1983, offering a complete spectrum of their furious, urticant sound, which ranges from tribal percussive rituals to screaming invocations, all built around distortions, pulsating electronic frequencies, tortured violins, guitar noises and ferocious vocals. The CDr collects 14 tracks, of which 9 were recorded by the audience and 5 from the mixer, in very good quality. Their classics, like "Ich Sah Hanoi Sterben", "Mit Rita Über Die Gleise" (source: 'Filth Forge')

Reichstag lange nicht gebrannt, C CD

Reichstag lange nicht gebrannt

What would it have sounded like if Ray Davies had fronted a German industrial band? 'Non Toxique Lost'. Punk vocals veer from sprightly to rebelliously angry to commanding, sounding almost chipper over clashing synths and metal plates. The lyrics brash forward, squibbling choruses like “CIA/Gestapo!” and “It’s hip/it’s easy!” Snotty contention melds together stomping electronic bric-a-brac and found sound. The rhythms are surprisingly catchy, pouncy and upbeat for an abrasive industrial band. Even when intoning what sounds like “tarantula” over and over again on “Frobot”, the singing is positively dance-worthy. The backing rhythms churn from otherworldly synths to whipping drum machines to ambulance sirens. Many of the songs warn against oppressive police states and spy machines, conjuring (and it’s not hard to imagine) a world where the cold war still rages strong. The claustrophobia evoked on the tracks places the listener in state of torture, a barren room with shambling walls. The tracks provoke a constant sense of pins and needles, power struggles and painful losses. This is not torturous torture to listen to, but a replica of a certain state of mind, a certain confrontation of truth. Occasionally, the vocals work up the negative enthusiasms of the musical accompaniments, and a harsh battleground of noise ensues. On “Blasser Mond”, for example, the singer drops the punky sing-a-long, shout-a-long presence for long processed yelps. The music crescendos and dips, building walls and barriers and then breaking them down. “Ritos y Danzas”, by contrast, spews staccato grunts, but still, as soon as the singer forms words, something catchy creeps back into the tone. No matter how industrial 'Non Toxique Lost' try to be, no matter how oppressive of a picture they paint of the world around them, there is something about the music that still wants you to listen, that still wants to cajole you. (source: 'Heathen Harvest')


Lachen Eins, Single

lachen 1

ThThree brilliant archival tracks by the long-lived Berlin experimental outfit, first released on cassette in 1984. The pieces are powerful electronic sound-wads in a classic Industrial style, combining a sense of post-rock power grabbage with experimental improvisation. Loud croaking vocals, blats of destroyed piano and the sense of a garbage truck, closing in fast. (source: 'The Wire', June 2006)

ohne titel, compact cassette

ohne titelcover of the mag

This is an ultra-rare 18-page magazine from 1983 (82 ?) released by Thomas Beck alias Wachsender Prozess. He only made about 50 copies since he didn't find a distributor and he quit after 4 editions. This mag is covering all the good industrial/avantgarde bands. Reviews on Second Coming, Mnemonists Roto-Limbs, Ramleh, Severed Heads, Mida Jingles Tape on Music for Midget, a tape that not even Severed Heads do own anymore, 150 murderous passions. Articles about Apathischer Alptraum, 'Non Toxique Lost', Nocturnal Emissions, Whitehouse / Come Organisation.

/bin/med/usa, CD
ENFAN () Mar 25 2004, 11:12 
I listened to "Adresse : boese" by 'Non Toxique Lost'. Thats terrible music, and the worst is the singer (an unknown writer at the EINSTÜRZENDE NEUBAUTEN forum, about this pre-released mp3 song of "/bin/med/usa")

/bin/med/usa, CD

NeNever heard of a band called 'Non Toxique Lost' ? If you're into industrial music you should, they put out their first record during the eighties, then 20 compact cassettes, 3 lps and a couple of cds. "/bin/med/usa" cuts it short showing these three "guys" from Ger-money are not newjacks: industrial music in the way it was meant to be...but not just that. The deutsche style you can hear while listening the "early" (not so early) Einstuerzende Neubauten is evident, but as you can read in the few lines they left at the beginning of their website: "style is irrelevant". Obsessive patterns "industrial-style", old-fashioned-drum machines, analogue synth, filters and guitars, the vocals is both martial (...deutsche speakers' emphasis, how could we live without it!!) and visceral up to the different song, I think if you're into this style of music well you'll love it 'cause it's sexy or violent as it should be. 
Musicwise 'Non Toxique Lost' moves from "industrial-psychic-warfare" to "fetish-electronica" (hey they're on the same label of Front Line Assembly should I add something more?), a flavor of "eighties" and let's say it looks like they'd like to play with the listeners' secret fears. Also the recording somehow sounds old-fashioned and don't come to easy conclusions, when I say "old-fashioned" I don't mean the Berlin combo is completely "surpassed", I just mean it all sounds "retrò" and in a good way, at last on this release. "Dark landscapes and modern obsessions" if you love things like these and the way the industrial-electronica used them, I'm sure you're ready for 'Non Toxique Lost'. (source: 'Chain D.L.K.')

/bin/med/usa, CD
Factual settlement with the unavoidable (the new cd is called "/bin/med/usa")

ThThis is how it would sound if Klaus Kinski, Einstürzende Neubauten, Prodigy and Björk all went out for a drink together. 'Non Toxique Lost' establishes a merciless symbiosis of  nice groovy beats, brutal noises and cryptic sounds which seem to permanently outperform the tortured, theater-like lacerating voice of the narrator/vocalist. Machine defeats human being. The mood is similar to the decension into a torture dungeon, from where you are confronted with some techno beats. Allured by the fine music you open the door and you discover an image of horror. The lyrics deal with rage, morbid passion, desperation and resignation, without having a self-pitying effect.Simply the naked, unmerciless facts are presented, without offering a solution on how to surface out of the dirty swamp. Conclusion: the world is bitter, the people are rotten and life is full of animosity. 'Non Toxique Lost' allures the listener with cute chill-out rhythms, which develop into a frightening nightmare. Nevertheless, compared to the former albums of 'Non Toxique Lost', "/bin/med/usa" is much more agreeable and the reason for this could be that the songs are shorter than before. The program goes from aggressive and rageous ("everybody's darling") to relaxed and lazy ("uno momento por favor") to humourous and playful ("wendy"). In ("schlechte wahl") you are reminded of former Depeche Mode songs.The dark, poetic lyrics are partly a crass counter-part to the dissolute, danceable rhythms; soft sounding instruments (i.e. the digeridoo in ("uno momento por favor")) are melted with industrial Einstürzende Neubauten-esque sounds. It's really worth while to listen to "bin/med/usa" over and over again ! (source: A. Henschel, 2004)

advertisment / commercial style="width: 800px">'Non Toxique Lost': 
From aggresive and rageous to relaxed and lazy to humourous and playful. 
Label:....Dossier Format:....CD 
Genre:....Industrial / Noise 
NTL establishes a merciless symbiosis of nice groovy beats, brutal noises and cryptic sounds which seem to permanently outperform the tortured, theater-like lacerating voice of the narrator/vocalist.

/bin/med/usa, CD

Now I have a confession to make here. Quiet at the back whilst I’m rambling. I have a deep respect for all things German. Love their cars. Love their food. Even some aspects of their dubious politics through the ages hits a chord with me. Which kind of includes their uniforms and medals and all the military memorabilia in those conflicts which we are not supposed to mention for fear of being labelled a certain type of person. If you know what I mean. See Lemmy out of Motorhead or Ron Ashton of The Stooges as examples. The country is fantastic to drive through and their Frauen divine examples of Germanic beauty. This is by the by though. I’ve held a secret fascination with German music ever since I first heard Amon Düül II and their mighty ‘Yeti’ release way back in 1970. I followed that up with a serious love affair with Der Plan and DAF and all their ilk in the proceeding years. By fuck that was good times for German music. Then I got into all the EBM and heavy Industrial stuff, far too many groups to mention here, and I still find myself drawn to anything remotely connected to the German music scene even today. A special mention must go to Einstürzende Neubauten who are still going strong. Resilient fuckers old Blixa and co. Which ties in nicely with this review for the latest 'Non Toxique Lost' release ‘/bin/med/usa’ which I’ve had spinning away for the last few days…not the act hardly known but by only a select few, including me who adored them, Last Few Days who were something else in every respect…and golly gee whiz if this isn’t a fucking ace release that, at the very least, demands you should hear it at least once in your lifetime. You know that feeling you get when you hear a piece of music for the first time and you get this strange sensation going up and down your spine? Well ‘/bin/med/usa’ did that for me. The funny thing is that in reality the recording isn’t original in any shape or form…but it has that ‘certain something’ that just can’t be described to it that makes you go kind of ‘wow’ when you hear it. Or that could just be me because I’m wired up and weird that way occasionally. 'Non Toxique Lost' have been around the block for ages now. Part of the early 80’s German Industrial counter culture they have ploughed many a field in different musical genres over the years. Flitting seamlessly between whatever takes their fancy at the time. You just never know what to expect from these guys. They take their music from many influences and mould it into their own sound which they are currently experimenting with at the time. This approach to their music is shown to great effect in ‘/bin/med/usa’ where dance meets rock…and takes in experimental and other musical styles at a whim. There are traces of DAF, Seilwolf, Einstürzende Neubauten…even Die Krupps…to be found lurking within these 16 tracks that twist and turn with an assured Nonchalance that can only be admired. Take the first track ‘aliens.sk/’ ('adresse:boese') for instance that starts with some static and German vocals before descending into a turbo charged electro techno light nightmare of beats and screamed vocals. Or how about the DAF (ish) ‘die schneekoenigin /’ resplendent with a thumping drum beat. If that doesn’t seem your thing then maybe ‘buchenwald /’ and ‘opium 2 /’ with their sludge rocking style would be to your liking. Looking for a sexy laid back groove…then seek out ‘Wendy /’ for your kicks. So many highlights in a quite superb and highly engrossing recording all given that added sparkle by the German, and some English, vocals which are screamed, barked, mutilated or crooned. They rage. They rant at fuck knows what. They seduce. They fuck you over, in a nice way, like porn studs on ten tablets of high dose viagra. They are 'Non Toxique Lost'…and don’t you ever fucking forget it. Vorsprung durch Technik Sea Wanton (vocals, effects), C. Reichelt (electronics, drum machines, effects) and A. Türpitz (electronics, drum machines, effects, guitar) are the guys to thank for this impeccable recording. Buy it. Play it. Embrace it. Love it. Then send me an e.mail of thanks for leading you directly to this fabulous release. It’s the least you can do. (source: 'Heathen Harvest', 2007)

ogre-sse, LP


.....music from Germany from the late seventies and early eighties. Music that certainly can't be described as 'Neue Deutsche Welle', but the way more experimental ones. Some of these bands moved into obscurity and some moved on, gaining more attention later on, either under the existing name and some under new names. The most unknown one is possibly the band 'Non Toxique Lost', even when Achim Wollscheid was a band member. 'Non Toxique Lost' existed in the earlier parts of the 80s and in recent days (having released a 7" on Klangalerie as-well as some CDs on Dossier Records). Back in the old days, they released a now sought after LP, aswell as tracks on compilations, but never gained the fame of Die Tödliche Doris or P16.D4. The line up is pretty 'normal', with Sea Wanton (vocals, electronics, effects), S. Schütze (violin, bass), A. Wollscheid (electronics, guitar, effects), H. Wöhler (live effects) and Jammin' Unit ( live effects). Rhythm-machines play an important role, over which the band-members semi-improvise their sounds. Semi, because I think some of this stuff was pre-planned, and that in some way or the other they rehearsed their songs. Especially when the lyrics can be heard through all the noise and effects, 'Non Toxique Lost' sound like the lost brother of Throbbing Gristle. Quite nice, these orgasmic explosions of rhythm and noise. Definitely one of the nicer bands that got lost, and certainly in demand for more re-issueing... (source: , 'Vital Weekly')

ogre-sse, LP

Coraz czesciej najrozmaitsze wytwórnie zgodnie z panujaca moda powrotów do korzeni wydaja na nowo klasyki, nierzadko opatrzone dodatkowo "modnymi" remixami. Vinyl-On-Demand jest jednak nieco innym typem wytwórni, specjalizuje sie, bowiem przede wszystkim w wypuszczaniu na rynek starych nagran, które nie mialy szczescia byc wydane w swojej "mlodosci". Na ich plytach odnajdziemy, zatem mroczne lub innowacyjne utwory twórców niemieckiej, industrialnej badz experymentalnej sceny, z lat 70-ych i 80-ych. Czasami równiez w katalogu mozna odnalezc dzwieki takich odmian muzyki jak noise czy wave. Jako 13 wydawnictwo ukazal sie album grupy 'Non Toxique Lost'. Zawiera on 13 zremasteringowanych na nowo tracków, nagranych w latach 1983-85. Jest to pozycja o tyle unikatowa, ze jedynie czesc z tych utwórów ukazalo sie kilkanascie lat temu na kasetach, jednakze znaczna wiekszosc pochodzi z koncertów grupy i nigdy nie zostala wydana. Jesli chodzi o warstwe muzyczna, mamy do czynienia z "czyms" (jak sami twórcy okreslaja) w rodzaju "primal industrial-punk", który brzmi nie mniej wiecej jak noise, co sprawia, ze do tej plyty trzeba podejsc w odpowiadni sposób. Byc moze wlasnie nieprawidlowe podejscie niektórych osób jest powodem, dla którego ten gatunek ma raczej wiecej przeciwników niz zwolenników. Jednak podazajac za mysla
jednego z bardziej znanych twórców noisu (Masami Akita aka Merzbow), jesli spostrzezemy pop jako pewnego rodzaju "uporzadkowany halas", wnet, jakikolwiek dzwiek równiez bedzie mógl byc uwazany za muzyke. Takie rozumowanie zdecydowanie bardziej przybliza nam ten material. Pierwsze dwa utwory pochodza z koncertu w Amsterdamie z 1985 roku. "Der Tod Des Soldaten" jest polaczeniem urywanych glosów, zakurzonych szumów rezonansu radiowego oraz wszelkiego rodzaju
przesterowanych szmerów. Co ciekawe ów track zawiera nawet rytm, który jest rzadkim gosciem na tym albumie. Za jego odliczanie odpowiedzialne sa ordynarne, industrialne uderzenia. Podobnie rzecz sie ma z nastepnym nagraniem, z tym, ze jednak klimat w nim zawarty nie jest juz tak gesty i smolisty jak u jego poprzednika. Z poczatku glównym motywem wydaje sie byc turkot pociagu, któremu towarzyszy odglos metalowego gongu oraz róznych krzyków. Nastepnie track odkrywa przed nami ladne tla, staje sie wrecz melodyjny. Innymi ciekawymi utworami sa niby-ebm'owy "Wer Keinen Schmerz Mehr Spürt" posiadajacy ladne fortepianowe zakonczenie, a takze bardzo agresywny "Kriegstanz". Calosc w mniejszym lub wiekszym stopniu wydaje sie byc odzwierciedleniem industrialnych odglosów, przez co album ten brzmi bardzo metalicznie i niejednokrotnie ciezko.
Nasi bohaterowie zadbali równiez o typowe nagrania zaopatrzone w wysokie czestotliwosci, dzieki którym moga w bardzo szybki sposób przyprawic swych sluchaczy o ból glowy, sa nimi, np. halasliwy "Montmartre" czy wyjaco-piszczacy "Jedes Wort Ist Wahrheit". Mimo wszystko zaliczam te pozycje do grona ciekawych, niedbalosc o rytm lub jego czestokrotne zupelne pominiecie - topi wszelkie nadzieje na tanecznosc, praktycznie kompletny brak jakichkolwiek wpadajacych w ucho motywów pozwala spojrzec na te muzyke z nieco innej perspektywy. Na pewno jest to swego rodzaju skrajnosc, lecz warto jej skosztowac. (source: Pomidor, www.clubbing.slask.pl )

ogre-sse, LP

though am still missing 'wanton' their legendary sole lp i was totally curious to listen to the sounds of
'Non Toxique Lost' and gotta admit that at least the last year we had the chance to listen to 2 great compilations of their stuff on wachsender prozess an lp whose combination and atmosphere brought in mind more experimental stuff compared to the recent one on vinyl on demand (ogre-sse) that captures the more industrialish sound of the project. (source: 'Absurdities #11 / (Phasemag)')

ogre-sse, LP

13 songs pulled out of the stream of time (1983-1985).They have never been on record or on air(nevertheless, some have been released on international cassette-compilations in the '80s). Back then they called it "primal industrial-punk". Heavy shit. [industrial-minimal] (source: https://www.flexx.be)

terre et argent, LP

terre et argent...and the second edition looks like this....terre et argent

LP NTL / 'Non Toxique Lost' (Achim Wollscheid)
Terre et Argent
first Original edition of 100 copies in individually handsprayed covers
abstract industrial music from the 80-ies sold out at the label
For people who like Psychic TV / Zos-kia / Bourbonese Qualk / Der Plan / SPK / Throbbing Gristle / DAF / Telepherique / Tesendalo / Brume / Organum / David Jackman / Asmus Tietchens / Werkbund / Mirror / Andrew Chalk / Colin Potter / HNAS / P16D4 / SBOTHI / Af Ursin / Vance Orchestra / Ultra Milkmaids / Small Cruel Party / Toy Bizarre / Callabris / Cranioclast / O Yuki Conjugate / John Duncan / Nurse With Wound / Zoviet France / Mnemonists / Roland Kayn / INA-GRM / LAFMS / SELEKTION / DOM / Mixed Band Philanthropist / Hafler Trio / 'Non Toxique Lost' / CM von Hausswolff / Michael Prime / Mnemonists / Giancarlo Toniutti / Etant Donnes / Yeast Culture / Maeror Tri / Troum / Drone etc. (source: on ebay (24.3.2006 ) by watzmann.nl)

siga siga, CD
siga siga.......siga siga (the label)
ItIt's always interesting - and somewhat difficult - to review a CD that just doesn't want to fit itself into anyone easily definable category. It makes it hard when so often there is not a lot to compare it to, as well as the added trouble of not knowing who your audience is as you would for something easily catalogued. According to 'Non Toxique Lost' themselves, they were one of the pioneers in the German industrial scene of the 80s; their monicker on their website "style is irrelevant" seems better suited to their music approach. Siga Siga is an interesting and unique music experience to say the least. 'Non Toxique Lost' definitely do not let anything - including genre restraints - hold them back in their expression of their music. A wide assortment of instruments,sounds, manipulations, "vocal" styles, and pretty much anything else you can think of are used; each song gets its own special treatment and definitely stands apart from the rest. No real description could possibly tackle the whole album, so I will do my best to describe a couple tracks and let you decide from there. Lets start with the sixth track, Ruft Mich an in der Zukunft. There are so many different elements going on simultaneously, representing different ideas and feelings that I am not sure what to even think. The track starts off with some reversed noises and a hard intermittent piano sound. As these continue, what appears to almost be a tribal instrument made of bones being hit comes in accompanied by a distant voice chanting (?) in the background. Everything builds and swells, moving and transforming as the track progresses. Part way through, everything but the bone instrument quiets down as a group begins a song-like chant in a foreign tongue. Later after the voices die down, random electronic noises enter making an almost happy little catchy tune to accompany everything else that is still going on; and by the conclusion, we finish on this happy electronic tribal tune - different to say the least. If you think you can define this as a genre, feel free to. Liberty Voice Wave is a personal favourite of mine. This is much more of an electronic track than Ruft Mich an in der Zukunft, actually, they are nothing alike at all. When it starts, it reminds me of a Nine Inch Nails <http://www.nin.com> track
with the sound of its electronic drumbeat - very Reznor like in style. I wouldn't say the song has vocals, more just generally unidentifiable sound samples from wherever used as a voice peace for the track. I really like the swerving noise that comes in about a minute and a half into the song. It really adds to the tracks electronic feel and has a nice darker vibe to it. Of course you know 'Non Toxique Lost' can't stop there. Airbursts from broken pipes provide sound alternating from speaker-to-speaker in the second half of the track with a mingling of various other textures as eventually the voice samples fade out. Though subtly underneath everything else, the little item that sounds like a distorted and reversed "blurp" underneath water is one of my favourites. Liberty Voice Wave really trails off well, and it isn't until you listen to the last couple of seconds and then go back to the start that you realize what a transformation it goes under. Liberty Voice Wave do their own thing, which you will either like or not. I would compare Siga Siga to something, but I can't. Though there might be bands or albums similar, I am just not familiar with them. If you are thinking of trying this, just be sure that you are open minded musically. The two tracks I have described sounds nothing like any of the other 11 songs, which all sound pretty different from each other again. If you are into artists or albums wherein you never know where each track will take you, this is an album for you. Enjoy! (source: 'Heathen Harvest')>

siga siga, CD

OnOn the digipack of this release you'll get just the basic infos like name of the band, title of the record and the tracklist on the back, if communication means something this decision says it all. I'm almost sure I've recognized the voice of Sea Warton and the sound it's almost the same but there's something different in this release. I dunno if the band has suffered any line up changes but the songs are more skeletal, everything on this record goes straight to bone, the music gets even more visceral, the most of the songs lyrics are in german language. The vocals are more controlled or I'd better say that everything on this record is more in control, more tempered. "Siga siga" is less heterogeneous than "/bin/med/usa" but in a positive way, since for the whole length of the cd it will be like being thrown into the band's dimension. If the previous release was obsessive, "Siga Siga" is confidentially/visceral obsessive, these Berliners are working on your skull with a screwdriver it
clear from the beginning (Kein stern). If I were psychoanalist I'd say these people have finally arrived to meet their own "self" or well, maybe it all is nothing but a trip that has gone bad. If you're not confidential with the band my suggestion is to start from "Siga Siga", nothing could be worse/better. (source: 'Chain D.L.K.')