You might look at the pretty cover and think, "oh boy, another wishy-washy, hard-on-for-anything-Orient new age release". Nothing of the sort to be found here, however. (I am unsure if this is because the stereotype didn't yet exist back in 1986, in the same strength at least, or if Schulze was unaware what his work was getting branded as.) The first half offers a selection of half-orkestral, quarter-ambient, quarter-synth compositions, and while the instrumentation on "Five to Four" is clearly inspired by Chinese classical tradition, that's about it for up-front Asian connotations. I will have to dock some points for the title track, a nightmarish wall-of-sound march which doesn't fit at all together with the elegance of its companions.