This is a reworked reissue of an early 90's tape which came out of a collaboration between The Grey Wolves and Shockcity as an comment on the Gulf War. In these times where a second one seems not very far away (depending on the daily news) it sounds astonishingly freshand timeless.There is a certain bleakness in these two lengthy pieces - 'Desert Storm' is slightly over 30, 'Gulf Breeze' over 26 min. - that reminds one of early Cabaret Voltaire, ca. Rough Trade era, but it's less the music itself more the emotional landscape they enter.The subject of War is outlined here as the breakdown of communication; delays, electronic distortion, distant ramblings, hypnotic loops, echoes, samples of voices clearly recognizable as such but only fragments are understandable.The Grey Wolves try not to affect the listener with worn out aesthetic/artistic shock tactics but point out with this atmospheric work that we are nothing more than passive watchers out of an armchair in (assumably) safe distance. A quite subtile critic packed in music that's an enjoyable listen at it's own terms. It leaves me in thoughts and creates the space for it. [Reviewed for The Brain in 2002]

I first listened to this album while driving across the Sinai Desert; these surroundings put the album into perspective and made it all the better listening. The album is split into two tracks averaging about half an hour each. The initial track, “Desert Storm”, begins with echoing propeller blades creating an image of slow motion Apache helicopters approaching through the heat haze of the desert. The track progresses into a wash of noise and treated vocal media recordings. Further slow beating helicopters evolve into an array of explosion signals. By now this recording had drawn me into its concept. The second track titled “Gulf Breeze” begins with some looped static evolving into a long percussive section. Then the track reverts back to the initial sound.