🎉 Up to 70% Off Selected ItemsShop Sale
Can't think about it all the time
Electronic Sound Issue 128 Sept 2025 - Carl Griffin
Sounding like something lifted out of Berlin's edgy underground rather than posh Gloucestershire, this blistering, club-forward workout from Stroud twosome Wooolheads (comprising Klang Tone's Sean Roe and Anglo-German artist Uta Baldauf) delivers a nose-bloodying salvo of irresistible, raw electronics. The technoid, strobe-lit title track warps into a bog-eyed mantra that stays just the right side of dancefloor-peaking deranged, while the dark menace of 'Don't Look Now' takes its cues from Chicago acid legend Bam Bam, asserting full control over your body and mind. Top drawer.
Good on Paper Sept 2025 Ben Wardle
...It helps that Baldauf makes use of her wonderful German accent - and language: the heady combination of synthesiser sound and Akzent has been the dream ticket for electronica ever since Kraftwerks The Model' and the slew of 80s bands who flirted with the glamour of postwar Mitteleuropa (think Ultravox's Vienna, John Foxx's Underpass right through to Spandau Ballet's 'To Cut a Long Story Short) would all have fallen over themselves for a smattering of Baldauf's tones. Comprising just eight tracks and coming in at a manageable 37 minutes, this is an album without filler. True, there are no hummable choruses or easy lyrics to memorise but that does not stop it being consummately pop. Don't let Roe's well-publicised love of avantgarde jazz and experimental music let you believe that he distains catchiness: the album is riddled with sudden Eno-esqe whooshes like the ones experienced on Talking Heads records, bass lines like those you may recall from that Leftfield white horses advert and irresistible floor-filling rhythm tracks.
Sounding like something lifted out of Berlin's edgy underground rather than posh Gloucestershire, this blistering, club-forward workout from Stroud twosome Wooolheads (comprising Klang Tone's Sean Roe and Anglo-German artist Uta Baldauf) delivers a nose-bloodying salvo of irresistible, raw electronics. The technoid, strobe-lit title track warps into a bog-eyed mantra that stays just the right side of dancefloor-peaking deranged, while the dark menace of 'Don't Look Now' takes its cues from Chicago acid legend Bam Bam, asserting full control over your body and mind. Top drawer.
Good on Paper Sept 2025 Ben Wardle
...It helps that Baldauf makes use of her wonderful German accent - and language: the heady combination of synthesiser sound and Akzent has been the dream ticket for electronica ever since Kraftwerks The Model' and the slew of 80s bands who flirted with the glamour of postwar Mitteleuropa (think Ultravox's Vienna, John Foxx's Underpass right through to Spandau Ballet's 'To Cut a Long Story Short) would all have fallen over themselves for a smattering of Baldauf's tones. Comprising just eight tracks and coming in at a manageable 37 minutes, this is an album without filler. True, there are no hummable choruses or easy lyrics to memorise but that does not stop it being consummately pop. Don't let Roe's well-publicised love of avantgarde jazz and experimental music let you believe that he distains catchiness: the album is riddled with sudden Eno-esqe whooshes like the ones experienced on Talking Heads records, bass lines like those you may recall from that Leftfield white horses advert and irresistible floor-filling rhythm tracks.
$41.33
Can't think about it all the time—
$41.33
Can't think about it all the time
Electronic Sound Issue 128 Sept 2025 - Carl Griffin
Sounding like something lifted out of Berlin's edgy underground rather than posh Gloucestershire, this blistering, club-forward workout from Stroud twosome Wooolheads (comprising Klang Tone's Sean Roe and Anglo-German artist Uta Baldauf) delivers a nose-bloodying salvo of irresistible, raw electronics. The technoid, strobe-lit title track warps into a bog-eyed mantra that stays just the right side of dancefloor-peaking deranged, while the dark menace of 'Don't Look Now' takes its cues from Chicago acid legend Bam Bam, asserting full control over your body and mind. Top drawer.
Good on Paper Sept 2025 Ben Wardle
...It helps that Baldauf makes use of her wonderful German accent - and language: the heady combination of synthesiser sound and Akzent has been the dream ticket for electronica ever since Kraftwerks The Model' and the slew of 80s bands who flirted with the glamour of postwar Mitteleuropa (think Ultravox's Vienna, John Foxx's Underpass right through to Spandau Ballet's 'To Cut a Long Story Short) would all have fallen over themselves for a smattering of Baldauf's tones. Comprising just eight tracks and coming in at a manageable 37 minutes, this is an album without filler. True, there are no hummable choruses or easy lyrics to memorise but that does not stop it being consummately pop. Don't let Roe's well-publicised love of avantgarde jazz and experimental music let you believe that he distains catchiness: the album is riddled with sudden Eno-esqe whooshes like the ones experienced on Talking Heads records, bass lines like those you may recall from that Leftfield white horses advert and irresistible floor-filling rhythm tracks.
Sounding like something lifted out of Berlin's edgy underground rather than posh Gloucestershire, this blistering, club-forward workout from Stroud twosome Wooolheads (comprising Klang Tone's Sean Roe and Anglo-German artist Uta Baldauf) delivers a nose-bloodying salvo of irresistible, raw electronics. The technoid, strobe-lit title track warps into a bog-eyed mantra that stays just the right side of dancefloor-peaking deranged, while the dark menace of 'Don't Look Now' takes its cues from Chicago acid legend Bam Bam, asserting full control over your body and mind. Top drawer.
Good on Paper Sept 2025 Ben Wardle
...It helps that Baldauf makes use of her wonderful German accent - and language: the heady combination of synthesiser sound and Akzent has been the dream ticket for electronica ever since Kraftwerks The Model' and the slew of 80s bands who flirted with the glamour of postwar Mitteleuropa (think Ultravox's Vienna, John Foxx's Underpass right through to Spandau Ballet's 'To Cut a Long Story Short) would all have fallen over themselves for a smattering of Baldauf's tones. Comprising just eight tracks and coming in at a manageable 37 minutes, this is an album without filler. True, there are no hummable choruses or easy lyrics to memorise but that does not stop it being consummately pop. Don't let Roe's well-publicised love of avantgarde jazz and experimental music let you believe that he distains catchiness: the album is riddled with sudden Eno-esqe whooshes like the ones experienced on Talking Heads records, bass lines like those you may recall from that Leftfield white horses advert and irresistible floor-filling rhythm tracks.
Product Information
Product Information
Shipping & Returns
Shipping & Returns
Description
Electronic Sound Issue 128 Sept 2025 - Carl Griffin
Sounding like something lifted out of Berlin's edgy underground rather than posh Gloucestershire, this blistering, club-forward workout from Stroud twosome Wooolheads (comprising Klang Tone's Sean Roe and Anglo-German artist Uta Baldauf) delivers a nose-bloodying salvo of irresistible, raw electronics. The technoid, strobe-lit title track warps into a bog-eyed mantra that stays just the right side of dancefloor-peaking deranged, while the dark menace of 'Don't Look Now' takes its cues from Chicago acid legend Bam Bam, asserting full control over your body and mind. Top drawer.
Good on Paper Sept 2025 Ben Wardle
...It helps that Baldauf makes use of her wonderful German accent - and language: the heady combination of synthesiser sound and Akzent has been the dream ticket for electronica ever since Kraftwerks The Model' and the slew of 80s bands who flirted with the glamour of postwar Mitteleuropa (think Ultravox's Vienna, John Foxx's Underpass right through to Spandau Ballet's 'To Cut a Long Story Short) would all have fallen over themselves for a smattering of Baldauf's tones. Comprising just eight tracks and coming in at a manageable 37 minutes, this is an album without filler. True, there are no hummable choruses or easy lyrics to memorise but that does not stop it being consummately pop. Don't let Roe's well-publicised love of avantgarde jazz and experimental music let you believe that he distains catchiness: the album is riddled with sudden Eno-esqe whooshes like the ones experienced on Talking Heads records, bass lines like those you may recall from that Leftfield white horses advert and irresistible floor-filling rhythm tracks.
Sounding like something lifted out of Berlin's edgy underground rather than posh Gloucestershire, this blistering, club-forward workout from Stroud twosome Wooolheads (comprising Klang Tone's Sean Roe and Anglo-German artist Uta Baldauf) delivers a nose-bloodying salvo of irresistible, raw electronics. The technoid, strobe-lit title track warps into a bog-eyed mantra that stays just the right side of dancefloor-peaking deranged, while the dark menace of 'Don't Look Now' takes its cues from Chicago acid legend Bam Bam, asserting full control over your body and mind. Top drawer.
Good on Paper Sept 2025 Ben Wardle
...It helps that Baldauf makes use of her wonderful German accent - and language: the heady combination of synthesiser sound and Akzent has been the dream ticket for electronica ever since Kraftwerks The Model' and the slew of 80s bands who flirted with the glamour of postwar Mitteleuropa (think Ultravox's Vienna, John Foxx's Underpass right through to Spandau Ballet's 'To Cut a Long Story Short) would all have fallen over themselves for a smattering of Baldauf's tones. Comprising just eight tracks and coming in at a manageable 37 minutes, this is an album without filler. True, there are no hummable choruses or easy lyrics to memorise but that does not stop it being consummately pop. Don't let Roe's well-publicised love of avantgarde jazz and experimental music let you believe that he distains catchiness: the album is riddled with sudden Eno-esqe whooshes like the ones experienced on Talking Heads records, bass lines like those you may recall from that Leftfield white horses advert and irresistible floor-filling rhythm tracks.
